#No I will not think about how shit the animation industry is now

[38sr]

same anon that asked about shadows ! , i have another question , how does different budgets for different animes change the way it is drawn , animated etc , like how does it go from average to ultra quality like demon slayer for example ..

Ah so with anime it’s a very nuanced topic. Firstly, I want to preface that what I am about to say is strictly from my experience working in anime for three years now and even then I would highly implore to study the Animator Dormitory Project to learn from animators who are PHYSICALLY dealing with the imbalanced system that is the anime industry. ALSO, it is important to clarify more money does not equal better art visually. More money means more time and resources. How you use said resources and time is what determines the quality of art (as well as the quality of work environment for the people making said product). If we were to follow the logic that more money equals better art, that would mean the average Family Guy episode should look like an average Demon Slayer episode. That is simply not the truth because 1) every production is different therefore their needs and overall artistic vision will differ 2) you’d be surprised on how the money is actually spent versus what you think it should be spent on (ie American animated films choosing to do celebrity voice casting which eats up a shit ton of the budget when that could have gone to the production crew’s schedule and needs). So with that, please understand money does not play in the ways you think it does (ie if it makes the drawings better) but it cannot be denied it’s one of many factors. Alright?

Basically, anime is funded through production committees which are a group of investors (such as manga publishers, merchandise manufacturers, tv broadcast executives, etc). In America, we have a similar system known as the AMPTP however unlike America where an investor can invest in cross industry projects (ie. Mattel can invest in toys and film entertainment) in Japan they can only choose one industry. This leaves budgets for anime to not become incredibly inflated like we have here in America (ie most blockbuster movies nowadays). BUT because of this rule along with the rule of budget caps, the actual budgets of full seasons of animes have not changed much since maybe the 1960/70s. To bring it back to Family Guy, the average episode of that show from script to final broadcast has been reported to cost anywhere between $1-2 million PER EPISODE. If you multiply that with the full episode order (let’s say 13 just to match the average season of anime), you’re working with $13-26 million FOR A SEASON.

Anime, specifically TV anime, is not seeing that. Shinkai’s Your Name was reported to have $4.5mil for actual movie production (not including the advertising budget which would make it 7.5 or roughly 8mil). $4.5mil. For an anime film.

$4.5 million is a good (and rare) budget by American TV animation standards for PER EPISODE. Unless you’re like, Disney or something you can afford to do that but most average American TV animation is anywhere between $1-3 million per episode. And the average anime is seeing that $1-3mil PER SEASON due to budget caps. So if we do the math of dividing that $1-3mil across 13 episodes (and I’m gonna do this evenly because this is a hypothetical and in reality some episodes do have more money put into for more TIME and RESOURCES)…that would mean your average anime episode, from script to final broadcast, is only seeing a couple hundred thousand dollars unlike here in American where we have a couple million.

And so at this point you’re probably thinking, “Wait, this doesn’t make sense. How can Your Name look like the way it is if that’s what America could spend on a single animated episode? Why is there such a wide disparity between the actual budget versus the final product’s visuals?” And that, my dear Shadow (sorry if that came off weird) is where we have to talk about communication. You see, even though Demon Slayer might not be seeing the same episode budget like we do in America what Japanese studios have in spades that American studios spent over 2 DECADES eradicating is in house layout and animation teams.

The reason why anime looks the way it is on such smaller budgets is quite honestly because they are communicating with each other in real time. In America, we ship our storyboards to a studio overseas (usually Korea, Philippines, India, etc) where we are basically playing a gambling game of whether or not the overseas studios produce the desired work we want. And spoiler alert: it hardly ever truly happens because of language barriers and these overseas are often not given enough money (remember that means time and resources) to actually succeed. Hence, you go into retakes which cost money and spend it back to overseas which cost money, and then it comes back and retakes are still needed which cost money yet again and I think you’re beginning to see why this system in American studios is awful.

Because the amount of money you spent doing that back and forth with retakes and shipping with an overseas studio who was not set up for success could have been spent on having an in house layout and animation team like they do in Japanese studios.

As someone who has freelanced on animes as well worked at vendor overseas studios for American made productions, I cannot understate how having that instant communication (as well as cultural understanding) can drastically change how things get animated. Being able to talk to your director about their intent for a scene at an instant is much more productive than waiting 6-8 months for a Russian roulette bullet. So my point is, the direct communication Japanese studios have within is the true unsung hero as to why 1) visually beautiful shows like Dandadan or Demon Slayer exist 2) they are able to have such a wide variety of visual styles under the anime umbrella because Japanese studios do value auteurship just a tad bit more than American studios who as of late is homogenizing our media cause it’s “safe”.

Also, another component that can factor into why anime looks the way it does despite smaller budgets is because Japan as a society heavily values reputation. On one hand, it’s cool that artists are willing to come together to bring the vision of an artist they admire to fruition. But on the other, it is often used to exploit these artists into very shitty work situations (ie me when I worked on JJK). It’s such a hard thing to talk about because as artists we do tend to sacrifice our well being for the sake of art but I could understand why someone on the outside might feel confused (or frustrated) that we would choose to put ourselves in a poor situation. Sometimes, you’re just willing to take a lesser pay and tighter deadlines to work on a project that speaks to you creatively. And it really do just be that. But for the case of anime, it is often because these artist want to work with a person they admire so who I am to judge them when I’ve done the same haha. But my point being, because Japanese studios have that in house communication and are more open to artist auteurship there’s just more room to have visually distinctive episodes, animated sequences, designs and so on despite the budgets not being the greatest (if we’re going by American standard of living because it is objectively true that Japan is not as costly as places like NY and LA).

I could go on and on about this but I think this answer has become way too long haha. But in summary, Japan isn’t seeing as big as budgets as you think you are from an American perspective. Anime budgets virtually have not changed that much for decades despite it being mainstream and incredibly profitable. I will add that studios like Kyoani and Ufotable have the advantage of potentially self funding their projects, which allows more creative power to the studio itself rather than having to comply to the production committee’s whims. But those studios are like….rare gems ‘cause they chose to nurture talent and be selective with their art over time as opposed to Mappa who is spreading the talent and production crew super thin by adapting too many shows. What makes the art in anime look that way is more so a result of passion and respect for the craft (as well as they’re just open to a lot more versus American execs who are risk-adverse). It would be great if they were given more money so they weren’t producing episodes on such tight schedules (usually a handful of months before official broadcast) but it’s really a testament of how they effectively allocate the money where it’s needed as well. It’s truly an amazing balancing act in a system that’s equally imbalanced.

