#I feel like killing him off at this point has very little emotional payoff to the average listener

[cowpokezuko]

I have a conspiracy theory that Colin isn't dead but will in fact be one of the main characters of s2 against his will

[pyreo]

I'm comparing the Dungeon Meshi manga to episodes I just watched and now I gotta capital-p Post about this one episode (spoilers past Episode 12)

So this part is an emotional side-step from the central throughline so far - Laios and Marcille got Falin back successfully and reunited, and they got that payoff from the very beginning where they thought it would be impossible. But Chilchuck is very much a part of these layers of development, so after that dragon finally dies, we stop for a second - Laios and Marcille are recovering, Falin has disappeared again - how does Chilchuck feel at that point?

It's the perfect stage to insert that because he didn't really share in that sense of victory in the same way as Laios and Marcille recovering someone extremely close to them. And that's on purpose because he keeps everyone at arms' length. As soon as that arc hits its end and Falin is recovered, there's at last space to ask - why is Chilchuck even here.

He's asking himself that through the chapter. Now that they've lost the person they intended to save, he regrets agreeing to come.

And starts shouldering responsibility for everything ending up this way. We saw that when he got stuck in the mimic room before - he refuses to let himself ask for help, or he'll try to take burdens alone to lessen relying on others. The original Touden Party was six people, and when Laios insisted on going back underground they were two, and he knew they would die, and figured maybe, maybe if they were one more, with his skillset, maybe they'd have a chance. He couldn't let them walk back down just to die.

And he's going back to that mindset - their lives are on me. He thinks he could have prevented this if he'd chosen differently. Essentially, the walk alongside the orc woman is him working through a guilt spiral.

He sees a second chance to correct that mistake of joining the party. He wants them out now, before they die. The orc asks him how they defeated a dragon and, in explaining it, he reminds himself of all the risky, ridiculous things they had to do, and he isn't satisfied with just getting lucky. Laios got his foot bitten off, on purpose! This proves to him that if they go any further they will not survive. And he hints at this dissatisfaction a couple chapters later, wishing his teammates prioritised things other than winning at all costs...

Like, obviously. The point of this chapter is Chilchuck pretending to be a self-serving coward. To the point where others react with disdain, even disgust, towards him because he wants to lie to Marcille and Laios to ensure they turn back. He's desperate to get out of a hopeless situation by any means necessary, and will destroy his standing in the group in a blink if it means nobody else dies. He has to go on a stupid mental health walk for his stupid mental health and talk through his little bout of panic and doubt.

'You called me a coward so don't be surprised when I act accordingly'

He needs someone very blunt to tell him 'dude you're not being a coward for wanting your friends to get out of hell alive. you're a coward for making excuses instead of honestly telling them your concern is genuine' and he BSODs about it. He needs to rant and externalise that frustration over their recklessness at a third party. He needs to scream that they are idiots because he's the only one for which the ends don't justify the means and he can't keep losing his mind over everyone's safety. Down to a point, the orc praises their ability to survive the explosion from the dragon's fuel sac, and it only justifies Chilchuck - Falin didn't even know she could cast the spell that stopped them all being killed, and they cannot continue getting lucky like this.

Anyway. The reason I stopped to think about it was this part-

Where he recovers Laios's monster-infused sword. The thing that made their situation in the dragon fight go from bad to worse, that he swore at Laios for in every language he knew. The most angry we'd seen him. And now he calmly picks it up and praises it for being the only one of them smart enough to make a run for it.

He's projecting, obviously. He's internalising the label of 'coward' and changing himself to fit it. And, look at him, he's so tired of this. It's evidence of his sheer exhaustion that his anger immediately disappears and he actually gives it a compliment. Him and Laios's sword, the group cowards, the only one who agrees with him.

Then, because he had a walk before getting into the argument, he's organised his feelings and drops all the walls and pretense and just says it.

There's a rule of writing where you contrast your high energy sequences with parts that are slow and mundane, to make the difference more apparent. I think that's why I like this bit so much. The fight against the dragon is long, and the emotional stakes are enormous. Right after that we have the bath scene with Falin and Marcille, and Laios ruffling Falin's hair, and this part that pauses everything to explore the stuff that Chilchuck finally needs to say. And it's wrapped in this neat little solemn journey to pick up their supplies and remember how it felt when all five of them had a meal around a real dinner table at last.

And because he doesn't resort to individualistic trickery, because he explains his point as a duty of care rather than pitting himself against the others, he gets backed up. Senshi agrees that they don't have the supplies to continue, and the orc lady mentions her brethren will return later and can give them support, all of which together breaks down Laios's singleminded devotion to his cause.

Personally I think the manga's better suited to comic timing, but in the anime you can get fleshed out little moments, like Laios's face journey as he realises the other three are making a good case for their survival.

This was my favourite part so far, and I like how both Chilchuck-centric episodes have separated him from the others. Because he won't reveal anything he's thinking otherwise. lmao

[professorjirt]

not to be bitter about the Durins again but it will never stop pissing me off to a burning degree that in the movies Kíli dies off in a little corner with no one but one elf he met two days ago around, and she’s nerfed to the point she’s utterly helpless until RIGHT AFTER he’s killed. It feels so bullshit and unfulfilling. I remember me and a friend were huge fans of the Durins (her even more than me) as well as the little Kíli and Tauriel side story back when the movies came out, and we watched it in theatres and she literally said she would never watch that scene again bc it disappointed her so badly. She skips it to this day. Bc why the fuck did they have Kíli die for an elf he barely knew (I like Tauriel but it is true— they’ve known each other for maybe two or three days total) over the family he ran out into battle to defend, the family he set out on the quest with and the family that he was so proud of. Why was he not with his brother, or trying to defend his uncle who was still very much alive and in danger? Tauriel literally just serves to get Kíli killed in that scene, bc they nerf her (CAPTAIN OF THE GUARD. Even against a tough orc she should be holding her own) but have Legolas out there holding his own, and it is nowhere NEAR as emotionally devestating as the single sentence we’re given in the book of how Kíli and Fíli went down defending their uncle. I can almost excuse the change in how Fíli dies bc it does hold emotional weight, but Kíli’s death going from the devotion of family even to his own doom into dying for an elf he has puppy love for while being totally cut off from the other dwarves fucking killed the scene for me. And there isn’t really even a good payoff for Tauriel afterward either. We just leave her there regretting she ever loved him. It hurts me so damn much, and not least of which is because for every video someone does as a tribute to Thorin and his nephews, it always takes a sharp left turn into Tauriel watching Kíli die all by himself and it doesn’t even feel related to the other’s deaths. I think it would have felt much more like the best of both if they’d kept Kíli dying defending his family, and then have Tauriel come to him as he’s dying. But that’s not what happened. It fucking sucks. I promise I do like the movies but I will stand hard by saying that it’s weakest writing is the latter half of the second and the former half of the third movie. It only really picks up to consistently good scenes at Thorin’s battle with Azog in my opinion. Sorry for another brief hater moment but man. Man.

[psychewritesbs]

When Opposites Attract, part 4: There are certain things that one must fight to protect

I love well-executed culmination points. 

You know... that point in a story or character arc when emotions are at their peak and the story begins to unravel little by little.

Culmination points like this one...

... where two opposites meet in the middle to create something new.

So please excuse me while I nerd out about one of my favorite OTPs under the cut. Like... it’s nice to brainrot about an OTP that isn’t trying to kill each other every once in a while.

Anyways... to whomever reads this, I’m feeling introspective and melancholic enough that I MIGHT not make fun of the bad writing but can’t make any promises. 

This also got long because there’s a lot happening both to Athrun and Cagalli as individuals, and to Athrun and Cagalli as a ship during the last 10 episodes. I personally like exploring how they evolve as individuals and how they meet in the middle as a result of their individual development, but if all you care about is reading about them meeting in the middle, skip ahead to the second to last section titled Meeting in the middle.

Athrun

”There are certain things that one must fight to protect.”

Ok so we pick up with chapter 38 with Athrun deciding to intervene in the continuation of the battle between the Earth Fed and Orb.

But this time, his intervention has meaning...

I want to think that Athrun has a deeper reason for joining the battle, something heroic like “for justice’s sake” or “because he genuinely thinks Orb is right to remain neutral”... but nah. I’m going to chalk it off to Athrun wanting to protect Cagalli and her ideals which is still basically the whole idea that Athrun might think that Orb is right to remain neutral and to him Cagalli represents this ideal.

So I love to see him finally make a stance, to realize that there is something he wants to fight for and to take action in that regard. And so it is that in this battle, he is no longer ZAFT’s Athrun Zala, but Athrun Zala thinking and acting for Athrun Zala.

It’s a nice payoff to all of Athrun’s indecision and how he was blinded by his unwillingness to think for himself.

Cagalli

On becoming Orb’s symbol of hope and the middle path

Like... to say that Cagalli has character development in this arc is a massive understatement.

Not only does she loose her father and her home country to the Earth Fed, she has also been handed the burden of a symbol. She is to carry Orb’s will and to become a symbol of that will. 

But... isn’t Cagalli the perfect character to become the symbol of Orb’s will? The Princess who turned away from material wealth and went out into the world and educated herself about the hardships of war?

And can I just say that Uzumi’s death and her reaction to it actually made me teary eyed?

I’M NOT CRYING YOU’RE CRYING!

I mean, speaking of fighting to protect something, Uzumi literally burned everything to the ground and sent his daughter off to space in order to protect his ideals. 

Nope, definitively not crying.

Athrun

On unbecoming ZAFT’s symbol of Coordinator supremacy

And just as Cagalli has become a symbol for Uzumi and Orb’s will, Athrun is facing the consequences of having become ZAFT’s very own symbol of coordinator supremacy.

As Mwu rightfully says about Athrun and his relationship to ZAFT and his father being ZAFT’s leader, “unless you believe in your side’s cause, you can’t possibly fight a war.”

At this point, however, Athrun is already thinking for himself and questioning his own logic. He has also chosen “the middle path”.

In the end, Athrun argues, they all want the same thing--for the war to end as quickly as possible.

Cagalli

”I need your strength”

Cagalli has lost everything. Her home, her father, her people. It is her role to carry on Orb’s will as I mentioned earlier. But Cagalli is just a girl...

And on top of all of this mayhem she’s experiencing, she has also learned that she has a twin brother and that Athrun is engaged.

Like give this poor girl a break!

Despite that, Cagalli carries herself as best she can. And what I loved most about how she handles herself is that she asks Athrun to stay when she is about to reveal to Kira the truth about their situationship.

I mean... I’m sure there’s a million ways to interpret this, but the only interpretation I care about is that Cagalli wanted Athrun there to “stand guard”. After all, even if she acts though, she’s vulnerable and exposed after everything she has gone through.

Even if she acts though... she still needs someone to lean on.

And for once... finally, Athrun, everybody’s favorite emotionally constipated character, recognizes the opportunity to meet someone in the middle on an emotional level when he asks Kira about staying behind to support Cagalli.

Like... yes. Finally. Athrun opening up emotionally. I like to think he would have liked to stay behind, but, unfortunately for asucaga fans everywhere, Athrun has to confront his father before he can truly meet Cagalli in the middle.

Athrun

Committing metaphorical patricide, plot armor and bad writing

Athrun has decided to confront his father to try to change his mind about ZAFT’s role in the war.

We all know how well that went...

Also, can we stop to thank the thick ass plot armor that the writers came up with to make sure Athrun didn’t get shot to death?

Like... there were at least 7 dudes in there with assault riffles or machine guns or whatever and Athrun literally walks away with a single gun shot wound aboard the Eternal.

But before moving on, I’ll admit that I don’t feel like elaborating on why I think that Athrun saying that Lacus is his former fiancé because he was “such a fool” is a poor writing choice. 

Like... it’s a little too late for the writers to try to make it seem like Athrun regrets the state of their relationship given the way Athrun has been written has always demonstrated he is not interested in the state of their relationship.

Aside from that... I much prefer the interpretation that Athrun felt he was a fool to not have noticed sooner what it meant to want to devote himself to someone.

Again, a theme in Athrun’s character arc has been the idea of learning to listen to his heart as his voice of conscience.

And that is how we finally meet in the middle once again.

Meeting in the middle

Ok but listen, moving forward, to anyone reading this, I just want you to imagine me squealing in the background.

I first saw Gundam Seed somewhere around 2002 and 2004. It’s been nearly two decades and this scene still makes me squeal. I just adore seeing Athrun meet Cagalli in the middle the way he had not really done with others before.

