#I think this fandom has like 2 people

[cozylittleartblog]

Columbo and the Knight (1984)

put me in the universe where Columbo ran through the 1980s and had a crossover episode with Knight Rider. I think they deserved it, and I am not just saying that because they're my two favorite Old Shows. @telebeast wrote a little fanfic blurb about it and I HAD to visualize it into a comic (which is also the longest comic I have finished thus far at five pages...), so writing credit goes to them.

Autism W!

[superkirbylover]

peppino and noise character studies

in this essay i will explain why i am the only one to understand these characters

[sillyystringg]

upon rewatching s2e7 i noticed that dae-ho can already be seen being triggered by the gunshots when gi-hun's rebellion starts :(

[zabiume]

it's 2025 and orihime is still my favorite bleach character ever because of just. everything she is, all of it. from the very first peek we get into her life, we learn that she's so fundamentally unlikeable that even her parents despise her (a literal baby), and this pattern repeats yet again into middle school, where she falls victim to bullying. her own brother turns into a monster and resents her for trying to bounce back from grief. everything she does is wrong. even from a meta standpoint, orihime has never been widely liked, and even when she has, it's sometimes followed by a disclaimer or an 'i like her, BUT-" which is soooo congruent to how she is in canon as well? in a way, perhaps, no other bleach character is? what she is and goes through in-universe is exactly what she is and goes through out in the real world as well. of course, in canon as well as outside of it, there has always been a small group of people who fiercely love her too (in-universe, it's her friends, and outside it's...well. it's us, those of us who love her). but the point is. i've never seen a character who is so meta in her existence, who is always going through things on a double-layer - how other characters respond to her in the story vs how fans respond to her in their discourse. there's no separation from Orihime The Character (as she exists in text) and Orihime The Topic (the discussions we have about her as a character). there is a certain type of bleach fan who is a loly and menoly equivalent in the real world, there is a certain type of bleach fan who is a shishigawara/kon equivalent in the real world, there is a certain type of bleach fan who is an ulquiorra, challenging her worldviews, pushing her into corners to prove herself, and of course, there is a tatsuki or an ichigo, fighting for our lives defending her and it's just. so interesting. it makes orihime more real, more grounded to me than any other bleach character. how characters respond to her in the story is often EXACTLY how people respond to her in real life. plenty of times, we've gotten to see characters' inner thoughts and their POVs, but we haven't gotten much insight into the ways other characters see them, how they're perceived by several other characters, but orihime is. she is so discussed (BOTH by the other bleach characters, AND the fans), and the diversity of these discussions is so present too. her powers, her love life, her flaws, her personality,,,,,all of it is a major part of the storyline, as WELL as the discourse. it's inescapable. SHE is inescapable.

[ghostly-cabbage]

We need to talk about the worst thing about making AUs....

The fact that then when you inevitably think about crossovers you don't want the crossover with the canon you want it with your specific AU. Your brain worms, your circus, but THEN WHAT?

Oh, yeah, to understand this crossover you need to go read this entirely different fic/series? Girl help 😭 you can't do that

[dirtytransmasc]

no matter how hard they tried to pit you guys against each other, they could never make me hate any of you

just cause I like one, doesn't mean I have to hate the others. I love all 4 of my silly little babies.

[bestworstcase]

Anything from Volumes 1-3 that is setup that you don't think is given enough attention or respect for good setup?