Phew, that was a long one but I hope I answered your question. And with that, always remember kids that money does not equal better art. Money means more time and resources and how you use it is what determines the overall artistic vision of a production.

[pinkiepig]

Rewatching steven universe the movie an it's documentary really reminded me why the heck I draw. Its so refreshing hearing people talk fondly about the creative process in the industry and how it can really squeeze your balls but it's sometimes rewarding during its processes and seeing it's end.

I want keep loving art please please please please

[bmpmp3]

post ankle-twisting clarity

[sainamoonshine]

A note to all creatives:

Right now, you have to be a team player. You cannot complain about AI being used to fuck over your industry and then turn around and use it on somebody else’s industry.

No AI book covers. No making funny little videos using deepfakes to make an actor say stuff they never did. No AI translation of your book. No AI audiobooks. No AI generated moodboards or fancasts or any of that shit. No feeding someone else’s unfinished work into Chat GPT “because you just want to know how it ends*” (what the fuck is wrong with you?). No playing around with AI generated 3D assets you can’t ascertain the origin of. None of it. And stop using AI filters on your selfies or ESPECIALLY using AI on somebody else’s photo or artwork.

We are at a crossroad and at a time of historically shitty conditions for working artists across ALL creative fields, and we gotta stick together. And you know what? Not only is standing up for other artists against exploitation and theft the morally correct thing to do, it’s also the professionally smartest thing to do, too. Because the corporations will fuck you over too, and then they do it’s your peers that will hold you up. And we have a long memory.

Don’t make the mistake of thinking “your peers” are only the people in your own industry. Writers can’t succeed without artists, editors, translators, etc making their books a reality. Illustrators depend on writers and editors for work. Video creators co-exist with voice actors and animators and people who do 3D rendering etc. If you piss off everyone else but the ones who do the exact same job you do, congratulations! You’ve just sunk your career.

Always remember: the artists who succeed in this career path, the ones who get hired or are sought after for commissions or collaboration, they aren’t the super talented “fuck you I got mine” types. They’re the one who show up to do the work and are easy to get along with.

And they especially are not scabs.

*that’s not even how it ends that’s a statistically likely and creatively boring way for it to end. Why would you even want to read that.

[snekdood]

Commercial food brands:

People aren't buying your products bc you put milk in everything and no vegan options. People are learning that eating SO MUCH MILK AND MEAT is NOT actually great for you and your body and also makes ya constipated. I think maybe yall should invest in vegan options and alternatives to your popular products, then you wont lose so many people to being fed up and ultimately resorting to cooking for themselves since like most every popular food brand has 0 alternatives.

[ordinaryschmuck]

I love that The Ghost and Molly McGee's forced cancellation isn't just frustrating to fans of the show but to people in the animation industry as well. They're just as sick as we are about how much studios disrespect animation. They keep looking for the next Spongebob, Simspons, or goodness forbid Family Guy, but instead having faith in the creators and their content, they just...wait. They wait to make a profit and do the bare minimum to market their shows and make them available.

Let's look at Gravity Falls for example. I remember that when Gravity Falls was still airing, you would be able to find out a new episode was coming out based on coming across a commercial by random chance or by the people working the show promoting it online. Add that with the fact that it was on a different channel that required you paying MORE for your cable to get it. It WAS available through Disney Channel, a channel more available at a cheaper price, but the entire of Season Two got moved to the more expensive Disney XD, where Disney shows go to die, because...REASONS. With no warning or announcement. I think I found out about Gravity Falls moving to Disney XD because the trailer played during a commercial break. And that's just the START the show's problems. Mixed in with poor marketing, the show would have a crazy inconsistent schedule, where we'd have four episodes a week, a few months of NOTHING, a few more episodes a week, nothing for a few months, a random episode playing between that nothingness with next to no promotion, and all of that happening to the rest of the show until it finally died a slow death with its series finale where four episodes got stretched out for six months. That...is NOT okay. And it doesn't stop with Gravity Falls.

Steven Universe, OK KO, Ducktales 2017, Amphibia, The Owl House, and now Ghost and Molly McGee are all shows that had similar and sometimes WORSE treatments as Gravity Falls did, where the networks gave next to NO marketing, the creators had to promote their own shows themselves, and the airing schedules were so inconsistent with wildly long hiatuses that only the most dedicated fans were willing to keep watching. General audiences (mainly kids) weren't willing to keep up with shows that had ongoing stories if the episodes stories kept being too spaced apart and never had reruns as frequent as other shows like Teen Titans Go or Big City Greens (Or whatever's constantly on network TV nowadays. I don't know. I mostly watch shit on streaming).

The people of the animation industry is catching onto all of these tricks, and they're getting sick of it. They're getting sick of inconsistent schedules. They're getting sick of trying to bend over backwards in every possible way to make the show they wanted. By either making serialized content as episodic as possible so the network could air it more or by condensing their stories as much as they can, already expecting that forced cancellation to happen sooner than later. And in some cases, they don't even get the luxury of being told their show is ending. Did you know that Inside Job and Paranormal Park both had seasons that were already in development before Netflix pulled the plug shortly after releasing new episodes of their shows? Did you know that The Ghost and Molly McGee was already working on a Season Three before Disney shut that down so they had to force out a series finale that would still be good despite the cancellation? Because it's true. It's ALWAYS true. Creators want to make MORE, but the studios won't let them because they didn't profit off of it. Except they WOULD HAVE if they treated it better.