Which is why there’s just so much happening in this scene.

What with Cagalli demonstrating she understands Athrun...

To Athrun opening up about how he feels...

But more importantly, Athrun understanding that Cagalli is trying to be strong for him even when she’s feeling vulnerable...

And meeting her in the middle because Athrun now knows that there are certain things that one must fight to protect. And now that he thinks for himself, I like to think Athrun realized he needs to devote himself to protecting Cagalli, not just the person, but the symbol...

Because he knows that even as strong as she is, she is still vulnerable and deserves the very same care that she gives others...

And I absolutely adore the double entendre here because I headcanon Athrun could not help himself and just wanted to hold her, so he’s apologizing both for infringing on her personal space and for her father’s death.

As for Cagalli, her reaction is one of someone who is not used to being met in the middle...

Especially not by someone who can hold her as tenderly as she holds others...

HOW AM I SUPPOSED TO BE NORMAL ABOUT THIS?!!!!!!!!

HOW AM I SUPPOSED TO BE NORMAL ABOUT CAGALLI REALIZING SHE CAN LEAN ON ATHRUN AND ATHRUN OPENING UP TO BEING THAT SOMEONE WHO CAN BE LEANED ON?

ESPECIALLY WHEN THEY BOTH HAVE HAD TO BE STRONG ON THEIR OWN ALL ALONG!

I’M NOT SQUEALING YOU’RE SQUEALING!!!!

Finally, I also have to admit I’ve started fast forwarding... I’m so over Gundam Seed at this point and am only watching for asucaga purposes. That said...

There are certain things that one must fight to protect

I don’t know how else to end this ridiculous ramble other than by going back to where it started... 

The idea that ships can be a source of inspiration... 

After all, ships are a mirror that we can use to reflect back at us not just what it is that moves us in a relational dynamic.

But also how we want to feel in that dynamic...

Also, can we quickly stop to appreciate how touchy Athrun is? Boy can't keep his hands to himself.

And what we wouldn’t do for each other...

...once we have met in the middle and have been changed for the better because of it.

And that’s worth fighting for.

[hurlumerlu]

As usual, badly put together thoughts on Playboyy episode 5 under the cut :

My main thought on this episode is how heavy on melancholy it was. It was a lot less funny and dramatic and a lot more, idk. contemplative ? or at least that's how it felt to me. Also a lot more unsettling, we are definitely not playing anymore. Funnily enough, this gravitas is pretty close to what I hoped for when I started Playboyy, but now that I actually have it I feel wrongfooted and unsure. Which is great ! I've always enjoyed shows where I didn't know what I was in for before starting an episode (perhaps a little too much) and I appreciate the unease.

Related to the above : I like that the Nuth & Phop scenes are packed with tender moments (the piggyback, the very begining of the shaving scene, "haha i'm halucinating him :D/i'm right there", waking up in each other's arms) amidst the constant current of dread. It helps lay out the reasons Phop comes back (drugs aside) on an emotional level, and it also makes the peaks in tension that much stronger because you keep waiting for the other shoe to drop and because it could be sweet ! it could. it's good suspense.

Honnestly the fact that Nuth has been so strongly established as suspect n°1 when we're only in episode 5 makes me really doubt that he is, for lack of a better term, our Big Bad. Which does not mean I think of him as an innocent little sweetheart (don't pay people in drugs is imo a pretty low bar and he couldn't even clear that) and he absolutely had something to do with Nant's troubles, but I feel like there is something else at play. Could be way off though ¯\_(ツ)_/¯

Unpopular opinion probably but I worry for him too. He does not seem well ! He also doesn't seem to have much of a support system ! If this all ends badly - if it already has, for Nant, because of him - I don't think I'll be able to shake off the feeling that it all could have been avoided.

Please don't kill Phop please don't kill Phop please don't kill Phop

Other characters I would like to not see die are Nont (very much so), Soong, and Jump. (and Puen because I play favourites) the others are fair game for me not because I don't like them but because I can see multiple narrative payoffs for their death. It all depend on how it's done. (honnestly I can also imagine narrative payoffs for Nont's death, and worse endings for him than death, but. uh. I'll be gutted for sure)

Since I mentioned Soong - I told myself I would not gripe about this but I am absolutely going to gripe about this : how did Nont convince him to drink/take drugs with him ? Did he think this was Nant ? it was all very weird and I did not get how we got for point a to point c. You could argue it doesn't matter but it's the kind of things that matters to me ! Anyway, moving on :

Soong keeps having a bad time. And I'm sure many would say he deserved it, but as I'm not generally interested in characters getting their just deserts (unless it's funny) I'm still mostly feeling kinda sad for the guy, in an awkward sort of way

I'm sorry I said Nont was not good at threatening people. turns out he's just not good at threatening people with sharp objects. He's disturbingly into it when it comes to fire though ! (but also Nont baby you're gonna burn your thumb)

Zouey & Teena were very cute. So where Zouey & First trying to investigate Soong.

You know who isn't cute ? Porche. I want to sit that boy down and have a loooong talk with him. It probably wouldn't help but someone has to try.

Anyway we knew that already but the fact that none of these rich little fuckers where willing to help Nant out when they could easily have pooled their money... with friends like these, honnestly.

This may have been a wake up call for Captain ? wait and see I guess.

Captain and Puen being on good enough terms that Captain told him everything about the fake sex tape is interesting. I'm still really interested in their dynamic !

Look. Puen was so charming (and charmed) all episode and Aob was so prickly, it's hard for me not to get into the relationship that is dangled in front of us (and I didn't try). However everytime I watch this series I think of Love Conquers All (2006) and its ironic-ass title, so I look at every single relationships promised by this show with doubt and mistrust

SPEAKING OF WHICH : lmao @Prom and his little evil smile. control your face, sir.

But I still believe he didn't know why Nant was missing, so I wonder what he was smiling evily for. Plenty of options to chose from though ! Maybe he just wants to get back at the ex-playboyys for asserting their independence, which would be bad enough, but I doubt that's all. Oh well, we'll see !

Last thought : I could have sworn I saw the bottom of a brazilian flag in one of Nuth and Poph scene but I can't find it again :(

[tobiasdrake]

Re: Yuta's death- I have to say that I've always sort of viewed it in a different way. To me it's always felt much less like the writers begging us to care about 'poor baby Yuta 🥺' after spending like no time with him, and much more like his death was placed there to be a characterizing moment for Komaru, who sees this random ass teen die in front of her and is like "well team time to give up :) I don't like the running, I don't like all the death, being in an apocalypse is fucking hard and I think I will lay down and die instead ^_^" (and by extension a charactizing moment for Toko, who obviously Won't Let Her Do That). A very blatant plot point used to set up the MC's arc of finding the strength to keep fighting, to not to give up as easily - one that's wearing a cute little bow that goes "oh look he's the sibling of one of the survivors! Isn't that fun :)" before the bow tragically drifts downstream. How attached or unattached we were to him as a character never really seemed like an issue to me, let alone one that the writers seemed to care about, because Komaru is clearly affected, and that's the real payoff there to the plot-point-disguised-as-a-character that is Yuta Asahina. Less a cheap "look, character died, now cry!" moment, or more like...he got fridged. Komaru's tears are more important than he was. That feels by design to me idk

Those two things don't contradict each other. I was pointing out that Yuta isn't really a character so much as he is a plot point for that emotional moment.

Danganronpa typically introduces us to all the characters right off the bat so that we can build at least some sort of rapport with them before it starts killing them off. But Yuta literally just showed up right at the start of his death scene. We have never even heard of this person before he suddenly dies.

It's clear that they wanted to have someone die here for emotional weight. But they couldn't be arsed to introduce anyone to fill that role. So the result is, Yuta shows up, introduces himself briefly, and then dies immediately. He has very slightly more characterization than the eighty bloody corpses that Komaru and Toko passed on the way to the bridge, that restaurant host she watched get ripped apart by Monokumas, and the Future Foundation soldiers she also watched get ripped apart

She's seen a lot of death at this point. And (quite reasonably) broken down several times over it. So there's nothing new about her doing it again. Yuta's just another dead nobody on the pile, except for his connection to another person that Komaru doesn't know.

The one new thing his death does add is that it establishes what happens if you try to leave the city. The bomb bracelets detonate if the perimeter is breached. But Toko and Komaru seem to have missed that plot point entirely because after Komaru's done having her latest breakdown, their next course of action is, "Let's find a train so we can leave the city.

[kbookblurbs]

Empire of Gold - S.A. Chakraborty (Daevabad Trilogy #3)

3.75/5 - fitting character resolutions; pacing is a little iffy still; Nahri my bestest friend ever

For the sake of keeping think to the point, I've organized my thoughts as follows:

Female Leads

Character arcs (& the marid plotline)

Pacing

Female Leads

I really do have to heap praise on Chakraborty for the women in this book. Everyone, from Nahri to Manizheh to Hatset to Zaynab is so wonderfully fleshed out. They're put in situations that highlight their depth of character and the differences between them - anyone who thinks that Nahri would flourish as the next Hatset is deluding themselves.

Nahri is who I would really like to focus on though - as much as I love her character, she's all over the place in this novel. One moment, she's ready to abandon the Daevas in Daevabad, the next she's somehow willing to sleep with Ali, and the next she's willingly swearing off ever leaving Daevabad and seeing Cairo again. It just really feels like a confusing spin from one decision to the next and they don't ever seem to align with one another. The truest moment of her character came when she fears that she only ever builds things to watch them be destroyed by other people.

Character Arcs

While I have some complaints here, by and large the character arcs feel natural. Of course Muntadhir and Zaynab survive (if not thrive) through the siege. Of course Manizheh goes balls to the wall crazy by the end, dabbling in ifrit magic.

The biggest commitment (and biggest overall payout) comes in the form of Dara. Having him continue to believe in the Nahid, past the point of no return and once again washing his hands in blood was good actually! Great storytelling! I don't think anyone breaks indoctrination on their own easily, and he's no exception. My own big critique is that this plotline takes forever to move - realistically I would've been happier if we didn't start seeing into Daevabad until after the halfway point of the book.

Also, Dara's plotline starts to feel like trauma porn after about halfway through the novel. I was glad that his ending gave him both the opportunity for happiness and the opportunity to atone for his many sins.

On to the marid plotline - While I admit that I wasn't angry about it, it does take up a significant amount of page time and I wouldn't say it gives the biggest payoff for that investment. This further alienates Ali from the other Daevas, but that doesn't particularly resolve any of his internal conflicts. We've fully put own the thread of his religious fanaticism without picking it back up again and honestly, we spend so much time with Ali feeling guilty that we never really get to see Nahri process her emotions.

Speaking of Nahri, I did like that the ending of the novel leaves it very open-ended as to Ali and Nahri's relationship. Personally, I interpret it as two close friends. They tried kissing once (haven't we all fucked a friend?) and that can be done now thank you!

Pacing

Unlike the second book, which had a clearly enforced timeline that made no sense, this one has no discernible timeline. It only barely makes sense. But beyond that, this book feels like it comes in neatly packaged sections. First we go to Cairo for 200 pages. Then we journey down the Nile for 200 pages. Then we go to Ta Ntry for 200 pages. Then we conclude the novel in 100 pages. It's just very rigid and leaves the action feeling a bit like it stops and starts.

The ending was also something of a letdown. I was glad to have Dara kill Manizheh (after everything he went through, he deserved it) but the whole thing goes from politicking to all-out magical siege that devolves into the start of happy representative government within 50 pages . It was all just a bit rushed

All this to say, I did enjoy the book! It was a fun romp and I enjoyed seeing our characters again! But I wasn't as impressed with it as I was with the first book, that's for sure.

[anxiouspotatorants]

It is time. It is finally time for the new Suicide Squad rant (and spoilers will be plentiful):

As someone who was into DC Comics and comics in the mid to late 2010s and had so much hype for the first Suicide Squad movie only to be let down, I was so nervous for this one. I knew it was going to be a roller coaster, but whether I would come out happy or disappointed was up in the air. Having just seen it I will say this: I have no idea if this was a good movie-movie. It was insane. The comedy. The violence. The high emotion. I’m still trying to take it all in. But one thing I do know is that this is an amazing Suicide Squad movie. Gunn and co took the best parts of the comic concept and went batshit with it and that is how this property should be handled (in my opinion). Screw edgelordisms, we need full on insanity free of aiming for shock-value or sexy brutality we want chaos baby.