Sidenote to this:

Open seat with no person in it + Salem having someone looking for the Choice Relic was hinting at Summer Rose. Did we have anything hinting at her pre Beacon's Fall or just things that she fits given additional context?

regarding summer specifically, while i wouldn’t call them hints per se, there are a handful of beats in v1-3 that smell like foreshadowing to me:

the first is “she was right about you; such arrogance.” – cinder might well be referring to salem here, of course. however. what strikes me about this remark is that arrogance is not a characteristic that salem seems to perceive in ozma; rather she describes him, in her soliloquies and songs, as a self-destructive, deceitful, manipulative fool blinded and trapped by his faith in the old gods. cowardly. fallen from grace. think of what she says to oz in 8.9—look how you’ve diminished, how you’ve lessened yourself—she sees him groveling at the feet of tyrannical monsters and sees debasement.

does it follow for salem to characterize ozpin to cinder as, primarily, arrogant? i’m not convinced it does. but summer rose? well… hm. consider, also, that the full line is “this whole time, right beneath our feet… she was right about you; such arrogance…” <- i think it is more likely than not that “she” is someone inside the brackets of “our,” and in context “our” is either [cinder + ozpin] or [cinder + her associates physically present at beacon].

in the event that “she” is not part of “our” the more naturalistic phrasing is “beneath our feet… salem was right about you” – because “she” otherwise has no antecedent. of course, some allowance here for this to be a narrative choice not to name salem yet, but we’re one (1) episode off from revealing her face and by this point we’ve known for a while that cinder works for someone else, so the choice to drop the name here or in the volume credits is of fairly trivial importance. unless of course cinder isn’t talking about salem.

second: “Oh! We've also stopped some bad guys, too! I guess it's like they say: "like mother, like daughter"! I still wonder why Ozpin let me into the school early…” [laugh track] – obv this part of ruby’s address to summer’s memorial headstone foreshadows ozpin’s conspiracy and team strq’s involvement therein. but it also foreshadows this exchange:

RUBY: We don’t have to kill you to stop you, and we will stop you. SALEM: Your mother said those words to me… she was wrong, too.

and i think it bears pointing out that ruby is wrong here, and later in the volume qrow specifically calls attention to this and lays out why she’s wrong. team rwby didn’t stop the bad guys; they cut off one avenue of attack and cinder circled around from a new direction that took advantage of torchwick’s imprisonment, and this also resulted in the public break between ozpin and ironwood which eroded the cohesion of the inner circle. ergo, ruby thinks she stopped the bad guys but in the long run the consequences of the breach all benefited salem.

looks into the camera like im on the office.

like mother, like daughter!!!

further, that sequence of events ultimately leads to the final confrontation between her and torchwick – wherein he declares “if you can’t beat them, join ’em,” and shortly gets eaten by a grimm right after making it clear that he intends to kill her. torchwick’s death is thematically motivated – a narrative rejection of his cynical every-man-for-himself, dog-eats-dog outlook – but consider that:

summer rose, if she is indeed salem’s willing agent, is certainly at beacon tonight – because she’d be the one who stayed behind to hold the fort.

summer is thus the one salem instructs to “reinforce our numbers at beacon,” meaning the grimm; that instruction only makes sense if the person receiving it can communicate with or command grimm. ergo, summer must have some degree of control over grimm.

ruby is disarmed and on the ground getting beaten by a man who fully intends to kill her, and a grimm swoops down out of nowhere to eliminate him faster than he can blinks. and then… the grimm rears up, roaring at her, and comes down with a sweep of its wings that creates a blast of air that pushes her away. that isn’t aggression!! that’s a defensive threat display!! (the feilong in v4 does the exact same thing – trying to push the boat away). it’s ruby who charges the gryphon, and while it lunges forward in reaction to her charge, all that happens is she gets her feet on its head and pushes off to leap over it, and the grimm goes fucking flying so hard it crashes into the ship’s interior and never emerges. the point being,

math.

it’s plausible that the grimm was drawn to torchwick’s murderous rage. but the way it behaves immediately after it swallows him – that very clear “get away from me please” body language, and ruby -apparently- kicking a grimm the size of a goddamned clydesdale dozens of feet and then through the hull of a literal warship? ruby is strong, but she’s not… that strong. but if the grimm didn’t want to engage her and propelled itself under and past her at the same time as she vaulted off its head? that would explain what happens perfectly – ruby’s kick altered its launch trajectory just enough that it crashed.