I want kids to grow up with characters that stick around through their childhood, just like I did with mine. I want kids to have their own Ed, Edd n Eddy, Codename: Kids Next Door, Phineas and Ferb, or Kim Possible. I want kids to watch shows that last more than two-three seasons, stick around for years, and leave an impact as if they have all the time in the world because to them, it feels like they do. I want kids to have a show that ends on a high note because the creators wanted it and not because the networks demanded it. But the unfortunate thing is that it doesn't seem possible nowadays. Because if a mostly episodic show like The Ghost and Molly McGee fails, despite being charming and inoffensive and something most kids will love, the what hope IS left.

[grumfield]

There’s a lot more to be said about this but when I was getting my master’s in media studies I focused a lot on children’s media and shit man, the state of older children’s/middle grade media is so abysmal right now it’s not even funny. There’s a lot of blame going to the Usual Suspects for why kids ages 9-12 don’t read as much but little actual attention as to how tonally transitional stories are a dying breed for the current generation of children so cut off interest in reading. The culture is essentially creating the media equivalent of not letting your kids outside to play because you’re afraid of strangers and getting mad when the kid spends all their time online.

Kids “read up” by about 3 years, meaning that a 9 year old generally wants to read books about 12 year olds, and so on and so forth. It relates to aspirational maturity and personal freedom—a lot of books with 12 year old protagonists follow characters being independent, which a 9 year old is just starting to feel they want, and are interested in exploring the dangers and themes associated with that. Percy Jackson deals with the dangers of being on the road alone, Warrior Cats is all about interpersonal politics and violence that’s easily digestible because it’s wrapped in a nice talking-animal bow.

Basically right now, if we just went off the current releases, kids are expected to go from watching Toy Story to watching adult movies with very little in-between to ease them into either, leaving this gap for when parents think a PG-13 movie is too adult while the kids feel that Toy Story is too babyish…so kids stop interacting with the narrative media and find things where they feel they’re “reading up”, which is usually found in social media spaces. No one wants to be condescended to, and the state of contemporary media has the potential to feel that way.

Media powerhouses aren’t making Secret of Nimh or Watership Down anymore, and the MG fiction scene is generally focused on family narratives skewed towards younger audiences. The film and publishing industry both do suffer from adults demanding that the stories they grew up with as kids follow them into adulthood, just exacerbating this cavernous gap. Lots of YA books feature college age protagonists now because many YA readers are adults who want “more from YA” but don’t want to read adult books because they’re afraid they’ll be boring, and as a result the subcategory has been skewing up in age. If people demand that Star Wars “get serious about the realities of war”, for the adults who grew up with the franchise, the kids are left behind behind because the subject matter gets out of their scope.

I think this has something to do with the sanitization of fiction and general cultural preoccupation with “protecting kids” from dark themes. Anyways. There’s more to be said about this I can’t articulate but people really are surprised pikachu face about kids not reading when there’s nothing they want to read.

Kids playing with Barbie dolls are often not paying Barbie goes to the mall.

[taffywabbit]

idk if i'm way off the mark on this, but the way some people are responding to that Guillermo del Toro interview about the decline of studio animation is a bit frustrating to me. specifically the bit where he talks about "emoji animation" and how everything is over-animated and pushed too far and things are rarely allowed to not be ultra-cartoony (y'know, because animation always needs to be marketable to children who are never trusted to have attention spans, right?). like, i think he's generally correct about it! but some folks are taking the wrong message away from that.

i've seen people going off about how "soulless" and "corporate" various recent examples are, and talking about these pieces of media as though they're the result of some kind of personal failing or lack of skill/range on the part of the animators, and it's just like. do people realize that's the only animation you're usually allowed to DO in the industry, unless you get incredibly lucky and land yourself on a project/studio that's unusually cool?

when i was in college for animation it was literally drilled into us nonstop that everything had to be pushed more, that exaggeration was not a guideline or a sometimes-treat but a hard rule that always had to be applied regardless of what was going on, because the viewer couldn't be trusted to pick up on subtlety and we sure as hell couldn't be trusted to convey it. you ever wonder why there's such a specific vibe to a lot of self-directed student films, particularly ones that are focused on character acting/interaction or deep emotions and introspection (especially when there's minimal/no dialogue)? it's because for a lot of young animators, they haven't had the freedom to experiment with realism and subtlety up to that point and they're likely not going to have it again for a while (or at all, unless their career path leads to higher positions where they might have more creative direction over the things they work on. which also becomes a lot less likely if they're anything other than a cishet white dude, for what it's worth).

i would LOVE to see more nuanced, realistic, understated motion and acting in animation. i WANT more characters to be able to express what they're feeling through natural body language and facial cues and for scenes to allow me to breathe instead of spelling everything out in giant bold flashing text all the time. what del Toro wants to see changed in the animation industry sounds great, and i hope others join him in seeking to revamp what modern animation is allowed to be.

but as things currently stand, and as they've stood for a long while now, most artists doing the grunt work on the shows and movies you see are completely at the mercy of corporations and networks who have a vested interest in producing a very specific kind of marketable and cost-efficient media all the time. (and by extension that style is ALSO what's taught in most animation schools, because their job more than anything is to grind you down into a perfect little sweatshop worker who will bend over backwards to meet quotas and get your work approved and not question the higher-ups, even if you have little to no personal investment in the projects you're working on, so that the studios who employ you can maintain their good reputations or whatever)

anyways idk what my point was here, this really just sorta became a rant and my views have undoubtedly been coloured by my own personal experiences (this kinda shit is largely why i dropped out before my last year of animation school, for the record).

i guess just be kind to folks in the animation industry? they've had it fucking rough nonstop for well over a century (the majority of them are still not unionized and there's HUGE pushback against doing so in many places). i assure you they are doing their best to infuse the latest uninspired illumination flick or weird spinoff kids' show with literally any amount of soul they can. you don't have to like the stuff that gets produced by any means! be a hater! i'm certainly not gonna stop you. just remember where these creative decisions come from and why these conditions exist, and consider that when YOU watched something and thought "hmm that could've been done better", you can bet your ass someone actually working on it probably thought the same thing but couldn't do anything about it. these things WILL change as the industry itself improves, but in the meantime folks have to pay their rent, and that usually means doing what they're told and working in a way that will minimize revisions and meet quotas so they can keep their jobs. it sucks, but it is what it is.