Starting the whole movie as they did, with Savant as the POV for a mission (or part of the mission) that just goes to hell immediately and kills off so many before the title arrives is the perfect way to start this movie. Like the second I realized this was how they were doing it I was just smiling from ear to ear, this is the spirit of the property.

Part of me wishes we got more Amanda Waller, but what we had was impeccable. Then again, this is Viola Davis we’re talking about, and if she was born to play any character in a superhero story, it is Amanda Waller.

And points to her tech team, introducing them with the death bets was just a lovely way to show how regular this is and how awful everyone is in this movie.

I’m not going to pretend like Deadshot and Bloodsport didn’t have the exact same character- and plot premises… but I will say that Bloodsport felt better executed.

I love that they kept some of the past members and not just Harley. Rick Flag got to have a full personality and interactions with his team members and to be a true leader and it made me so happy for someone who initially did not give a single shit about his character. The Harley friendship? The Dubois friendship? The friendship with that guerilla leader? Amazing. The one American soldier in fictional media I genuinely like. You go Mr Flag.

The new members were… they were insane in the best way. Gone are the shitty stereotypes and present are some of the wackiest creations to ever grace the mainstream movie-sphere (aka the slightly less normal comic creations): A man who has to shoot out polka dots two times a day so as not to die from a space virus. A giant child murdering weasel. A guy who detaches his limbs and slaps people with said detached limbs. King Shark. The second person to command rats with a fancy gadget. They are all crazy and all weird and all more or less morally repulsive people and I love them.

The amount of times I did a double take over the soundtrack I swear. Jessie Reyez? The Pixies? It was so much fun to pick up on once I did.

Was the depiction of a vague Latin American country stereotypical? Yes. Was the secret American involvement predictable and felt mildly patronizing from a non-American, part Latina point of view? Yep. But damn it if I didn’t have a good time with those stereotypes and laugh my ass off at how well executed some were. I don’t know if it was meant as parody, but that one secretary has me thinking so — and if so I am pleased.

Speaking of Latino dictators Harley’s one day romance with one of the villains was something I never knew I needed. Like it was so perfect for Harley that when it happened I almost hit myself for not realizing that this kind of plot should be a normal thing for Harley. And the end of it? Perfect not only in this standalone movie, but also in conjunction with the first and with BoP.

The Taika Waititi cameo??? Oh my god??? I did not expect that and I love it?? Sir, What We Do in the Shadows is impeccable.

Rick Flag’s death actually surprised me. It shouldn’t as this is Suicide Squad, but I kind of expected him to be on Harley’s level of unkillable (because let’s face it, no one kills Harley). What I will say is that his death was good and his final words and actions made me love him all the more. I hope this spawns more Rick Flag content, or at least inspires me to look at what already exists, if he already is as this movie made him (it’s been ages since I read one of the Suicide Squad reboot comics okay).

Starro. How can a villain be so wacky and so terrifying at the same time? I did not expect a literal alien starfish to have more terrifying powers and a more tragic plot execution than Enchantress. But here we are. And that damn star just wanted to be floating in space, and instead it was stuck getting revenge by killing and puppeteering human corpses. Wow that thing was creepier the more you think about it.

I don’t know what I think about Polka Dot Man. I loved watching him on screen but also damn those mommy-issues were on a new level. Not just in his backstory but how he literally sees her in every person around him that was insane. Very funny but like also the kind that makes you laugh just because you’re uncomfortable and don’t know how else to releive the tension.

When Waller got knocked out by a staff member I immediately thought «oh my god Amanda Waller is going to kill half the staff for this», so I’m mildly surprised and disappointed that I didn’t get to see that happen. But also I should maybe expect something like this in a potential future Suicide Squad movie. We can’t have everything in a movie as packed as this.

Peacemaker was very horrible and worked really well. Don’t really have much to say about him, not because I didn’t enjoy him but because I already feel like the film itself has said it for me. But the planting and payoff for his death? Chef’s. Kiss.

Harley’s wardrobe was beautiful. Ratcatcher 2’s combat outfit felt like a steampunk plague dream. Bloodsport’s mask was supercool. Rick Flag’s t-shirt was amazing. But the best little outfit was the Mafalda-keychain and her red dress, hands down. Oh and King Shark’s fake moustache finger moment.

King Shark is shaped like a friend I don’t care how many people he ate alive on screen he looks so huggable. It feels like wanting to pet a bear. You know it will kill you but damn it look at those paws and those cute eyes!

I really need to give it to not just James Gunn but the entire production team for this movie. The aesthetic was perfect. The story was the right blend of whimsical and violent. The finished product was a literal rollercoaster and I mean that in a good way. If superhero movies have to be like amusement parks, I hope they’re more like this one and BoP.

I’ll finish on the note that while I think this movie was great and hopefully a step in the right direction for the DCU/DCEU (as in stop trying to play Marvel’s game and just do your own thing/ let your creative teams run wild and free), it is not the first step. Cathy Yan, Birds of Prey and the production team for it took a step first, and they deserve due credit and attention. If you loved this Suicide Squad movie and haven’t watched BoP yet, do so. Because they really are in the same ballpark while doing things in slightly different ways. And any good DCEU movie deserves more attention so the studios know that creativity and risks should be rewarded. I want more DC movies like this, not necessarily in genre but in creative risks. I want a Black Canary rock movie. I want Alfred in a reverse heist movie alone in the batcave against Gotham villains. I want Gotham Academy on screen play by play from the comics. I want a fully animated psychedelic-like Khalid Nassour as Dr. Fate movie. I want elevated horror movie Constantine. I want weird ass Lois Lane journalist movies with a heavy side of Superman. And I want DC movies I didn’t even know I wanted.

Support creativity in mainstream comic movies. Help me become a DC fan and happy about it again.

[iamanartichoke]

I wasn't sure if I was going to post this, but I may as well.

I keep starting to reply to things and then stopping bc the words just aren't there, and I suppose I figured out the core of what bothers me so much (and is making me have such a rollercoaster of a fan experience) about the show.

(cut for length)

It's not well-written. My opinion is my opinion, so I'm saying this subjectively, take it or leave it, but ... I feel that it's not well-written. The overall story is fine, and the plot is fine, but I don't know if it's because of the limited number of episodes not being enough to house the story, or because of the relative inexperience of the writer/showrunner+director, or both, or something else, but -

In an earlier reaction post to episode 4, I mentioned really wanting to sink my teeth into all of the subtext I picked up on. That was what made me initially enjoy the episode so much - there were a lot of little moments that I initially felt revealed so much about the characters and about Loki, and I wanted to analyze them. But at some point, as I gathered more information, my perspective changed and now I no longer want to analyze the subtext bc ... subtext = good. Subtext w/out payoff = not as good.

I'll go into more detail in a moment, but I think the tl;dr of it is that I feel like the narrative requires the audience to work way too hard to put together all of the moving pieces here and, like, I kinda just don't want to do that work? Not so much of it, and not in vain. A lot of the enjoyment of Loki's characterization is coming from fans who are rationalizing why he's behaving as he is, but the narrative never actually confirms those rationalizations. It's asking us to figure it out and maybe our conclusions will be correct but maybe they won't, though. At some point, subtext isn't enough without explicit follow-through.

I thought my issue was with the lack of character development - that is, not having enough narrative space to really earn the big things that are happening now, like Loki/Sylvie or Mobius turning against the TVA. And that's still true, to an extent; I still feel like the pacing is all very off and it seems like most of these things kinda came out of nowhere (but are not unbelievable - just undeveloped).

But, yknow, it is what it is, it's a limited series, and I can excuse some things. Ultimately, my issue isn't a problem with what the narrative isn't doing, it's a problem with what the narrative already failed to do and probably cannot recover from at this point.

The narrative has left out significant details that should at least help us do some of the work here. If a person turned on Loki and started episode 1 and had no background knowledge of the character besides that he tried to take over New York - how would that person interpret Loki? Would that person say, oh, well, he's been through X, Y, and Z, and plus A happened, not to mention B, C, and D, so really, it makes sense that he seems off-the-rails, or that he'd want to get ridiculously drunk at the worst time ever.

Maybe we'd like to believe they would, but how would they be getting to that conclusion? The narrative hasn't led them in that direction so, no, they would not say well we have to consider this, this, and that. It would be impossible to really understand Loki as a character from just what we've gotten in the series. The general audience would probably interpret Loki as being out of his element and so it becomes, I wonder how this character is going to get the upper hand here. And, while that's not wrong, it's just so limited.

The narrative at face value does not address Loki's identity crisis from Thor 2011. It does not address his hurt and devastation at being lied to, nor does it address how complicated his self-image is (bc it sucked to begin with and that was before he found out he was part of a race of "monsters," as he'd been taught his entire life). It does not reference Loki being so broken at the end of Thor 2011 that he deliberately let himself fall into the void of space (aka tried to kill himself). It does not reference that he was tortured by Thanos or even that he went through a seriously dark time in between Thor and Avengers, and it absolutely does not reference or address any influence or control of the mind stone.

These are all things that we, the fan audience, know because we've already invested our time into this character's story. But tons of people, the general audience, wouldn't know these things. Or if they did, bc they saw Thor and Avengers, they wouldn't be thinking about them as deeply as we would, nor contextualizing them with how Loki is behaving now, or why it would make sense that he needed to get drunk, or why it's understandable that he needs to keep going-going-going in order to not have a spare second to think or feel.

They'd probably look at Loki, again, as a character who was a villain and is now getting his comeuppance in a place where he has no power or control, and no literal powers, and even when he manages to escape and catch up to the variant, he proceeds to fuck up their plan for seemingly no real reason except that he wanted to get drunk bc he's hedonistic. Which Sylvie even berates him for! I mean. This is not exactly a complex character breakdown, nor a very flattering one, but that's what the narrative has given us.

(If the narrative has addressed Loki's mind control, his torture, his mental breakdown, his suicide attempt, and his general shitty self-esteem as a result of his upbringing, please point it out to me. If the narrative has explicitly acknowledged and referenced these things anywhere and I am missing it, please show me where. Please explain to me how the casual viewer would know any of these things that they need to know in order to actually understand what's happening in this story.)

So I mean, okay, we have a narrative that doesn't paint a full, accurate picture of Loki. Fine, sure. But because the general audience starts out on the wrong footing, they're not going to get out of the overall story what the writers probably intended them to. For example, in episode 3, a lot of us theorized that Loki had some kind of plan - that he broke the timepad on purpose, for some reason, bc otherwise it wasn't believable that he'd be such a failure. But episode 4 revealed that no, there was no bigger plan, Loki just plain old messed up. Which is fine if, again, one is only considering the surface-level portrayal here, but it's not true to Loki's actual characterization.

I mean. Loki is not perfect and Loki actually fails a lot, this is true. He fails for a lot of reasons, but incompetence has never been one of them. Usually it's that either things grew beyond his control, or there ended up being too many moving parts, or he had to change his plan at the last minute due to some roadblock or another being thrown his way, or even that he got in his own way - whatever the case may be for his plans' failures, he was always at least shown to know what he was doing.

That wasn't the case here. The "plan" to fix the Timepad failed as a direct result of Loki's actions, which were careless and made him seem incompetent, like he couldn't even handle this mission. "You had one job," etc. And there were pretty big consequences for this; they were not able to get off-world in time and would have been killed had the TVA not shown up at the last second.

And maybe none of these things matter bc the writers never intended any of this to be a reflection on Loki's character, positive or negative. The situation exists solely because the writers needed to put Loki and Sylvie together in some kind of hopeless scenario so that they could get closer, and thus the narrative could set up their romance. I get that - but, there were other ways to do it that didn't require Loki to look foolish.

Furthermore, the whole reason they needed to set up the romance is to show Loki eventually learning to love himself (like, figuratively but also literally). The audience is supposed to gather that Loki and Sylvie fell for one another, possibly due to the high emotional aspect of, yknow, being about to die (in addition to the variant-bond). The intent is clear: Loki and Sylvie almost die but get rescued at the last minute, having now created an emotional bond --> Loki and Sylvie team up and the narrative further establishes that Loki, at least, has caught feelings --> Loki might confess them but is pruned before he gets the chance --> he somehow survives, he and Sylvie are reunited and don't want to lose one another again, and the combined power of their love is enough to break the sacred timeline and spawn the multiverse, and the reason that the power of their love is so, well, powerful is because it's about self-love and self-acceptance as much as it is about having the capacity to love someone else. The end.