minutes later, someone loyal to salem scraped a very badly injured cinder off the top of beacon tower and left ruby alive where qrow would find her. salem’s vested interest in keeping ruby alive is VISIBLE throughout the battle for beacon, and notably include a perfect opportunity to capture her while she’s in a coma atop beacon tower that isn’t taken – suggesting that salem makes her singular attempt to capture ruby solely to reassure cinder that Something is being Done.

and if summer rose has command over grimm and was at beacon that night… the gryphon’s behavior is exactly what i’d expect if all the grimm had marching orders to insure this one girl in particular – the spitting image of their commander – doesn’t come to serious harm. there’s a nonzero chance that gryphon did in fact save ruby On Purpose!

…and that happens in the context of a fight between ruby and the bad guy she thought she stopped (but she was wrong), who joined salem because “if you can’t beat em, join em.” (salem voice) she was wrong, too…

also

<- like mother like daughter. summer had a nevermore’s eye view of the battle for beacon, in this essay i will –

third: this one is something i didn’t really Think About until v9 and specifically the v9 ost dropping, but some of the things cinder says in v2-3 strike me as like – she got that from summer im sure of it. for example, in midnight, cinder’s view of huntsmen is that they’re free, they have power, they can go anywhere and do whatever they want, and rhodes never contradicts this. where did she get “huntsmen and huntresses should conduct themselves with honor and mercy”? who taught her the aspirational moral ideal?

summer rose, maybe.

but in the deeper sense,

where did cinder get the ‘destiny’ conceit? her underlying beliefs about how the world is are a product of her childhood, but the overt framing of fate/destiny isn’t present in midnight; nor has salem ever spoken of destiny and her philosophical views are in many ways a rejection of destiny – salem does not believe in fate, she is the woman who dedicated her life to toppling the gods.

and on close examination this looks like yet another suspiciously summer rose shaped hole!! “you’re special, ruby […] special the way your mom was special […] it was said that those born with silver eyes were destined to lead the life of a warrior.” – in after the fall, ozpin gives coco an entire pep talk whose central conceit is embracing and submitting to the turns of fate – sacrifice “show them gods and deities/blind and keep the people on their knees” & guide my way “you were born to hypnotize them all/they all said their prayers/can you hear me up there?”

cinder, of pyrrha: “people assume she’s fated for victory, when she's really taking fate into her own hands. interesting. add her to the list.” & “it’s not about overpowering the enemy; it’s about taking away what power they have.”

<- that second statement is salem’s strategic doctrine, through and through. but the ‘power’ cinder is talking about here is derived through manipulating the perception of destiny; the self-fulfilling prophecy. the invincible girl cannot be touched because she makes subtle adjustments to insure that no one is able to try. it is pyrrha’s belief in destiny that destroys her, as it destroys ozma. ozpin invokes fate to justify and explain his choices. those born with silver eyes are destined to lead the lives of warriors.

summer rose was destined to live and die fighting the grimm – so the world promised her. maybe she believed, maybe she felt like she had no choice but to accept her prescribed fate. until she met salem, and took fate into her own hands. made a choice. broke the chains. it’s about taking away what power they have, like salem did when she tore the scales from summer’s eyes, like summer did when she refused her destiny and joined hands with the grimm instead.

what does summer rose look like through cinder’s eyes? she was a huntress. she was literally destined to be one of the greatest huntresses in history, a hero, the shining pillar upholding the world order that chose the enslavement of children as a fair price for peace. fate dictated that she be the icon, the idol, the embodiment of the system that brutalized and subjugated cinder – she had every privilege cinder could ever dream of, freedom and security and a home, a loving family – and she chose to walk away.

and if they talked about that like, ever, and specifically if summer talked about that warrior’s destiny as a cage, a curse she had to escape – is it any wonder that cinder would adopt that framing to make sense of what happened to her? if summer rose was fated to stand at the pinnacle, then does it not follow that cinder fall was fated to be ground into the foundations? and likewise, if summer rose can shatter her pedestal and fall from grace, then cinder fall can shatter her chains and rise. summer proves that the idea of destiny is powerful but not inviolate. and it is hollow, it is a lie, a fiction, and that means it can be taken away. revealed as a deception. destroyed.

anyway

to the broader question

i think people really, really do not give the jaundice arc enough credit for the long-term set up it’s doing.