[trinrose3]

Not to be conspiratorial on main but fuck if this is true 😭😭😭😭

Honestly I think that’s not TOO far off from what I think is happening but the YouTubers aren’t the main point here, it’s the animation industry itself! considering what recently happened with HBO Max and Warner brothers (and now Netflix) and the cancelation of mutiple GOOD animated series, especially ones that actually CARED about good rep it wouldn’t be too far off to say this is just adding fuel to the anti original “woke” animate series that’s been happening. Like take Disney for example they purposely remove and “forget” to advertise shows and movies (like Strange Planet and TOH) that have actual representation so that they can say “oh these shows don’t do as well let’s not make more”.

they’re doing almost the same thing with this. They knew it was gonna be shit which is why they were TOLD not to included scooby in the show.

also im SURE they’re aware of the distaste people for for the “riverdale” effect that reboots have been having. They’re purposefully making it unappealing to EVERYONE and THATS why critics can’t figure out who it’s target audience is for. It’s whole purpose is that there ISNT one. they’re already getting rid of all the original animated content. What’s next? The reboots. The only thing really left for mainstream 2D(!!) animation at that point would be ads (and MAYBE a few games). And we’ll we all know how we feel about those… they’re purposefully trying to kill the industry, specifically, a very UNIONIZED industry. Now THATS my conspiracy theory lmao

anyways support small animation studios and creators except for vivziepop :)

[capitalisticveins]

Seeing as how you're doing headcanons again i'd like to request hcs of Gavin,Milo,Sam,Vincent,and Guy( btw here's a thought for ya Guy as Hermes dangerous has stuck in my head for the past couple hours send help) also your previous hc were also great!(you could say they were ruthless ha ha ha im sorry that was bad lol)

~ Deviant anon （⊃◕ω◕(´ω｀*⊂)

idk if you can tell but I really like Guy

also I wrote headcanons for some character recently so characters like Gavin, Sam, and Milo have them a lil short than Vincent and Guy since it takes a while to think about possible in-character hcs for them. Sorry :(

Lots of Headcanons #3

Gavin

Believe it or not, Gavin’s social media accounts are usually blank. Save for Instagram. He just has them to comment under the group’s posts.

Despite never reading a book, Freelancer has told him he’d do best in the writing industry.

He does not know how to hold a baby. If you give him a baby for any reason he’d hold it with both of his hands under its shoulders.

The worst he’s been scared was when he played a horror VR game, but he didn’t scream or anything he really just jolted and went “shit” and moved on. Freelancer was not amused.

He likes being the big spoon when he and FL cuddle because he gets to breathe in their scent, hold them, and remind himself that this is real, and not just a dream he’ll wake up from.

Milo

You can’t beat him in cup pong. Digitally or physically. You just can’t.

The only reason David is considered a better cook than Milo is because Milo uses a lot of seasoning and the pack is full of babies who can’t handle oregano or sazón.

Whenever the pack goes somewhere tropical he has to wear a shirt or Sweetheart will constantly attempt to latch onto his torso.

Milo and cats have always gone together like peanut butter and jelly. He had a cat toy when he was a toddler, his first cell phone had a stray cat as his wallpaper, he’d feed the stray cats around his home, etc. So when he learned that he and the people around him could turn into “dogs” (wolves but still) he was DEVASTATED. Got over it after a day tho.

He likes juice boxes.

Avid Apple Juice “tastes like piss” hater, although he also says mint ice cream tastes like toothpaste so take that as you will.

Sam

Sam fucking hates cowboys.

Sam had braces from the ages of 19-21 and the only upside he had to being a vampire when he first turned was that he didn’t need his retainer anymore.

Sam always reads manga wrong and no matter how many times anyone explains it he’ll read it from left to right and never understands what’s going on.

The closest Sam has gotten to riding a horse is when he flopped on top of Darlin’s back while they were shifted and they walked around his house like that…he’s never been on a horse.

Sam has a lot of existential crisises, compared to like Vincent or Porter.

If something's flying and he can't figure out if it's a plane, helicopter, animal, or any identifiable flying object, he just believes it's an Alien UFO and moves on.

Darlin' gave him a wheat head for Christmas once. He was not amused.

Vincent

Wanted to be a youtuber for a brief period in time in 2010.

Had a weird obsession with those traced anime characters dancing tiktoks in 2020, a little after meeting Lovely.

He canonically has multiple cars he likes showing off to Lovely, but he also nearly never uses them and it’s Lovely who showboats them and takes them on joyrides.

He didn’t believe William at first when he was first told he’s a vampire now and was the only one who survived The Surge incident, until they both saw his funeral take place and see his grave, which took place a long time after the accident because his parents refused to believe he was dead.

He had 3 tomodachis at once and they all constantly died because he forgot feeding them was a thing.

He commonly "regrets" asking William to make him unable to lie to Lovely because they like to ask him embarrassing questions on purpose and he can’t help but answer them, even though he could just stay quiet.

His favorite memory as a kid was roller skating with his parents on his 7th birthday. Even though he fell on his face, sprained his ankle, and had a loose tooth fall out. Still his favorite day.

Guy

GUY IS SO HERMES CODED UR RIGHT

Turned a fanfic he wrote as his college essay and got in just because of it.

Was very afraid of Honey when they first met, they kept staring at him like he was the scum of the Earth. They just wanted to talk to him about the Animal Crossing pin on his backpack.

Whenever his friends order from Max’s, and he turns out to be their delivery guy, they make fun of him so much (playfully) and give him a 10 dollar tip

He borrowed his friend’s motorcycle to impress Honey

Cried over Gnomeo and Juliet

Dressed up as the Thomas Jefferson Miku Binder drawing in 2023.

He almost gave himself a buzzcut once when he was drunk, he had to be held down because everyone knew he’d regret it so hard later, not matter how funny it’d be.

[fawn-paws]

That plus I acknowledged that it could possibly not be JUST McDonald’s. If you get E. coli from eating onions from somewhere else, that sucks. If you get it from eating from a place that gives free food to genocidal murderers, serves you right idc. Not to mention you’re eating the flesh of sentient living beings. Idk maybe you should think about your priorities a little. And also learn to read.