I get all that. The writers more or less said all that. And, I mean, it's certainly not the way I would have chosen to go about it, but it's a fair enough arc to explore. I don't really have an issue with the intent - but my question, however, is this: if the narrative has so far not addressed Loki's background issues (as outlined above), and has furthermore kinda gone out of its way to portray Loki as hedonistic and narcissistic, among other things (like kinda incompetent), and the context the audience starts with is that Loki's this villain who deserves what he gets -

- my question is 1, why should the audience care whether or not Loki gets to a point of loving and accepting himself (thus to make the theme of self-love, via the romance, hold weight) if they don't know that he hates himself to begin with and 2, why should the audience root for Loki to reach that point when so far the perception of him is that he's "kind of an asshole"? if he's a hedonistic narcissist, he probably already has a pretty inflated sense of himself, right? A misplaced inflated sense of himself, at that, because, again, the narrative has made him out to be not that capable of much of anything. (And it didn't start out that way! It seemed to start out with Loki being capable and intelligent but it's like episode 3, in trying to set up the romance, just jumbled it all up somewhere. I think this is why I'm harping on the Loki/Sylvie aspect so much - it's frustrating bc it kinda messes up the whole story and can't even accomplish what it's supposed to anyway.)

Anyway, that's beside the point. What I'm ultimately getting at is, at what point is the audience supposed to get invested in Loki's personal growth journey?

They can't, not really. Without understanding and having the context of everything Loki has been through up until now, and why he hates himself, and why it's so important that he learn to love himself, then the "payoff" becomes kinda pointless bc the significance of it is lost in translation. So suddenly we're left with this romance that comes off as either "Loki loves Sylvie bc of Reasons" (best-case scenario) or "Loki loves Sylvie bc he's vain, narcissistic, and kinda twisted" (worst-case scenario). Neither of these conclusions are what the writers intended or were going for, I'm positive, but there we are, regardless.

In order for the writers' intent in these storylines to land, they need to address the context of what makes these particular stakes high for Loki. So far, they haven't done that. They're asking the audience to pick up on all of these things, and they're showing things that subtextually make sense and are relatively in-character - but only if you realize there's subtext in the first place.

But you can't expect the audience to do all of the work for you. If you don't want the audience to think that Loki is a narcissistic asshole and instead you are trying to convey that, worst-case scenario, he thinks he's a narcissist but is an unreliable narrator, then you have to address that. If you need the audience to understand why you're going the selfcest route and why it's important to explore Loki's capacity to love himself and others, you have to address where that exploration is starting from and why it matters. Etc etc etc.

The narrative isn't doing any of that. And it isn't like it'd be that hard to do it. They don't need to reinvent the wheel here; a lot of the pieces are already there. A few lines of dialogue for context, a brief scene here or there addressing the issues, a little more care and consistency in how Loki handles things - these are all little things that could go a long fucking way in making the narrative stronger.

I'm rambling. My basic point is that my rollercoaster of emotions with this show is because

- as a part of the fan audience, not the general one, I can contextualize and analyze the subtext and come to the conclusions the show wants me to, and thus find the story and the characters more or less enjoyable,

- but I am also going to be using the subtext to come to conclusions that aren't there but probably should be (I think it would be a better story, for example, for Loki to confuse platonic love with romantic love bc it would pave the way to explore just how fucked up Loki's understanding of love - whether of other people or of himself, and the different forms it can take - actually is)

- and when they're ultimately not there, then I think, okay why am I bothering doing all this work just to ultimately feel very unfulfilled? They don't even have to write it the way I would, I'm not saying that, but they do have to do something to make the story feel rewarding.

If we don't get some confirmation of what Loki's been through, and where his headspace is, and why it matters for him to love himself, then the story remains pretty shallow and, for me, it's not fulfilling enough. It's not engaging enough. There isn't actually anything to sink my teeth into, so it becomes kind of boring. Maybe it's rewarding to other people, and that's great for them, but like - I need more than whatever this is.

So I'm just like - well, I had a lot of worries about this show, but my being bored wasn't one of them and now there's only two episodes left and am I really not going to get anything out of this, in the long run? No new canons, no new depths or layers, no new information on Loki's experiences? This is it?

I don't dislike it. I didn't start out disliking it, and I probably wont end up disliking it. I mean, there are a lot of good moments, and good things, and fan service-y things that I appreciate. As far as inspiration for fic goes, it's a goldmine, both plot-wise as well as aesthetic-wise. All of that is great. I don't dislike this show.

But I am disappointed in it, and I feel like I'll be watching the next two episodes lacking the sense of anticipation that would make it exciting. I'll still enjoy them, probably, if for nothing else just the sheer Loki content, but whatever it was I felt watching episodes 1 and 2 is gone and I'm sad about that, too. Because I really wanted to feel fulfilled by this series; I wanted it to fill up the void that Loki's death in IW created three years ago. And I just ... don't feel it. Maybe, maybe that'll change over the course of episodes 5 and 6. I don't know.

Everything that I end up enjoying long-term, I think, will come about as a result of my own interpretations and analysis and while theoretically there's nothing wrong with that, if I had known all I'd get out of this series was more headcanons or support for my current headcanons then, well - that's fine, I suppose, but I'll definitely a little bit robbed.

[shania-twain]

What’s your top 5 favorite Rollisi moments?

I apologize, as this ask was sent days ago and I'm just now getting around to it because ya know, life, and because I took my sweet time thinking over these scenes.

It's a long one, under the cut!

1. The Scene (the kiss). This kiss has everything. It’s unexpected yet long overdue. It’s tender, it’s loving. There’s swaying. There’s standing on tip toes to reach Tol and there’s bending down to reach Smol. There’s water, city lights, a romantic atmosphere. There's tears (barely) but it's an excuse to touch faces! There's cheek caressing, there's longing, lingering stares, there's hesitance in transitioning from best friends to lovers. Light banter, nervous laughter. THE UNFINISHED SPEECH. I know I'm all over the place with this but SO ARE MY FEELINGS. So much has led up to this moment and I must say, the payoff was excellent. Perfect first kiss.

2. The Fight. Dare I name the one fight they got in that caused them to be labeled “toxic” by haters? I do dare. Why, one may ask? *shakes out piece of paper* Though they are fueled by their lack of sleep and unsaid feelings for each other at the time, there’s still some bite to Amanda’s bark on her part. She’s clearly upset over him leaving her, feels abandoned. Perhaps this is a feeling she’s used to from her own family trauma, but Carisi leaving the precinct particularly hurt not only because she has strong feelings for him at this point, but because he was the only one that ever was there for her in a way no one else was. I think she came to rely on him more than she may have even realized and that all spilled out in that small fight in the squad room. And he was so taken aback, obviously thought she was happy for him but of course she’s going to tell him she is because she doesn’t want to hurt him. The fight is so natural, happens unexpectedly but develops organically. The main reason it’s my number two? Giddish and Scanavino’s best acting, imo. And I’ve only seen the actual scene about three times because it makes me semi uncomfortable. It’s uncomfortable watching people argue. It was so intimate and clearly turned personal, it almost feels wrong to be watching them go at it (in a bad way. Heh). But I think that’s a testament to the acting! A+++ scene! I dream of writing a fight scene as well as this one!

3. The Hospital. Truly, this episode was packed with Rollisi moments from start to finish. I love every moment we get with them individually (hand grab, anyone? Or when he makes her LAUGH at such an emotional moment in the hospital. I could go on about this scene in detail but I’ll stop). My favorite moment of the episode is actually the last scene of them. After Rollins gets rid of her father's (ex) wife, she’s so proud of herself for doing what she feels is right and that reflects in her face when she smiles at Carisi. It’s so simple and subtle, but there’s so much love in that look. Kelli is a master at giving these loving looks and perfect expressions. It’s also a wonderful contrast to how she used to look at Carisi in the beginning - from season 16, when she thought he was a bit of a goof. Now she looks at him like he hung the got damn moon. We don't get to see Carisi's face here, but I imagine he's looking quite amused at her, maybe even charmed by her a little bit. I'm also obsessed with the way Amanda's eyelashes flutter down when he moves closer to her. Flirting over Amanda's bedridden father? The ✨romance!✨ Swoon!

4. The Elevator. This used to be number one for me, until we got the goodness in season 22. There’s something very special about this hug. It’s not even a hug, really. It’s clinging, desperate, need that one particular person and only this person kind of thing. It’s, of course, devastating that Rollins had to go through the whole thing with Bucci and possibly leaving her children without a mother, but like I said, something special about the way this led to letting the audience see who she really trusts as she let’s herself fall apart and into Carisi’s arms. Sure, she trusts her squad, but she also wants them to know she’s ok at all times. Even tells her own therapist this once or twice. She even *begins* to tell Carisi she’s fine, her usual response when asked if she’s alright, but then the second he says her name, it’s like a switch is flicked and she’s sobbing into him. DON’T THINK I FORGOT ABOUT SCANAVINO. He’s always there when she needs it. He’s patient with her, kind, takes her into him with absolutely no hesitation. This scene happens episodes after their fight in the squad room. It’s clear there is no more lingering tension between them in the elevator scene. It’s the way he says “I got you” not once but TWICE, as if he needs her to hear it. Needs to make sure she understands that he’s there not just in the moment, but he’s got her always. No matter what happens between them or with their jobs — and this comes back around in his wedding speech, as well. 🤧 But also, fave part of that scene? When he holds her tighter, leans his head against hers many times, and then closes his eyes. Cannot stand to hear her sobs, or see her in any kind of pain. Oh, my heart. My heaaaaaaart.

5. Rain check. Lots of great acting here. Is anyone surprised? No, but there’s a bit of a range of emotions in this particular scene and it’s acted so beautifully, I could write a whole paper. I’ll try and keep it brief (ha, yeah right). I don’t think Amanda would ever have a problem getting a man anytime anywhere, but I do think it was a big deal for her to ask this man out. I think maybe her intentions at the time may have been less than trying for a relationship, but she was open to trying something with him. I also think it was a big deal because it felt very planned. The outfit felt planned, the way she made him laugh, the hair toss an attempt to flirt. Though she also had this vulnerability about her that only exists with him. She’s putting herself out there, she’s saying that she’s willing to try and I think that is a big step for her, even if she was only open to a FWB situation (that totally 100% wouldn’t have worked bc *feelings*). Carisi, however, rejects her. You can see in his face that he’s so reluctant to do this but he does. Obviously, he’s had feelings for the woman for so long but is protecting himself. Almost like he knows she may think she’s ready to try something with him, but he also knew it wasn’t their time yet. Also, after he tells her he can’t, the immediate disappointment Amanda has? Heart-wrenching, tbh. She looks so upset and gets off from sitting on the edge of his desk so fast. Like. BABYYYYY.

Honorable Mentions: Threats! I’m kind of cheating here, but there’s nothing like an OTP that will kill for the other. I’m -of course- talking about Carisi’s “if Rollins gets shot over this, I’m gonna take ALL of them out.” And also Amanda’s message to Mesner: “if you go after Counselor Carisi or anyone in my family again, it will be your last day on earth. I’ll kill you myself.” Ooh, there’s something so secks see about being violently protective over your significant other. I don’t condone it irl, but let me have the ✨drama✨on tv.

Thank you for this question! I had fun going over some great scenes!

[jadelotusflower]

It’s Cold in that Fridge: The Case of Nakari Kelen

Since The Case of Mara Jade has been doing the rounds again, I’ve finally gone back to this post that has been sitting in my drafts for literally years. So let’s honour this absolute badass who deserved better:

Once upon a time, the Star Wars universe was but six films (and a tv series) in the story of the Skywalker family. But beyond George Lucas’ story was an absolute boatload of books, comics, games, and other materials that made up the Expanded Universe. When Disney purchased Lucasfilm and the rights to the Star Wars saga, everything in this universe was decanonised and deemed “Legends” - some aspects of this universe were retained or re-purposed, others sit in Disney’s figurative vault and will likely never see the light of day (and seeing how the ST turned out, maybe that’s for the best).

But this transition between Legends canon and Disney canon was not so simple, because the nature of publishing meant that there were novels approved during the time of Legends canon that would be released in the time of Disney canon. In particular, there had been the planned trilogy “Empire and Rebellion”, set between A New Hope and The Empire Strikes Back, with each novel from the perspective of one of The Big Three.  