(or the very overt textual statement from THE HISTORY PROFESSOR! placing the blame for the violent radicalization of the white fang squarely on human bigotry and persecution of faunus in general; the white fang arc is clunky and hamstrung by the inadequacy of its vocabulary, but the fandom talking point that the narrative perspective on this subject has “evolved” or “improved” is just. not true. v1 is very emphatically clear that 1. terroristic violence is not activism, 2. ascribing the terroristic violence of a few to an entire minority group to rationalize bigotry is bigoted in and of itself and completely unacceptable, and 3. violent radicalization is created through relentless discrimination and hate, which creates a self-reinforcing circle wherein the justifiable outrage of the persecuted outgroup and the extreme violent reactions provoked by the persecution are distorted into a justification for further persecution by those of the in-group who materially benefit from perpetuating this cycle!!! all of this is explained in an almost afterschool special manner by the main character faunus rights activist and the history professor!!! in volume one!!! what changed is that the writers developed the skill and vocabulary necessary to weave these ideas into their storytelling in a more effective and more cogent way!!! literally begging the rwby fandom to start listening to the actual words the characters say)

ahem. the jaundice arc lays so much of the groundwork for jaune’s and ruby’s character arcs reaching all the way to v9 and undoubtedly beyond; it sets up the first pieces of the ozlem fractal; it foreshadows the white fang arc and sets up blake’s character arc of self-reclamation and figuring out how she wants to use her voice as an activist; it draws attention to the misogynistic cultural norms that define and are defined by the history between ozma and salem; it lays the foundation for the scene in v2 where ozpin questions blake, which hits the way it does because we have the context of anti-faunus harassment occurring openly at ozpin’s school and nobody doing anything about it, and by extension is the first stroke of the salem-faunus connection that is almost certainly the keystone holding the entire narrative together because it is her relation to the faunus that provides the key to decipher the lost fable.

the jaundice arc is a crucial load-bearing pillar that supports the entire narrative and people revile it because nobody in this fandom can be fucking normal about jaune. lmao

[ladyluscinia]

I'm already so sick of how the fallout of ofmd season 2 has snowballed into people on here going "fandom these days just can't handle Bad Things happening in media-- newsflash, characters have to get hurt and die, grow up!" all condescending like. First of all, in the context of Izzy, most people I've seen discuss his death agree that they would've accepted and enjoyed his death if it had just been handled appropriately, and also. "You just can't handle bad things happening to your fave!" Bruh. We were all partying it up when Izzy lost his fucking leg and was suffering physically and mentally. It can be FUN to see your blorbo suffer!

And that is just one example of a larger trend on this site-- people are really gonna come onto the "we love putting our blorbos in the blender and watching them struggle and suffer" site and say "kids these days can't handle Bad Things happening to their blorbos." Sorry, but that's just nonsense. Fandom loves their fix-its, but they also love shattering their faves. The problem has never been Bad Things happening in general, but HOW those things are framed within the narrative and how that narrative is told. The problem is when something is out of place in its genre, or when it goes against a promise the show has made, or when suffering is used flippantly and uncaringly, or when a character suffers and suffers and then just when they've finally caught a break, they're kicked down again, just for a cheap tug at your heartstrings.

Both within the context of ofmd AND in a wider fandom context, fandoms LOVE when our blorbos are hurt, as long as our blorbos are hurt RIGHT.