” y’all shouldve been boycotting” an outbreak of e coli in one ingredient comes from a larger production facility that manufactures many other food products. it is not a moral failing

You didn’t read the rest of my tags.. lol.. regardless, don’t think too hard about it okay?

[bmpmp3]

i think its really fitting that the "this shit........ is so ass :'') " anime girl reaction image is from oshi no ko because that is also what my expression was like the whole time while reading the entire last third of the story

[nolita-fairytale]

comfort & chaos (carmy berzatto x fem!reader) chapter two: covid & carbonara

summary: in a time of isolation, you and carmy find unexpected connection in unexpected places: each other. (the five times carmen berzatto fell in love with you a little and the one time he finally told you)

warnings: swearing, no use of y/n, she/her pronouns, drinking & smoking, suggestive language, mentions of covid-19/the pandemic, eventual smut.

word count: 4k

listen to: hot sugar - glass animals | hard to live in the city - albert hammond jr. | alone together - del water gap | foreign girls - bleachers

read: chapter one

March 2020: 

“Carmy, can you hear me now?” you ask, listening carefully for his response. 

“Yeah hold on. Wifi’s shit in this room,” he mumbles. You hear a rustle of sounds and the picture on your phone goes blurry for a second. This is just something you’ve come to accept is a part of your life now as you wait. 

Suddenly, the picture is clear again and it looks like Carmy’s in his living room now. He wears a white t-shirt and a pair of sweatpants as he tries to get comfy on the shitty sofa in his Flatiron apartment. 

“Ok there we go. I gotta-, yeah, I can hear you now,” he says, finally settling in. 

“How are you?” you ask as you grow more sure that you’re going to be able to talk now. “It’s good to see your face.”

“Yeah, no uh. It’s good to see you too,” he replies. “Shit’s so weird right now, huh?”

“Totally,” you agree. “So… what’ve you been up to? I mean… how are you spending your time?”

He sighs, shaking his head, as if to say that he barely knows how to answer that question. He thinks it over before answering with:

“I don’t know. Workin’ on some recipes. Tryin’ not to lose my fuckin’ head. You?”

“Same,” you commiserate. “Though… I don’t know. I’ve kind of been enjoying some of the down time, you know?”

He couldn’t agree less. 

Carmy tells you about the recipes he’s working on. You share with him the plot of the show you’re binge watching right now. He tells you he hasn’t really been in touch with family much and you let him know that you’ve been running errands for your parents where you can. It’s a fairly normal conversation for a very uncertain and strange time, but it brings you comfort – talking to Carmy. 

You talk about the state of the restaurant industry. The state of the world. The two of you wonder when the restaurant might open back up – if they’ll consider doing to-go’s. He’s not sure and neither are you.

It’s almost two hours later when you realize your phone is dying, and that somehow, time has flown as the two of you have been talking. 

“Shit, uh. My phone’s dying. I may have to go,” you say remorsefully. 

“Oh yeah! No problem,” Carmy replies, almost apologetically. “And I uh, if I get in touch with the people at World Central Kitchen, I’ll let you know. I’m sure they can always use more chefs and volunteers.”

“No, that’d be great. Uh… before I go,” you start, knowing that you want to tell him this. “I just wanted to say… I’m glad we did this.”

“Yeah me too,” he agrees, and you can tell he means it. 

“Maybe… we do it again? Keep each other company… you know. Virtually?” you propose, hopefully. 

“Yeah,” Carmy half smiles. “Yeah, I’d like that.”

And as the pandemic drags on, you find yourself FaceTiming with Carmy more and more. Once a week turns into once a week and a consistent exchange of texts. He shares with you the recipes he’s working on. You bounce ideas around with him on dishes he feels stuck on. You send him silly memes and TikToks, even though he refuses to get an account himself. Once a week turns into twice a week, and then phone calls, and soon enough, you don’t go a day without talking to Carmy in some capacity. 

You’re not sure how you’ve done it but you think that maybe you and Carmy just might be friends. 

May 2020: 

“Thanks so much for all the help guys. It means a lot. Especially having two chefs of your caliber,” the volunteer coordinator says, addressing both you and Carmy. 

“Listen, we’re just happy to be a part of something right now. With so much going on… it’s hard to know where to begin helping,” you reply with gratitude. You’re genuinely thankful that you’ve been able to be a part of World Central Kitchen’s COVID relief efforts, and you know Carmy feels the same. 

“We’ll see you guys next Friday?” the volunteer coordinator asks. 

“Heard,” Carmy answers, thanking the coordinator one more time before the two of you leave the building. 

Around the corner, there’s a bench that the two of you find. It’s an easy choice to sit down – neither of you are quite ready to go home yet. You sit on opposite sides before removing your masks as Carmy pulls out a pack of marlboros. 

“You want one?” he asks you, holding out the pack.

“Yeah,” you agree, taking one from him at a distance. You watch him light up, before handing you the lighter he keeps in his jean jacket pocket.

It’s nice to take a moment to pause. Between the chaos of being in a kitchen again to the chaos of the world around you, it feels good to smoke a fucking cigarette on a street corner with the man that’s so unexpectedly become your friend. The two of you sit in a comfortable silence, just enjoying the sounds of the city, each others’ company, and your fuckin’ cancer sticks. 

You break the silence between the two of you, letting out the smallest chuckle.

“What?” Carmy asks you, your laugh garnering his attention. 

“It’s just… it’s almost funny,” you say, continuing your giggle. 

“What?” he asks you again, a look of amusement on his face. He can’t imagine what must be so funny. 

“Just… seeing you here… Mr. Fine Dining…makin’ sandwiches,” you tease playfully. “Thought you were too fancy-pants for that.”

“Fuck off,” he rolls his eyes playfully, sucking on his cigarette as he inhales. You laugh again as he shakes his head, shooting you another look. 

He takes his time, exhaling the smoke out in the opposite direction, before addressing your playful remarks. 

“Nah. It uh-, actually reminds me of my family’s place a little. Back home,” he shares with you. 

It catches you off guard. Carmy rarely ever talks about home, let alone his family. 