Razor’s Edge (Leia) and Honor Among Thieves (Han) were released prior to the Great Canon Split of 2014.  But while the Luke-centric novel had been planned, it was not due to be released until well after the Split. So Heir to the Jedi (so called as an homage to the Legends progenitor Heir to the Empire) became one of the first books of the Disney canon.

What does this background have to do with Nakari Kelen?  Perhaps nothing, but I do wonder how the writing process was affected by the shift from Legends to Disney - was the novel a relic of the old EU with any reference the LFL storygroup didn’t like excised during editing, or was it a trendsetter for the new EU, a Sign of Things to Come?  

The most salient point being, of course, that Nakari Kelen - like so many love interests before her - was not allowed to go along her merry way at the conclusion of the novel, but was shoved into the fridge.

If there was one constant of the Legends EU, it was that Luke Skywalker’s love interests couldn’t catch a break. Mara Jade naturally lasted the longest relationship-wise, with almost twenty years of marriage to Luke before some bright spark decided she had to go (as per the aforementioned case study). But before Mara there was Jem, Shira Brie, and Gaeriel Captison (who came close to escaping the curse), and in the Legacy of the Force series they brought back sole survivors Akanah and Callista, only to kill them off for good too (and rather brutally, if I may add).

So perhaps when Kevin Hearne began writing HttJ within the confines of the Legends continuity, he was merely sticking to the status quo, or perhaps once subsumed by Disney they needed to make sure Luke's slate was clean (so to speak).  And I can’t put all the blame on Hearne since I don’t know whether it was his idea, or LFL mandated - but regardless it was a poor decision.

The root cause of fridging, imo, is limited imagination.  How best to cause your male protagonist pain if not kill off someone they love, or at least have strong feelings for? The answer is of course, easily. But I’m getting ahead of myself.

The Luke Skywalker of HttJ is fresh from his victory in ANH, a lieutenant in the Rebellion: young, not dumb, and full of...

Nakari Kalen is an absolute Queen a civilian volunteer and crack-shot sniper who loans her ship Desert Jewel to the Alliance. Luke is immediately attracted to her, they bond over a mutual love of fast ships and leaving behind desert home planets, and engage in the inexpert flirting of two nineteen year olds while also risking their lives several times over.

I want to make it clear: I actually really like this book. It's a breezy read, almost serialised as The Early Adventures of Luke Skywalker, and is ofttimes genuinely funny. And credit where it’s due to Hearne, many of of the supporting roles in the novel are female. Other than Nakari, there's Soonta, the Rodian who gives Luke her uncle’s lightsaber, Sakhet the Kupohan spy, and the Givin cryptographer/math genius Drusil Bephorin. In a genre where male characters are often the default for these kind of roles, it was nice to see, but makes the regressive fridging of Nakari even more egregious.

Luke and Nakari make a good team fighting brain-sucking monsters and Imperials, but more importantly they have fun together - she encourages him to work on his Force skills, and he successfully moves objects with his mind for the first time (leading to Nakari adorably dub him "a little noddle scooter"). It's a very sweet, if brief, relationship, and a respite from the danger of the mission. They spend the night together (leaving the reader to decide exactly what happened behind closed doors), and share a kiss before splitting up to try and escape bounty hunters. No prizes for guessing what happens to Nakari immediately after she received the Skywalker Kiss of Death.

I assume there were two motivating factors for why Hearne and/or LFL couldn't let Nakari live:

1. If she survived, fans would wonder why she doesn't appear in ESB/subsequent material.

I recall this bandied about on forums back at the time of the book's release, and to that I say - so what? Fans are always going to wonder, and try to paper over the gaps in canon, to make up their own headcanons to explain any any perceived inconsistencies. It's certainly no reason to kill someone off.

It is in fact possible for two young people to have a romance that just fizzles, or doesn’t work out for whatever reason - it should not require great maneuvering or explanation. If Nakari doesn’t show up in the next book in the timeline, what about it? The reader is smart enough to assume she and Luke broke up, decided to just remain friends, whatever. But it seems that the only way for a female character to exit stage left is for her to die, which is bullshit.

And actually, there's no reason why she couldn't have shown up again. ESB and RoTJ cover a month and a few days, respectively, of Luke's life - just because there was no mention of Nakari doesn't mean she didn't exist at that time, whether or not she and Luke were an item. She could have made an appearance in a subsequent novel, or Rebels, or the comics - she could have become a recurring character, showing up when the Rebellion needed her, or - heaven forbid - even have her own comic/book/show! Her existence in Star Wars canon didn't need to begin and end with Luke Skywalker, merely to service his plotline and backstory and abandoning the richness of her own.

No, the only reason Nakari had to die was to facilitate this:

It was a blow to the gut, realizing what that sudden absence meant. I hadn't seen it with my own eyes, but I had felt Nakari's life snuffed out through the Force, and into that void where she had shone anger rushed in - anger, and a cold sense of raw power and invincibility...I took a step to join in the hunt but stopped, breathing heavily, unaccountably sweating even though I felt so cold inside and the power of the Force roiled within me... I shook with emotion and power, and none of it felt the way the Force had before...I saw what kind of space it was , a black hole that would always be hungry no matter how much I fed it. I might never feel warm again if I didn't get myself under control.

Luke feels the dark side and is tempted by the boost of power it offers him, but immediately identifies it as dangerous and unnatural. I can understand why Hearne wanted to include this - it is a book of firsts after all: Luke's first solo mission, his first time using telekenisis, and ending with story with his first experience of the dark side makes sense. But it wasn't necessary, which leads to:

2. How to push Luke to touch the dark side without killing someone he has romantic feelings for?

Also, obviously, shite of the bull (or nerf, if you prefer). Even if this brush with the dark side was absolutely necessary for the novel's climax, there's any number of ways it could be achieved. At this point, Luke is fresh from losing important people in his life - Owen and Beru, Ben, and Biggs - lumping another death on top of that a narrative trick for Luke to react not only to losing Nakari, but the others as well. But it's cheap, the first card in the deck, and why not show a bit of imagination? Luke is young and inexperienced enough at this point that any number of things could be the catalyst - the whole book he's struggling with his growing powers, why not try and reach too far in the firefight with the bounty hunters, his anger and frustration with himself in not doing enough trigger the dark side temptation? It would work thematically and doesn't involve a fridging that ultimately has very little payoff.

Because Nakari is killed less than ten pages from the end of the book - afterwards Luke grieves, but ultimately chooses to honour her memory and be grateful for what he learned with her, recommitting to becoming a Jedi. It's all very surface level, and once again a female character's death facilitates a male character's development. Was it so imperative that Luke lost someone he cared about as part of this story? Sure, this was a time of galactic civil war, and it's far from unrealistic that these stories have a high body count, but who to make collateral damage remains an authorial choice, and in this case Nakari Kelen was (a) a female character of color, (b) a love interest of the protagonist - not just of this book, but the entire Original Trilogy.

I don't know to what extent (if any) race had to play in the decision. I'm sure there was a segment of the fandom absolutely livid that Luke Skywalker kissed (and maybe had sex with) a black woman. Was her death LFL hedging its bets, or demonstrative of the general lack of attention/respect they show their characters of colour?

In any case this was a chance to stand out from the old EU and it's fridge full of Luke's dead girlfriends, but instead they chose to introduce and kill off Nakari for the sole purpose of Luke's manpain and character development, and that's gross.

And then there's this:

A grisly yet reliable fact about custom bounty hunter ships is that you can always count on them to have body bags stashed somewhere for the easy transport of their kills. They often have built-in refrigerated storage, too.

NAKARI IS KILLED AND LITERALLY STORED IN THE FUCKING FRIDGE I COULDN'T BELIEVE WHAT I WAS READING.

I really hope this was unintentional on Hearne's part, because yikes. He was halfway there, this book was full of interesting female characters who had agency - Drusil in particular was a delight with her super math and inability to understand human interaction. Nakari was full of life and fun - capable but relatable, showing a different side of the Rebellion and those that suffered under the Empire's rule. Fridging her in her first appearance is considerably more vile, because it reduces her to a footnote of Luke's story, a plot device to Help Him Grow, rather than a springboard to tell more of her own story.

Because Nakari was a compelling character ripe for spinoff potential. I would absolutely have read or watched her continued adventures, juggling missions for her father's Biolabs company and trying to aid the Rebellion, shooting her slug rifle and cracking wise, maybe even finding a way to amplify her mother's song Vader's Many Prosthetic Parts to really stick it to the Empire, or try and free the political prisoners on Kessel.

The old EU was made great by allies and enemies of Our Heroes showing up again to help or hinder them, and/or branching out into their own material. We fell in love with them, and followed their stories even as they diverged from the main saga, eager to read more about their lives.

Nakari Kelen never got that chance. In many ways, she exemplified what Disney Star Wars was to become: an exercise in wasted potential.

[dr-spencer-reids-queen]

What Fresh Hell?: Part Two

Pairing: Spencer Reid x Reader

Word Count: ~1.7k

Warnings: canon violence, canon language, canon talk of death, methods of kill, fluff and angst, talk of child pornography, talk of sexual abuse with children

Author’s Note: I do not own anything from Criminal Minds. All credit goes to their respective owners. If there is any warnings that exceed the normal death/kills from the show, I will list them. If you’ve seen the show, then it’s the same level of angst unless otherwise stated.

Feedback is gold, and it’s the only currency I take

Billie’s father is seen parking in the driveway, and even from where you’re at, you can feel how angry he is. He turns this whole blue energy of the house into a light purple. Both red and blue mix to create a whole mess of emotions. He’s not right in the head either, but that’s clearly not going to stop him from marching in here. As soon as he does, him and Billie’s mother just go at it.

“I have been calling you all night!” she yells.

“I'm sorry, Marilyn. I turned my phone off.”

“How could you turn your phone off? What if Billie got sick or—we needed you!”

“I said I was sorry!” he groans.

She slaps his arm and gives an angry scoff. She turns away and leaves the room. Thankfully, William stays put to give her time to cool off.

“What's being done to find my daughter?”

“We're assessing that right now,” you answer.

“She's been missing since yesterday! What the hell have you people been doing since then?!”

“Where have you been, Mr. Copeland?” Gideon wonders.

“Me?”

“Where were you all day and all night?”

“I have a cabin in Brandywine Valley,” he says, but that doesn’t tell you where he’s been this entire time.

“The police tried you there.”

“Well, maybe I was out at the time.”

“Billie tried your cell phone yesterday afternoon. You didn’t answer then,” you comment.

“Well, I shut it off sometimes. I like the solitude.”

“You didn't fight your wife for custody of your daughter, but you like being in her life,” Gideon rattles off the facts.

He wants to make him nervous. It’s working.

“I want her to grow up in her home with her friends around. This is the only place she's ever lived.”

“So, you love her very much.”

“Yes.”

“Why do you waste any precious time we have left?” Gideon sighs and cuts to the chase for this is taking too long. “You weren't at your cabin. You weren't at work or with friends. Police didn't call us until a little while ago because they thought your daughter might have been with you—that you might have taken your daughter. Until you can give us a satisfactory accounting of your whereabouts from the time your daughter went missing until—would you help me understand why a devoted father who talks to his daughter every night suddenly turns his phone off and disappears for almost twenty-four hours?”

“I was… busy,” he hesitates.

“It was 1:30 in the afternoon. You called your wife at 11:30 that morning and found out Billie was missing.”

“So?”

“Well, Brandywine Valley is fifteen minutes away. Where were you, Mr. Copeland?”

William knows he’s been caught, so he chooses the right option to tell the truth. He sighs heavily and sits down with a long and tired look on his face.

“I—I was at Sloane Kettering hospital in New York City. Dr. Baylan Mahal is the head of Oncology. You can call him if you want.”

“I will. Did you have a relapse?”

“It's in my lymph nodes now. There's nothing more they can—” he cuts himself off. “Please find my daughter. Find my daughter.”

“Call Sloane Kettering,” Gideon instructs of you.

“Yes sir,” you say, already taking out your phone.

The bad news is that Sloane Kettering vouched for William, confirming he was with them the entire day with proof through cameras as well as the sign in sheet. If he didn’t take his own daughter, then that means it really is a stranger abduction—most likely. The good news is that Derek, Elle, and Hotch did have something when they returned from the park. You didn’t want to upset the parents even more, so you had a small meeting on their lawn as soon as they arrived.

“What do we know?” Gideon asks as he jogs up to the rest of the group.