... And I think it sure is Something that a fandom can have a rampant issue with fans of a character being harassed and sent death threats and that's just "normal fandom being fandom" but god forbid people feel Emotions. About a Character and a Show. And dare to react by... just Offering Criticism! No, death threats are "fandom culture that comes with the territory," but if you vent post or criticize a writing decision in media, THAT'S being "hysterical" and "overly emotional" and "truly frightening behavior!" I just LOVE (big sarcasm) how back when people were getting doxxed and threatened for liking a guy, the fandom was all *cricket noises,* but NOW suddenly everyone is "terrified and exhausted by fandom's volatility" and "concerned about the fragile mental health of fans" when you simply say "damn that episode sucked and I sure am sad about it."

The OFMD fandom was toxic as fuck for a year and a half and continued to be toxic as fuck for all the airing of S2, so hardly surprising that the aftermath of S2 appears to be... toxic as fuck.

Least surprising thing in the world is that the people who hated Izzy and passively or actively supported driving his fans out of the fandom for "ruining it for everyone else" now think his fans should leave the fandom if they are so upset and stop leveraging "baseless criticism" at the show that is "ruining it for everyone else." They have normal not-at-all-parasocial relationships leading them to directly @ David Jenkins and thank him for a season that somehow managed to be both flawless and have all its flaws blamed on MAX, but those wretched Izzy stans have horrible-evil-parasocial relationships making them harass the crew by *footage not found*

If Mr. Jenkins decides to go scroll the #ofmd s2 tag on tumblr and stumbles across me - a random blog and icon - outlining how I think he fucked his show up, that's pretty clearly on him? This is tumblr. I have no relationship with this man or obligation to tailor every word I say as if he's bound to see it and going to take it personally???

I'm actually a big proponent of "Don't @ the cast and crew about pretty much anything" because the same fandom mentality that makes you think you can randomly ask him about your headcanon like you're chatting is what all these people are melting down about if someone directly goes "hey you killed my favorite character and that makes me mad!" - same fucking people, same fucking parasocial relationship. The standard of "only @ them for good things" is the flimsiest fucking line, as any ao3 writer who has received unsolicited "constructive criticism" or "advice" can tell you.

If we want to snidely get into "what this is really about" well it's the same fucking thing it was before:

People substituting subjective opinion as objective fact with zero self-awareness of doing so. "I liked this so it's good." "I didn't like this so it's bad." "I got bad vibes from that character so he was clearly written to be horrendous and unlikable." "I sympathized with this character so anyone suggesting he has flaws is demonizing him."

Or the deepest circle of fandom hell: "I think [insert identity] rep is so important and this piece of media fits into however I personally define 'good rep', therefore it is flawless and/or morally significant enough to be above criticism."

...which, yeah, leads to temper tantrum levels of fandom infighting, especially since people online express, fairly frequently, "I didn't like it because it was bad" and then present evidence for their point. And also a lot of fandom likes bad TV. Or even just mediocre TV that's entertaining.

I personally was not going to be happy about any person beyond one-offs, blatant villains, and background randoms dying because "they had to" (for their own arc or someone else's) because I fundamentally think if you believe you've written yourself into that corner in a workplace comedy that's built around a main romance arc... you're kinda stupid. Yes, even if it's pirate themed. Enough injuries have been walked off and lampshaded to confirm that part is aesthetic.

The fandom wiki for The Office lists 11 deceased characters. Three of them are fictional characters who die in an action-movie episode. Two are one-offs that get named dropped seasons later as having died offscreen. One of them is an offscreen cat, who appears to have had a more significant death plotwise and emotionally than any of the humans, and another is a woman who literally exists as a picture someone makes up a personality for and then discovers the real woman died. The most significant character on the list is a temp boss that got a four episode story arc about being a useless idiot who died in the hospital after a basketball dunking accident.

That is a show that ran for 9 seasons and over 200 episodes. It's pretty universally regarded as good, and the cringe asshole boss getting genuinely moving emotional beats is a big part of that. I think we can maybe pretty confidently say that reflecting the random realities of death is not essential to every story.