“Yeah?” you ask curiously, hoping he’ll elaborate.

“Yeah,” he answers with a nod, before placing the cigarette back in between his lips. 

To your disappointment, you realize that’s all he’s planning to share. You resign yourself, taking another drag of your cigarette as the two of you smoke to the sounds of the city. After a long shift at the volunteer kitchen, your exhaustion begins to catch up with you. It’s been a few months since you’ve had to stand for that long, and as exhilarating as it’s been, you can feel the fatigue in your back and your feet already. 

“So… I was thinkin’ about something,” Carmy says, breaking the silence between the two of you. 

You angle your body towards him before asking, “What’s that?”

He shrugs, “I don’t know. Maybe it’s dumb.” 

He’s suddenly shy, and your eyes flicker over his cheeks that have turned a darker shade of red than they were before. 

“Carmy, what is it?” you ask, leaning towards him, now intrigued.

He avoids your gaze before he replies, “Nah. Nevermind. It’s stupid.” 

“No, it’s not! What is it?” you continue to press him.

You’re not going to let this go. 

“I shouldn't've said anything.” 

He sighs, taking one more drag of his cigarette before leaning forward and tossing it on the ground. His left foot hovers over the cigarette butt as he stamps it out, his forearms resting on his legs as he finally turns to you again. 

“I don’t know how you feel about it, and you can totally say no because like… shit’s still fucked, you know but-,” he starts, shyly. Was Carmy about to ask you out?

 He pauses, his eyes scanning the pavement beneath his feet before saying, “It’s just-, I’m not like, seeing anyone else in person. Except you.”

“Yeah, no me either,” you agree. 

Where was this going?

“Would you maybe wanna-?” he asks, before trailing off, his piercing blue eyes so intense it feels like he’s looking right through you. He nods towards the kitchen before continuing with, “... see each other in person. Like outside of here. As long as we’re being safe you know?” 

You nod, quick to put the poor man at ease, and only a little intrigued as to why it was so difficult for him to ask you that. 

“Yeah no. I’m not seeing anyone else in person either. And at this point if we had COVID, we’d probably already have exposed each other, right?” you reply. 

“Yeah,” he answers. 

“Yeah, I’d be down. To… you know. Maybe move some of our FaceTimes… in person, if that’s what you mean,” you agree, a smile on your face. 

You’re not sure what you expected, but you weren’t expecting for Carmy to ask you to become his quarantine buddy – even if you’d already kind of been doing it anyways. 

“Cool,” he says, taking a breath. 

You can tell that it was a big deal for him – to ask you that – even if he doesn’t want to show it. 

“Can I walk you home?” he asks. 

You smile in return, “Yeah. And if you’re feeling wild… we can… pick something up on the way there. You can come up and hang.”

“No, yeah. That uh-, that sounds great,” he replies, something softer in his eyes this time. “If you don’t mind. I mean-, if you want the company-.”

“Oh shut up, Berzatto,” you roll your eyes at him. You shoot him a look, even though you’re kind of loving this softer side of him. 

“I wouldn’t have offered, if I didn’t.”

July 2020: 

Carmen Berzatto becomes an unexpected yet pleasantly surprising part of your support system, and your COVID-pod. It’s hard to believe that less than a year ago, you thought the man absolutely hated you. He’s still the hot and cold, emotionally turbulent man you met last October, and he’s also become your friend. You’ve learned that he can be soft, that he’s terribly uncomfortable in any and all social situations, and that he’s the most single-minded, driven, obsessed motherfucker you’ve ever met. 

By now, the restaurant has pivoted and reopened for to-gos only. It’s nothing like the fine dining establishment it was before. You’re only open Thursday to Sunday and it’s a much more family style, to-go kit sort of operation these days: to-go cocktail kits, to-go curated menus, to-go assemble your own dishes at home. 

It’s strange. And it’s a strange time for all of you. 

You’re finished with your shift today, ready to head home and spend the next three days off. You’re not sure when you’ll ever get three days off in a row once all of this is over, so you’ve decided that you’re just going to embrace the slower lifestyle right now. You’ve been more creative in this chapter of your life than you can remember. 

“So you layin’ it down for Carmy or what?” a voice asks, jolting you from your thoughts. 

“Excuse me?” you snap, turning your head to a very smug looking Nate Walker, stripping off his face mask.

“What the fuck, man?” Tim exclaims, as he’s changing back into his street shoes. “Not okay to say.”

“What?” Nate defends himself. “I’m just wondering who I have to thank. This is the most relaxed I’ve ever seen the boss man.”

You scoff, rolling your eyes, “Really nice, Nate.” 

You shake your head, before slinging your backpack over your right arm, exchanging a look with Tim. 

“Not that it’s any of your business, but Carmy and I are just friends,” you correct. “Ever think that some time off has been good for all of us and that’s why Carmy’s been chill?”

“‘S not like we’re working at the same capacity we used to be. I think it’s been good for him,” Tim chimes in, trying to offer you a little backup.

“Sure,” Nate replies, unconvinced. 

“What’s it to you anyways, Walker?” Tim asks, putting the spotlight on his coworker. 

“Nothin’,” Nate replies, defensively. “Just noticed you guys spendin’ a lot of time together lately. Besides, the guy could use a good lay.”

“You’re a child,” you snap with an eye roll. You slide your left arm into the other strap of your backpack, ready to leave. “Now if we’re done with the girl talk, I’m going home.”

As you begin to walk away, you can hear Nate defending himself as Tim points out how inappropriate it was for him to say that to you. You’re grateful for people like Tim, because you’re not sure that Nate would listen to anyone else lower in the French brigade system – let alone a woman. 

“We still on for tomorrow?” Carmy asks you, as you're on your way out. He’s still in his chef whites because, as the both of you know, he’s going to be the last person to leave. A smile spreads across your face as soon as you see him. 

That’s right. You’re spending your day off tomorrow with him. 

“Yeah,” you smile with a nod. 

“Mine or yours?” he asks. 

You shoot him a look – a ‘I know you haven’t cleaned up your place’ kind of look. 

“Mine,” you reply. 