“We talked to a kid who had contact with the unsub. He came back to the same street more than once,” Hotch informs.

“Well that tells us he's at ease in the neighborhood—comfortable talking to kids in plain view,” you fit the pieces together.

“He lured Billie with a story about a lost dog.”

“She recently lost one of her own.”

“That indicates previous knowledge of the victim,” Spencer says.

“But it doesn't necessarily mean that she knew him personally. This only means he's aware,” you counteract.

“Actually, it's not uncommon for predators like these to know the kids that live around his area. He’s from this neighborhood.”

“Then we go door to door and ask for voluntary searchers,” Detective Russet speaks up.

“The neighborhood is already crawling with uniforms. They're everywhere. Having more searchers is only going to make the man who did this go into hiding,” you point out.

“So far, you followed the child abduction response plan to the letter,” Gideon trails off.

“For the past few hours, yes,” the detective nods.

“So now we need to move past the guidelines and change tactics. If we don't, Billie isn't gonna make it past the next twenty-four hours. I want you to corral these clowns,” Gideon points to all of the news cameras. “We're gonna need 'em—all of 'em.”

Before you can deal with the press, it’s about time to give the profile. Usually, you’d have more time to put one together, but Billie is very high risk. If you don’t put one out now, she could die sooner rather than later. Every single cop that’s around this area is in one room, listening to your team give the profile. Each and every one of them are listening intently, taking down notes as you go along.

“Billie Copeland has been missing for twenty-two hours. It is vital that we locate her in the first twenty-four,” Gideon starts off.

“The unknown subject, or unsub, in this case is most likely a resident of one of the subdivisions around the park. We have cancelled the amber alert. We need to coordinate with all your officers to pull everyone off the street immediately,” Hotch explains.

“That’s fucking crazy,” a random officer scoffs.

“Just hear us out—”

“But it goes against court procedure. You guys wrote the damn thing.”

“Actually, Carp is just a guideline for immediate response to child abduction. Believe it or not, we're already late in the game, and we do know enough about this unsub to know that if he feels like we're closing in on him at all, he will kill Billie to avoid detection. If anything, we need to lessen the pressure on him,” Spencer spits out.

“This man fits in because nobody knows what he is. Can we really know our neighbors? He walks his dog and does yard work. Solitary activities appeal to him. However, if you watch closely, you'll see he pays a little too much attention to the neighborhood kids. Largely goes unnoticed because he isn't perceived as a threat. He’s a white male in his late twenties to thirties. He has a menial or temporary job and is socially marginalized and frustrated. He relates better to kids than he does to adults. It’s not his first offense to children, but it is his first abduction,” you explain.

“How do you know that?” Detective Russet asks.

“First-timers hunt closer to home. Experienced predators don't.”

“He's had a recent stressor—a job loss or other setback. Unable to maintain a normal relationship, he'll have extensive pornographic materials in his home and on his computer. And while they won't all involve children, some of them definitely will,” Hotch takes over.

“Since he used the missing dog ruse, and we believe him to be a regular fixture of the neighborhood, it's quite possible that he truly does own—or did at one point—own a dog named Candy. We recommend cross-checking veterinary records with residents in the neighborhood,” Spencer says.

“He will not inject himself into this investigation.”

“Don't these guys like to know what the cops know?” the detective says.

“No, not this type of unsub. He's hiding. He doesn't know what anyone saw. He doesn't know if there's any information about him out there. He's unlikely to walk in and ask us, ‘can I help you?’. But I can guarantee you he will be watching the news. So, how we handle them is very important,” Gideon stresses.

“Check your canvass records. One of you may have had contact with him in the early stages.”

“What about registered sex offenders?”

“We've got somebody working on that right now.”

“Okay, ladies and gentlemen, everyone clear on that? Good luck. Thank you,” Gideon closes this meeting out.

Derek immediately leaves off to the side to call Penelope to have her work her magic touch on the already growing pile of suspects. You’re scheduled to go back to Mrs. Copeland’s house with Elle just to make sure she and her ex-husband are doing alright. Before you do that, however, you walk over to Spencer who is kind of all by his lonesome.

“Hey, how are you holding up?” you ask.

“Could be better. What about you?”

“Same. This is just going to be another nightmare to add to my list,” you sigh sadly.

“Do you dream of children often?”

“It’s a lot less than what you’d think it’d be. I swear this job never gets easier. When I agreed to take this job when Gideon offered it, I was ecstatic. I thought I’d really make a difference.”

“But you are—”

“No, I’m not,” you cut him off. “All I get are some victims that are saved, and a shit ton of nightmares to follow it. The payoff is actually worse if I think about it. Just as I’m about to collapse from extreme depression, I think of this team. I think of you and Penelope and JJ and Derek. I think of kids like Billie. I think of everything good that comes out of these cases. While there isn’t much, I try to hold onto the good as tightly as I can in hopes some of it will rub off on me, you know?”

“Try going through life with an eidetic memory.”

“Bless your heart, Dr. Spencer Reid. Seriously. You’re doing a great job if it means anything.”

“It does. Thank you,” he smiles shyly but brightly.

“Y/N, come on!” Elle calls for you.

“Duty calls. Save that smile for me when I get back, yeah?” you flirt.

You’re already gone before Spencer can come up with anything clever to say. All he’s getting are flushed cheeks and a fuzzy brain. You actually make him forget what he’s about to do… and that’s saying something.

wanna be tagged? add yourself to this document! if your tag doesn’t work, find out why!

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[scintillatingshortgirl19]

Episode 4 Rewatch Thoughts

So first of all, I would definitely say that I have...calmed down a considerable amount since my first watch, so to speak. @delyth88 said some things in her rewatch post about being able to adapt to things and enjoy the episode more the second time due to knowing what's coming rather than having to deal with the uncertainty - which I how I feel about it as well and is a trend I experienced with episodes 1-2 as well, and in some ways episode 3. Once I had a chance to recover a bit from the narcissist thing and the romance thing, it turned out there were a lot of things I really liked! The big issues I had haven’t gone away by any means, and honestly a couple of the biggest ones aren’t even things that specifically happened in this episode - the first is just the gradual realization I’m having that I don’t think they are ever going to properly address Loki’s past trauma, and all those plot points the MCU just dropped are probably forever going to stay that way. And that fucking sucks, there’s no reason it had to be like this, and I don’t see how I could ever not be upset about that or truly get over it. The other thing is that it’s just incredibly frustrating and sad to me that all those theories about Loki having some kind of other plan in episode 3 to explain the bizarre incompetence we saw, or payoff for the weirdness that was the TemPad breaking scene, literally just amounted to nothing. All these things I hoped were intentional subtext turned out to just be nothing more than...bad writing? So yeah, I’m pretty disappointed about that. But at this point I’m trying to enjoy the series for what it is as much as I can, and on the second watch I really did enjoy a lot about this episode. So yeah, long-ass intro aside, here are my (hopefully more coherent this time) thoughts about episode 4:

Damn, that scene with Sylvie as a child really highlights how inhumane and barbaric the TVA is. Seeing her in that little prison uniform was...oof. Not that we didn’t already know the TVA was terrible, but I appreciate that they’re making it unmistakably clear for the general audience.

It's genuinely a good thing that they're going into Sylvie's trauma, and it's important to the plot, but I can't even put into words how frustrating it is to see them do that while simultaneously refusing to address Loki's. (you know, the protagonist?)

"Kind of an asshole and a bad friend" LMAO Mobius the TVA was holding Loki captive and was eventually going to kill him, can you really blame the guy for trying to escape?? Also an additional episode establishing that friendship would have been good - as much as I'm glad they consider each other friends, it felt premature for either of them to use that word yet.

I have mixed feelings about the Sif scene - overall I like it, but I do have some issues:

Pros: 

-   Loki whump! Both physical and emotional! (I want to see Loki win but I also like whump. It's complicated. Also I'm confused about where exactly she kneed him? Everyone is saying crotch but the first time he's holding his inner thigh so I thought it was there? Anyway if it is the crotch I'm not a huge fan of that particular decision, but my general feelings about whump still stand.) 

-    Lots of sad Loki faces, talking about fear of being alone - good stuff!

Cons: 

-    The first of the dreaded "narcissist" mentions

-    It’s kind of odd that he never even tried fighting back?

-    This also could have been an opportunity to acknowledge Loki's trauma, and as usual, they did not take it. I would have maybe liked a scene where Odin was being a dick to Loki and we got an acknowledgement of some of the emotional abuse. They probably could've worked Loki's fear of being alone into just about any memory. Did it really have to be a scene about how Loki's in the wrong? And in itself I have no issue with Loki facing the mistakes he's made! But I've been waiting 10 goddamn years for just one character or even a single solitary line of dialogue to acknowledge that Loki was wronged too, and by all appearances it still isn't going to happen and I'm just fucking tired.

And about the narcissist thing - it's frustrating because if they would just do it right, it could actually be really good?? If an element of the story was Loki (and Mobius) thinking he was a narcissist and then realizing he actually isn't, that would be amazing. The problem is, I'm fairly certain they are not going to go that route. I feel like it'll be more along the lines of "yeah you're a narcissist but you can be Good!" instead of acknowledging that Loki was never a fucking narcissist in the first place. Tbh it makes sense that both Loki and Mobius might think Loki's a narcissist, or throw around the term without knowing what they’re talking about - there are great explanations and meta about that - the real problem for me is that, in the eyes of the general audience, it confirmed a harmful and unfortunately very popular misconception about Loki, and it also perpetuates an incorrect view of what a narcissist is. Those are the main reasons I'm mad about it; if they purposefully, explicitly contradict it later it'll probably be fine! I just really don't think they're going to.

Tbh, after the second watch I'm a lot less mad about the shitty things Mobius said while interrogating Loki - it still hurt to hear and I'd still love an apology, but from Mobius' perspective it honestly makes sense that he wouldn't pull any punches considering he thinks Loki is partially responsible for killing the minutemen and Hunter C-20, and is trying to bring down the TVA.

I do still think Mobius turning on the TVA felt rushed. I'm delighted he got there, and the way he realized things made sense - it just happened unrealistically fast. I felt like a lot of things were rushed, and honestly I think more things will probably feel rushed in these last two episodes as well. This is something I felt with The Falcon and the Winter Soldier too - like they needed at least eight if not more episodes to give proper space for the story and character arcs they were trying to squeeze in. Six episodes just isn't enough.

Although, that said, while I still think this episode had weird pacing it didn't really bother me that much on the second watch? Probably because I already knew what the sequence of events was going to be.

The scene when Mobius was pruned was amazing - I loved Loki's emotions, and the way he walks down the hallway still kind of crying but mostly just looking utterly dead inside? *chef's kiss*

The timekeepers scene still felt off to me, and I still can't really articulate why. It honestly doesn't matter that much to me so I don't want to waste time on it, but I guess it just felt...sort of low-budget? Like we already knew the timekeepers probably weren't real/weren't what they seemed, but did they have to look that obviously fake? Idk.

I'm going to make a separate post about the romance stuff, but basically where I’m at with it is: it's a terrible shame to see such beautiful platonic/sibling energy go to waste, I'm real annoyed about it but trying to make peace with it for my own sanity, and I think there are a million clues pointing to it not actually being romantic but I don't trust that any of those were intentional. So I guess we'll see? 

I'm very intrigued by all the Loki variants. Also I'm curious if Mobius is there as well, or if each variant person has their own world? Either way I'll be shocked if Mobius is actually dead (there's a million reasons for that but the main ones are that it's likely pruning doesn't actually kill any of the variants (not just the Loki ones) and anyway he's supposed to be in 5 episodes). I'm really curious about the variant world in general though and I wonder what exactly the dangers are - why Loki "will be [dead]" if he doesn't come with the other Lokis.

[sonofthesaiyans]

Eren’s female clone isn’t owed anything.

I read an article somewhere regarding the infamous scene where Eren is speaking to Armin and a lot of people thought it came off like Armin was thanking Eren for “becoming a mass murderer for their sake”, and we all know there is absolutely NO WAY you can make that ever sound okay. Not sure why Isayama thought the way he wrote that was ever going to fly. As the article simply said, “the last thing Eren deserves is understanding”. You’re goddamned straight he doesn’t. I still can’t for the life of me get why Mikasa can’t move past Eren after he became such a monster. 