If OFMD wants to be evaluated as a hard-hitting drama or a queer story about the struggle of piracy against the Evil Empire, I will compare it to Black Sails instead of The Office. I just don't think David Jenkins is going to enjoy that comparison.

I'm not going to lower my standards because [insert rep reason the show must absolutely be a wild success here].

[mo-nmage]

these 2-3 people on insta who think they're a million times better than the writers and that they can do the show better than those who created it are genuinely so unserious like come on

[purgatorygrl]

Arthur promises Mary that once he gets the money they were supposed to get from Dutch's wonderful plan he would go with her. But when you finish the game and watch that scene again, you realize that everything was lost. They couldn't do anything, there was going to be no money and there was no time for Arthur to be able to return to Mary and escape to live the life he dreamed of because he was dying. And somehow Mary knew that was never going to happen. You can see it in the disappointment in her eyes. Arthur had some hope that that precious dream would come true but Mary knew that he would not be able to escape from that world. Arthur tries until the end and I think he goes along with a lot of Dutch's plans because he partly hoped they would work out and he could get the money to go with Mary.

And after their encounters after so long, the wound of impossible love was probably reopened for both of them and it was much more difficult to forget and turn the page on that love story they had. Mary's last letter expresses it all perfectly. They hoped to escape but neither Arthur could leave that world nor Mary could enter that world. Or she might be able to get in, but she knew she wouldn't come out unscathed. They tried as hard as they could with everything they had but in the end they had to settle for dreaming it in their heads.

"I will always miss you" and "When I'm with you, life makes sense" in Mary's final letter leave me completely devastated. That and the fact how Mary has to give back the ring that Arthur gave her because it reminds her of him and the life they could have lived and it causes her so much pain that she has to give it back to him. That card represents the pain of a person who has to leave the love of their life behind them despite knowing that she will probably never find someone as amazing as Arthur.

[sukugo]

everytime sukugo gets called a crack ship i suffer +10 damage

[henrybelly]

honestly when i tried to figure out why some fans are so mad at ivypool these days i was looking through avos and. the scene where ivypool apologises to twigpaw for not supporting sending a patrol for skyclan is genuinely very sweet??

i actually saw someone characterize this as "ivypool forcing twigpaw to forgive her". is it crack you smoke. is that what you smoke. you smoke crack?

[ismyteadoneyet]

How fortunate am I to have so many Things to love and be excited about, to appreciate and look forward to?

Things I feel so strongly about that they stumble into my mind, univited, at random times of the day? Things that spill into my speech and vocabulary without me noticing? Things that impact my vision to the point where everywhere I look, everywhere I go, I see ghosts of them?

How lucky am I to have so many Things I love and cherish enough for them to reshape my very person, change my beliefs and make me grow? Things that make my own loved ones see the Things out in the wild, and go out of their way to make sure I see them too?

How wonderful is it that I have Things that I love so much that the very act is deemed and dubbed "not normal", making my love for them seem like it's more than they are supposed to recieve? An out-of-the-ordinary and above-the-norm appreciation for the Things that make the people around me shake their heads, call me "silly".

My dear, beloved Things, may I always stay silly for you ❤️

[iangallagherisadeadman]

guys my brainrot of au!rockband is out of hand i cant think of nothing else and I'm so conflicted cause I've never written a fic before english is not my first language I wouldn't know where to begin with and I don't want to put so much time and effort for it to be shitty but at the same time I want to expand this idea so bad you guys don't get it I have a clear visual image of the direction I want to take for the concept art for their first 2 albuns and I'm fucking writing songs too I'm beyond cooked I'm going insane here

[silverislander]

i'm thiiiiis close to just blocking the whole j/v tag and/or the individual tags for both characters :)))

[maulfucker]

they weren't lying that likes to reblogs ratio in fanarts is insane (awful)