“Sweet. There’s a cool market nearby I wanted to check out. I’ll pick somethin’ up on the way,” he says back. 

“Heard.”

You wait a beat before adding, “Try not to work too hard, chef.”

He likes that you’re looking out for him. 

He smiles, “Heard.”

*

As much as you’ve tried not to let Nate Walker get to you, you can’t stop thinking about what he said the day before. Did people think you and Carmy were sleeping together? Did the whole staff think you were trying to sleep your way to the top? Your mind races, and you notice the anxious feelings you have have settled deep in your chest. Carmy moves around your kitchen, intentionally, and while you’d like to enjoy how happy he looks when he cooks for fun, you can’t seem to shut off your brain. 

“You sure I can’t help? I went to culinary school too, yknow?” you ask, trying to put on your best lighthearted tone. 

“Nah,” he dismisses, pulling together a sauce in one of the glass bowls you keep in your kitchen for prep. 

As Carmy steals a glance your way, he’s surprised to find that whatever weight it seems you were carrying when he first walked in, hasn’t gone away. He returns his focus to the stovetop, shaking the stainless clad frying pan that holds his precisely-cut lardons. 

“What’s up?” he asks you, keeping his back to you. 

“Uh… nothing,” you reply, trying your best to shake it off. 

He knows you’re lying, and he turns to look at you again, more intently this time. Your lips are pressed together in a thin line and there’s a new tension knitted between your brows that’s not normally there. As much as you’re trying not to let it get to you, your face betrays you and he knows that something’s been bothering you all day. He shoots you an unconvinced look and you sigh in defeat. 

Since when had Carmy learned what that look meant. 

“Just-, you’re gonna think it’s dumb,” you start, almost embarrassed that you have to bring this up to him. 

“What’s up?” he asks, patiently. 

You shrug, “Just something that Nate said yesterday’s been… bothering me, I guess.”

He rolls his eyes, letting out a dry laugh as he asks you, “Well Nate’s a dick. What’d he say?”

“I-, I don’t know if I should tell you,” you admit hesitantly. 

“Why?” he asks, a pang of nerves hitting him right in the gut. 

You wait a beat, trying to figure out how best to convey what Nate said without freaking Carmy out. 

“He uh… he kind of… suggested that everyone thinks we’re sleeping together?” you say cautiously, your voice going up at the end of the sentence, almost as if it were a question. 

“Oh,” is all Carmy manages to get out. 

“Yeah,” you exhale. 

“Well, we’re not,” Carmy replies, simply. 

Right. 

“Right,” you agree. 

You’re surprised by the feeling of disappointment that wells in your chest in response to Carmy’s reply. This had been eating away at you and for him to shut it down so quickly – like it was that simple – doesn’t quite make sense to you. 

Maybe it’s because men never bear the burden of an inappropriate workplace relationship, not that you’re having one with Carmy, but you know it’d be a bigger cost to you than it’d ever be for him.

“I just…” you start, beginning to understand why it’s bothering you so much. “Do you think… like is it a problem that we’re hanging out? I mean, you are kind of my boss and… I don’t know. I guess we never really talked about the ethical implications of… you know. Us. Being friends. And also working together.”

Friends. 

Right. 

Maybe because it’s because he’s never really had friends, let alone a girlfriend, that catches Carmy off guard.

You’re just friends, motherfucker, Carmy thinks to himself. 

It’s like he’d almost forgotten. 

Perhaps it’s the isolation – the way of the world right now – but he’s never thought about what you were to him. Ever since the two of you had decided to start spending time together, it had been you and him against a very scary and uncertain world. Carmy’s surprised to find that, hearing it said aloud, friends, leaves him with a feeling of dissatisfaction – like the word friend didn’t quite describe the way he felt about you. 

But he’s terrified to think about what that could mean. That anything else would probably scare you away – push you out of his life – and there’s no way in hell he’s going to let that happen right now. 

Because he likes this too much. 

Because he likes who he is when he’s with you. 

Because you’re all he has. 

He pushes the thoughts out of his mind for another time, because right now, you’re sitting right in front of him, and he’s got a problem to solve for you. 

“As long as we’re professional in the kitchen… I don’t see why it should be a problem,” he says. 

You’re not sure how it seems so simple for him, because it doesn’t feel this simple for you. 

“Yeah, no. I-, I agree,” you lie. 

Carmy returns to what he’s doing, and you accept that that’s probably the full conversation that you’re going to have with him. At least right now. You watch as he continues to cook, pulling together the sauce as he tosses the pasta and cheese in your frying pan. You open up your phone, scrolling through a few social media posts to try your best to get your mind off of your worries as Carmy finishes up in your kitchen. 

It’s not long before he’s returned to your small dining table. You set your phone down, watching as he approaches you. 

“I remember you mentioning that it’s hard to find a good carbonara so uh… thought I’d make you one,” he says confidently. Carmy hands you bowl containing a perfectly twirled nest of spaghetti, along with a fork he’d gotten from your kitchen. 

“How do I know it’s gonna be up to my standards?” you challenge him playfully. 

He shoots you a ‘don’t play with me’ kind of look and you giggle in response. You exchange glances with Carmy before messing up the perfectly plated nest by digging your fork into it. 

“Make sure you get a little bit of everything,” he reminds you. He watches as you twirl the spaghetti around your fork, making sure to scoop up a bit of crispy guanciale. You lift the fork to your mouth before taking a bite, your eyes closing as the salty, cheesy, bite hits your tongue. 

It’s perfect.  

“Holy fuck,” you practically moan in response to your first bite. You open your eyes and he smiles back at you, proud of the response he’s earned from you. Your face twists into a look that falls somewhere between ‘this is so good I’m angry and hello, I’ve reached nirvana.’ 

“This-, please don’t take this the wrong way, but I’m pretty sure your talents are being wasted on fine dining, my friend. This is… this is fucking unreal, dude,” you say, as you continuing processing the most perfect carbonara you’ve ever had in your life. 

“No offense taken,” he says. 

You shake your head at him, “Best carbonara ever.”