So why the fuck do Gabi Braun apologists insist Gabi is owed any understanding? The kid is a murderer just like Eren, and her repentance doesn’t absolve her. It was pretty hollow repentance as she never so much as says “I’m sorry about Sasha” or anything of the sort. Yes, the emotional attachment of a lot of fans towards Sasha is very real and very pronounced and so we naturally feel no fucking reason to empathize with Gabi after that goddamned chapter. But her drooling defenders keep pulling those tired age and brainwashing cards to make Gabi out like a wounded party, SHE IS NOT A WOUNDED PARTY. She knew what she was supporting, she ate up every word of it, she blew off Falco when he tried to reason against her insane zeal, and she demonstrated very little remorse for the person she killed. You think her retaliation was justified, it was not. Eagerly promoting and pursuing genocide on another nation that didn’t know about your nation until a few short years ago doesn’t help your case, and being a fanatic doesn’t help your case, I don’t care what age you are. Kids are capable of great evil too, and Gabbitch here ought to know the difference. Falco did. I’m not even sure Udo and Zofia were as zealous as Gabi was. 

I’m tired of these fucking excuses being used to excuse her for murder, and I’m fucking appalled that the story doesn’t treat her crimes seriously, between the Braus family letting her go unpunished to the kid not even getting a slap on the wrist from Sasha’s friends, how DARE YOU suggest the kid is owed any more understanding than Eren? That children of the forest crap comes off as a poor excuse to let her walk because clearly, Isayama had unreasonable favoritism towards a character who ultimately served no purpose in the final climax of the story. That kid too fucking glee in the murders she committed, just like how Eren felt nothing for all the death and destruction he caused in the final arcs. Sasha however, never had such bloodlust. 

I suppose you children want us to feel understanding for Floch Forster as well, a guy who was every bit as bloodthirsty as the both of them? And again, was a genocidal fucktard? Again NO OFFENSE to my friends here who do like Floch because........you people are actually more reasonable than the Gabi fans and aren’t actively prying us to feel pity for Floch. If the Gabi fans didn’t have their goddamned age excuse, then what? Not many fallback points after that. 

Garbage Braun is owed no understanding whatsoever, and she is NOT a vital asset to the story. Is this shit what Isayama takes pride in when he wakes up in the morning? Fuck him, he fucked the works after the twelve years he had to concoct a better and more logical ending with a payoff, if he can’t even manage that, then we do not indulge him on any of his sad stunts leading up to the Fumbling. And Gabi was nothing more than fuel for what culminated in the Fumbling. Convince me otherwise. 

And do not get me started on Reiner, Annie or Pieck, I think after all they did to provoke the series of events that led to this same global disaster, they fall into the same pit. Why aren’t the lot of them on trial for war crimes? Why has nobody been executed? Their circumstances do not excuse them for their part in the Wall attack that led to the deaths of hundreds of thousands. 

No understanding owed to any of these characters. That is all. 

[chocolateslatte]

🚨The Rise of Skywalker Detailed Review and Spoilers Ahead🚨

George Lucas: “If the boy and girl walk off into the sunset hand-in-hand in the last scene, it adds 10 million to the box office”

The “fairytale” we got: A long long time ago in a galaxy far far away, there was a curse of pain and death in a family that just went on and on.  They were never able to break it and they all die, the end. 

Well, you did it JJ, you little punk...you ruined 40 years of cinema. Kids are coming out of theatres crying, they can’t understand. I guess this was the “fun and hopeful ending” you were speaking of during the press tours.  Are you on crack or something, or just sadistic....why would you promote it like that!? Did you forget Star Wars at its core is a story of hope, light, a fairytale in space for children? They did it...they united Reylo’s and Fanboys through hate. 

JJ you do realize tragical romances are only tragically romantic if there was romantic buildup? Romeo and Juliet married in secret, Anidala did as well and flirted in the fields. How was this supposed to be satisfying? A five-second beginning, middle, and end. How this went through multiple execs is beyond me.... I would have understood if Reylo was Rian’s creation. BUT JJ LITERALLY was the one who told Rian to go forth with it...he created Reylo so you can’t say the last Jedi derailed things on that front. JJ wasn’t brave enough for his own vision. This movie was like “the crimes of Grindlewald”, a lot of stuff happening that made me feel nothing. 

Okay, first things first. The OG trilogy was necessary, the prequels were necessary to set up that Vader did not start off bad. What was necessary about the sequels? They just dismantled everything the Skywalker family worked for. Why did we have to see ALL of our favorite characters die? Was the aim that a villain can only be redeemed through death? How original. I’m convinced what they were planning for since force awakens was a journey from villain to hero...but instead we got this a 10min redemption resulting in death a la Vader. Why call Adam Driver’s character a “Disney Prince”?When did Happy endings become so controversial? We go to the movies to feel hope, to escape reality...George Lucas understood that. JJ’s trilogy is uninspired, bland and contributes nothing to the saga. JJ went as far as to recon his own “The Force Awakens”.It had the chance to define generations but no. Literal and utter garbage. Rian made some odd choices but he was bold, unafraid and had the vision. HE knew emotion was at the heart of Star Wars.

WHERE DID THE SKYWALKERS RISE? MORE LIKE RISE OF PALPATINE,  HE BLOODY WON

BUT my problem is not with the ending, it’s the bloody entire movie. This movie made me realize that it's not Reylo that I am a fan of, it was Ben, Leia, Han, Ani, Padme, and all those other characters. I’m upset because this movie is not my Star Wars: of family, love and above all else hope. This is just a 2.5-hour video game with no emotions. This trilogy was all angst with NO payoff.

Okay, you will never ever convince me Palpatine was planned the whole time. This whole movie was retcon for the Last Jedi that pissed off the fanboys. Lucas films did not have an outline for the three films and Rian derailed whatever they wanted to do....except they didn’t even tell him what they wanted! This should be a cautionary tale of why you need to plan. Kylo ain’t bad, Snoke is gone....well pull out Palpatine I guess. This whole film is JJ’s mad scrambling.  Alright, I will humor you, tell me how Palpatine came back when he fell down a shaft and exploded....not *boom boom because of force*. The force in this movie is not canon George Lucas force, it’s just an easy out whenever JJ wants one. 

1. Opening Crawl: As soon as I saw this I knew all the leaks were true, I wanted to bolt from the theatre. When I saw them in August I laughed cause it was so ridiculous it couldn’t be true. How could Disney let a whole movie leak? The plot seemed like a bad fan-fiction. Actually, fanfics are way more true to lore. Anyway, so Palpatine “announces” that he’s back. Is this the shrewd Chancellor Palpatine we know? Certainly, not...why in the world would he announce it rather than keep on the DL and just attack. Yo Palps ain’t this dumb why would you let them (the resistance) prepare?? Because of plot...well okay. 

2. Did Last Jedi even happen:  this film is the sequel to the force awakens, like TLJ never happened...except it’s acting like there was some movie in between that JJ made. Okay, so why is Kylo trying to run Rey over with his tie fighter...he doesn’t really want to kill her. It’s just meaningless action shots.  And don’t get me started on exposition, the dialogue: “hey look its the Knights of Ren”. Except they do nothing. Cool cool.  Kylo’s character goes back to Force awakens era like no development had occurred...except he’s not even there he’s just messing around not even being a real villain.  JJ’s specialty is set-up and he does this beautifully....but he can not wrap up and follow through. 

3. Rose Tico: yup last Jedi never happened, she has nothing to do. She and Finn are irrelevant. Finn has reverted to being obsessed with Rey. Cool Cool.  I honestly feel so bad for the lovely Kelly Marie Tran. How did you relegate a relatively big character into the sidelines?? Why introduce two new characters this late. Rose could have filmed in for them...but alas we must snub Rian at every turn because that’s just how petty JJ Abrams is. ( don’t get me wrong Jannah was cool)

4. The Rise Of Poe Dameron: Finn has been relegated to a side character who does nothing and just yells “REY!”. It was a great setup, a stormtrooper who was force sensitive but doesn’t want his life to be fighting for nothing. You could have explored trauma, the discovery of the light but nope nada. Tell me the point of his character journey. So flat and static. And with Jannah and the ex stormtroopers they could have gone with the arc of these lost, sad kids coming together to find family. 

5. Leia:  Okay you’re telling me our Princess would give up on her son before he was born, just throw away her lightsaber and accept Ben’s fate? Cool alright. And she knew about Rey Palpatine and didn’t say anything...my princess would never.

6. Mary Sue Rey: Ahh Rey this girl feels no emotion in this movie...just like the audience. Sure she’s trained but she can just do stuff with the “force” that even Jedi masters can’t. Stopping a whole starship, something even Yoda could barely do...yup she can do it. Beat Kylo all the time except one, yup she can. Manipulate the force in mind-boggling ways, heal people...sure Luke couldn’t but Rey certainly can.  Cause she is the chosen one...hell even Ani wasn’t this talented and he had years of training. Poe and Finn have a genuine connection, Rey just seems disjointed (totally understandable why)...but if so the ending is even worse. She doesn’t even find peace with her friends. She’s not realistic and human like Luke and Leia were. 

 Force sensitivity in the galaxy:  What a perfect setup, the boy with the broom at the end of TLJ that was force sensitive. The message is that the power to use the force was spreading through the galaxy. No longer confined to the elite. People were hearing of Luke’s battle of Crate and rising.

7. Kylo/Ben: I still maintain that he, other than Ani was the most nuanced character in the whole saga. His arc from Force Awakens to Last Jedi had progressed. How great that even someone from the legendary line of skywalker and solo could fall to the dark again. He wasn’t flat, he was a tortured boy that was conflicted since the first movie. How great would it have been to see him as a conflicted supreme leader, which was set up in TLJ. But *gasps* a plot of his very own, no can do, this is the nature of JJ’s crush on Rey and Daisy. 

Disney released comics that made us sympathize with him, to see that all along he was manipulated by Snoke, and Palpatine the voices in his head. Neglected by those who were supposed to love him. Adam Driver was cast perfectly, he had almost no lines that weren’t related to Rey’s charcater arc. If he were a woman I’m sure everyone would be offended. That single line’s delivery “Dad-”

Come on Poe had more lines than him, and Driver according to JJ was half of the protagonist. He was pitched an arc opposite that of Darth Vader that’s why he signed. Man JJ really did do everyone dirty. 

8. Ben had no lines while redeemed other than “ow”...I am so sorry ADAM that this nasty ass JJ did this to you...this part was 100% improv by Adam, I am willing to bet my life on it. You know why “ow” was brilliant? Cause it meant he felt pain and emotion, he was no longer hiding behind the hardness of Kylo REN. Adam’s performance as Ben left me speechless, he was convincing as Kylo, intimidating...but as BEN he shines in the way only Solo’s can. The way his eyes become determined once he accepts he must give his life, and he does so happily for the love of his life. His soulmate. Star Wars and JJ never deserved the talent that is Adam Driver.

9. They are supposed to be equals in the force yet they missed the opportunity to fight Snoke together. Tell me how they are equals. He existed only to further Rey’s plotline. 

Oh and the other Jedi including Anakin whisper and help Rey...when his own grandson has been asking for help in distress for like 30years. Nice real nice.

10. Finally Reylo:  it felt unearned cause there was no buildup, JJ just threw it in for kicks forgetting all the P&P parallels he was shooting for. An afterthought. Driver and Ridley’s acting saved the day, they had no lines.  Adam Driver is truly one of the finest actors. You could see the difference between Ben and Kylo in his subtle gestures...the sass was pure Han Solo.  

11. And then the death: I wouldn’t even say we won, but at what cost. We won in no way. Had he died fighting I would have understood, but this death was so unnecessary and put in just for the fanboys. Let me say again I would have been okay with death had it been justified.  How is this any different than Vader x Luke. JJ can only copy not create. How crazy that you can just bring people back from the dead...Anakin is here like, am I joke to you? I could have brought Padme back say what???? What was the point of his whole fall to the dark. The force is infinite, that’s the whole point...once you know how to use it you can’t run out of it like juice. Oh, and Ben did not become one with Rey but rather the Force according to the Disney website. So why pray tell did he not appear as a force ghost? I’m convinced JJ was on crack.  

12. No Mourning BEN no acknowledgment:  5 seconds! And then she moves on from losing her soulmate, half of her soul. She loses it over Chewie but nothing, no emotion not even a second over her other half. Seriously? No one ever knows Ben came back...nada. JJ set up Reylo, time and time again he has said that he crafted the story around the romance. He was left scrambling after Last Jedi and this was a last-ditch shock ending. No Reylo theme song, no across the stars

13. Last Jedi told us you don’t have to come from a powerful family to be important. THE WHOLE thing was that you could be force-sensitive and be a nobody. Nobodies can become somebody. A Hero is not born but made. The force lives in all beings, not just powerful families. It inspired me, what a great message to young guys and gals. Kylo’s line, “you come from nothing, you are nothing...you have no place in this story” finally turns out true. You have to come from something to have a part in the Star Wars story. And Rey had darkness inside her cause she was human. Because none of us are pure, we are shades of grey. But no, it’s cause darkness only runs in families. In the Last Jedi when she wants to see her family all she sees is herself and a shadow (Ben) who joins with her. Please do explain this JJ. And if this granddaughter thing was set up I would have had no problem...but they pulled it from their asses. You can have nothing but mean something. But no pander to the fanboys. In the end, a Palpatine lived and all the skywalkers ended....and we are supposed to have hope. Palpatine really did win. 

14. Rey’s biggest fear was ending up in the desert alone, we were told “the belonging she seeks is ahead not behind” and “there’s someone who could still come back”. They mentioned she felt just as alone with the resistance. Only the other half of her soul understood her. This is truly tragic and sad...I am so heartbroken for her. And don’t tell me she isn’t there to stay...the soundtrack is called “a new home”. Enjoy the rest of your days being exactly where you started Rey....but hey at least you got a droid boo. I’m convinced this is not the balance JJ envisioned in the first movie. At one point in TFA Rey looks up sees an old woman alone, scavenging in the desert. This rattles her to the core and it starts her journey of wanting a better, different life. I am so sorry Rey. Okay so you may say she has the resistance and her friends...but let’s consult the last Jedi. In the end when everyone is on the ship...Rey is surrounded by friends yet looks more alone than ever. No one but Ben, maybe Luke, Leia, and Han understood her pull to the dark.

How sad that these two hopeless souls who had never known a moment of belonging and true love, found it for all but a few seconds.

I will quote: “preventing female characters with strong, compelling narratives from experiencing love, intimacy, and affection is just as regressive as reducing them down to sexual accessories. Assumes that women must choose between a romantic interest and depth of character”

Men really can not write good female characters, can they? A woman really can’t be a badass and end up with the love of her life

15. The Skywalker’s and Redemption: How truly truly sad that Han and Leia gave their life for their son who also died at a young age. ALL the Skywalkers and Solo’s have a tragic end. This is not what George Lucas wanted. What a tragic way to end this saga...they weren't able to break the curse. AND to all those troubled kids out there that lashed out and made terrible mistakes in their youth....doesn’t matter what you do dying is the only way out. You could have exiled him, made him pay in other ways. Nothing can be done to make up for your sins but death, no amount of good means that you can come home. To the young boys that get wrapped up in terror organizations, sorry the only way you can be redeemed is death...don’t bother changing and coming back. They could have exiled him, had him start an academy with Rey for Jedi kids. He could have spent the rest of his days redeeming himself. Why tell us he was literally preyed upon, haunted, and manipulated as a child. Even in a fantasy world, a victim of mental illness and abuse can not catch a break. Ben as a child could not fall asleep due to the demon-like voices in his mind. Everyone abandoned him in his time of need. Ben never desired power like Anakin, he went over to the dark because “the voice” of his grandfather promised belonging. I am shocked that this is the message Disney sends us. Oh and yeah you can totally take on the Skywalker name for kicks...the disrespect I swear

16. The worst bit is that I am 90% sure there was another ending that was scrapped.  There was a promo shot of Jannah in a field, soft lighting, lush planet. It was exactly like P&P. Daisy Ridley said the lasts scene was known to only Her, Jannah on that panel (Driver was away). Convinced Jannah was looking at Rey and Ben starting a new life away from the desert which she and Luke hate so much. Hence the production of “A New Home” soundtrack. Hence why the “Farewell” song played behind Reylo kiss was hopeful. Why Luke’s soundtrack when he became part of the force was not triumphant. Why the death scene was sudden and cut weird and no sorrow from Rey. CAUSE THEY SCRAPPED THE ORIGINAL ENDING LAST MINUTE.  Everyone knows JJ was still editing one month before. The concept art which was supposed to be released this month has been pushed to March. Why you ask? They need to remove the pages with a happy ending. He just didn’t have the guts, pandered to everyone and yet no one. He was successful in creating a beautifully filmed action-filled movie with none of the heart of Star Wars.

And then she goes and buries Anakin’s saber on freaking TATOOINE. He HATES Sand and Luke wanted to get away from there as soon as possible. Of course, a Palpatine would torture them that way. But nostalgia is the cash cow so. JJ can only generate nostalgia, not create original stories. IF he had any creativity she would have buried it at Padme’s grave.

The fanboys say “leave the romance for the romance movies”....have you seen the original trilogy or the prequels? Star Wars has always had hope and romance entwined with it. 

SO AFTER 40 YEARS...PALPATINE WINS...HIS BLOODLINE LIVES ON

...and people thought the prequels were bad 

JJ you also said that your goal was for people to come out of the movie feeling more hopeful and happy then they went in...yet here I am. My roommate literally had to console me and buy me ice cream. I am just so numb. I am sure the casual fan will enjoy this, as seen from the rotten tomatoes ratings. I think the critics were too generous with this one, 

Star Wars is very simple at its core, Good vs Bad and Dark vs Light. The kids are expected to understand that a Palpatine being the only one who lives is hopeful? That is the conclusion of three generations of Skywalker sacrifice...

This is how the Skywalkers are remembered...In Tragedy and Curse??

[unexpectedreylo]

How Ben Solo Became A Martyr

If anyone were to pull me into a Hollywood studio office or lunch at some see-and-be-seen L.A.-area restaurant (personally, I like The Ivy) and ask me, a lifelong t.v. and movie viewer, what should show runners, directors, writers, and anyone who has a creative say in a production avoid doing, one thing I would say is, “Don’t unintentionally make a character a martyr.”

I don’t mean the sense of being a martyr in-universe but being a martyr to the audience.  

First I should define what I mean by “martyr.”  In a Christian sense, it’s a particular kind of saint who suffers and dies a horrible death for his or her faith.  In a secular sense it can describe anyone who suffers and/or dies horribly for a cause or that suffering/death calls attention to a matter of injustice.  This can also be applied in a more colloquial sense, such as when anyone suffers in some way or tries to use the impression of suffering to elicit sympathy.

If anyone at Lucasfilm is wondering why there’s a tribe of people on social media doing Ben Solo hashtags, making pins, and putting blue butterfly emojis on their handles, I’m here to tell Lucasfilm it’s because you guys made Ben Solo into a martyr to the audience.  

First, they made Kylo Ren/Ben Solo Han and Leia’s son/Anakin and Padmé’s grandson.  This makes him an easy investment for fans who have loved those characters for decades.  The killing Han Solo part might have made a certain segment of longtime fans so angry at Kylo they not only couldn’t forgive him but  they didn’t even want him redeemed but others could see how the death clearly affected him which elicits sympathy and compassion.

Second, they got an extremely talented, charismatic actor to play Kylo/Ben.  Adam Driver refused to play Kylo as a one-dimensional mustache-twirling killing-machine villain.  He added subtlety, nuance, and humanity to the role, all the while captivating the audience.  That he’s also sexy didn’t hurt.  As bad as Kylo could be, we also see the soft underbelly, the hints of the real Ben Solo hiding behind the persona.  He managed to create the kind of hero we’d been hoping to see in the ST within a short amount of time and practically no dialogue.  That’s extraordinary.  Driver took Kylo as seriously as he takes any other role.  He could’ve been making a bunch of other Oscar-nominated movies instead and we all know it.  Getting him was a gift and some fans out there think it was ultimately kind of wasted.

Third, if TFA hinted at Kylo’s humanity, Rian Johnson made it entirely the point of Kylo’s arc in TLJ.  When Kylo destroyed his helmet, Johnson was able to let Driver go nuts with a script that treated its characters like human beings instead of caricatures.  While Kylo was still capable of evil and all-around bad guy-ness, we also saw someone who could be gentle and caring, a tortured young man struggling with deep remorse, a lonely soul who can only find connection with someone who’s supposed to be his enemy, and sometimes, a hero.  Those pleading puppy dog eyes and trembling lips did a lot to elicit sympathy from filmgoers.  That he’s also sexy didn’t hurt.

Fourth, both the films and ancillary material showed Ben was subjected to abuse and suffered greatly for the mistakes of his elders.  Ben was targeted at conception and suffered with voices in his head most of his life.  A kitchen droid tried to take him out.  His parents were too busy doing whatever to really give him the attention he needed, even though Leia was aware some outside force was after her son.  His parents ultimately feared him and his emotional freak outs.  Han and Leia shipped him off to Luke’s poor man’s version of Hogwarts, leading to some deep abandonment issues.  Luke almost killed him in his sleep.  The very popular The Rise of Kylo Ren comics series basically acquitted Ben of everything he supposedly did leading up to his fall.  Then Kylo is verbally and physically abused by Snoke.  This has created a tremendous amount of sympathy for Ben, especially by those who have struggled with any number of real-world problems.  They identified with him.  Hollywood as of late has coded a lot of villainous or antihero characters as having mental illness or being neurodiverse or having addiction problems as well as enduring physical and verbal abuse.  I get that writers want to enrich these characters and make them relevant to a modern audience and that actors like the challenge in playing them but I also think Hollywood is being a little irresponsible about it.  Not only is it potentially stigmatizing it also seldom has a solution to those characters’ arcs other than death.  How is someone living with bipolar disorder or autism finding a kindred spirit of sorts in Kylo/Ben going to feel about the constant message that such a life isn’t worth living?  Ben just suffers and suffers and suffers and gets nothing for it.

Fifth, we’re presented with material depicting Ben’s youth.  Ben, when he’s not getting the stuffing kicked out of him by life, is quite lovable and as a child, adorable.  At least with Anakin Skywalker, we’re supposed to appreciate the tragedy of a good person who was loved falling to the Dark Side.  With Ben it makes us love him 10x more and at the same time make us even more upset they unceremoniously killed off that darling little moppet who played with butterflies, ran around the house naked, and begged his daddy to come home.  

Sixth, it didn’t seem like Ben was sufficiently loved either in the films or by Lucasfilm.  Or, to put it this way, whatever gestures Han, Leia, or Luke tried to throw Ben’s way were cases of too little too late.  I always wondered why, if Leia knew Snoke was manipulating Ben, she didn’t go out to find the mo-fo and kill him?  I would!  Leia tries to reach out to Ben in TROS but in the movie it comes off as her distracting him so Rey could inflict a fatal wound.  In fact, the weird thing about TROS is it feels like Leia was trying to take out Ben all along:  the distraction, ensuring Rey takes up her “Jedi path” which Leia knew full well this would somehow lead to Ben’s death, and finally her disappearing the same time he does.  It’s weird!  Han tries to save Ben but he’s a muggle who’s no match against his unstable son gifted with magic powers and lightsaber abilities.  Luke apologizes in TLJ but never had anything to say to his nephew again.  Adding insult to injury, the Blue Ghostie Exposition Scene From Hell establishes Luke and Leia as resigned to Ben’s fate all along, kicking their flesh and blood to the curb for a surrogate more to their liking.  It’s horrible!  The worst is of course his soulmate barely reacting to his death.  In the end nobody cared.  He’s like the kid who cleans up his act, gets good grades, gets into a decent college, and his family couldn’t care less.  The movie abruptly kills him off and it’s on to cheering and celebrations.  Nobody remembers or speaks of Ben and he’s not seen again in any form.  Four-five months after the film has come out, there’s no official Ben merchandise or collectibles.  It’s like “Ben Solo?  Don’t know him.”  You just know that every time the Star Wars social media team has to mention him or post something with him in it, they’re muttering under their breath, “Oh God, here it comes again.”

So they got a number of fans to empathize with Kylo/Ben and hope for his redemption as well as a chance at happiness after a lifetime of abuse and suffering, only to kill him off in a sudden and graceless manner.  There’s no payoff for Ben or the audience.  He’s just...gone.  To us it doesn’t seem right.  It seems cruel and unjust.  But fans are also a tenacious lot so they’re hoping Lucasfilm will realize it made a mistake and correct it.  In the meantime, Ben lives on in our fan fics, edits, fan art, and fan merchandise.