September 2020: 

“So we go upstate, and we’re searching for outdoor activities we can do, you know, safely, at a distance, with masks on. And we end up at this goat farm,” Maya says, describing her and her fiance’s last few months spent in upstate New York. 

“...Was the goat named Milo?” Carmy asks, a humorous tone to his question. 

“Carmy!” you exclaim with a laugh, shooting him a look. 

“What?” he asks back. 

Both Liz, Maya, and her fiance Patrick send you questioning looks. 

“I-, it’s an inside joke,” you explain, shaking your head once again in response to Carmy’s very silly interjection. 

“Anyways, it’s so nice to be back in the city. Seriously, Liz, thanks for organizing this,” Maya continues. 

“Oh, I’m kind of getting really into this whole cute picnic thing actually,” she replies, in reference to the picnic she’s organized for the five of you. “Plus, the to-go picnic kit has been killing at the restaurant. Thanks for letting me run with that, chef.”

“No, yeah. You’re killin’ it. It was a great idea,” Carmy compliments. 

The five of you spend time in the park, catching up and enjoying time spent in person for the first time in a long time. You, Liz, and Carmy have been back at work, pushing through, what will hopefully be, the last month or so in the to-go only business at the restaurant. As the sun begins to come down, you all agree that it’s time to pack it up and go home. You’ve begun to collect all of the trash in a brown paper bag as Carmy offers to take it. 

“You sure?” you ask him. 

“Yeah,” he answers. 

As he takes a walk, in search of the nearest trash can, your friends are immediately on you about whatever the hell it is that you and Carmy are doing. 

“So what I’m hearing is… you talk every day, you have inside jokes together, and you’re basically quarantining together. How are you trying to tell us that this man is not your boyfriend?!” Maya exclaims. Her partner shrugs in agreement. 

“I know that what Nate said was hella inappropriate, but he’s not wrong… that this is the most I’ve seen him relaxed in… maybe since we met him,” Liz adds in as your friends make their case. 

“He seems into you,” Patrick offers. 

“I-,” you start, knowing you don’t have much time before Carmy returns. “I don’t know. All I know is… I like what we have. And right now, we’re friends so.”

“God, you’re so good at it,” Maya sighs. 

“What?” you ask, looking from her to Liz as they exchange glances. 

The both turn to you, before saying in unison, “Compartmentalizing!” 

Patrick holds his hands up as he says, “I’m gonna stay out of this one.”

“You ready to go?” Carmy asks, rejoining you and your friends. 

You can practically feel Liz and Maya staring at you. 

“Yeah,” you reply to Carmy. 

You say your goodbyes before going your separate ways, and Maya swears when Carmy isn’t listening that you’re not done talking about this. It’s just been you and Carmy for so long that you hadn’t thought about what it might look like to other people. Now that things were slowly reopening… you were beginning to get more questions, and maybe, you were beginning to have more questions too. 

But the last time you’d tried to bring up any conversation about your relationship with Carmy, he’d shut it down and distracted you with the best carbonara you’ve ever had in your life. Not that you were complaining, definitely not, but you were hesitant to bring it up any time soon.  As Carmy looks at you, there’s something about the way you look against the backdrop of the city, the setting sun, and the sparkling lights, that catches him off guard. He’s not ready to part ways with you yet.

“Can I walk you home?” Carmy offers, hopefully. 

“Sure,” you nod.

read chapter three

taglist: @allthefandomstogether @gaysludge @sobshoney @harrysmatcha @starbritestarlite @tpwkkmila @cool-girl-is-hot @nunya7394 @galaxyprincess51-blog @carmensberzattos

[yannaryartside]

I am tired of Sydney being a “knight in shining armor” for these immature men

The trailer of s3 made me reflect on a big problem with the show for me so far. The use of Sydney on the plot overall and in the character arcs of men. This is a rant, if you happen to be on the side of the fandom that think these men are perfect and Syd is valued as their support, feel free to scroll.

Part 1: the woman

Sydney Adamu is insecure on her leader/social skills and her creative habilities. That, and her kindness, is what makes the audience root for her. She is releatable but most important she is real, she has taken it impulse by impulse, creating on the fly ways to succeed in a industry not very welcoming to people with her personality (or that look like her). All of that makes sense in a story of an underdog.

But yet, the show has normalized at this point how much shit she takes from a group of really emotionally immature people. And how much they expect her to figure it out answers to the problems that they themselves cause.

Thinking about it like an animal getting into a new pack without the capacity to defend herself from any attack. The shitshow she tolerated in s1 has never been properly addressed and it seems like the worst storm is yet to come in s3. She fixed the logistics of the beef and implemented a hierarchy. Things that Carmy was incapable of doing due to his story with the staff and his own mental turmoil. In s2, she was the only professional chef actively making decisions and efforts in the future of the restaurant. Carmy even reprimanded her for not making the decisions he was supposed to do. And she reminded him “you wanted the final say, this is on you)

Syd is not helpless in any way, but she has applied kindness and fairness most of the time to this point, and I wonder if this time that is gonna cut it. I am mostly tired to get her back to that scenario again. If anything, the part that got me the most excited of Richie’s redemption is how she could actually rely on him. And then it came the trailer.

Part 2: the men

The part that got my blood boiling in the trailer is the response “Show me a functional one” from Richie and Carmy.

We are in season 3, and with all the growth and all those balls, these men seem to expect her to fix an issue, wich core is actually their own emotional immaturity. I am sick of it. “Mother, maid, therapist”🎶

She must deal with Carmy’s recklessness and the fight between him and Richie. A very green new staff and a unqualified old staff mostly. All of that creates the dysfunctionality in question, and I wonder where her character will go to resolve it. The restaurant had a shaky base (particularly on front house staff and line cooks) and now Carmy is getting on everyone’s nerves. Putting fire to an already unstable chemical.

Part 3: Heroine’s Journey

It would take a pro to resolve all of this shit, and the people involved (and responsible for the problem) turn to this young, inexperienced woman for guidance and answers because the only person in the kitchen with actual industry experience is trapped in his own destroying tendencies.

That is not only the underdog story that is human vs forces of nature, another common plot structure. Forces of nature incarnated in unstable men and our hero is a woman. That is so fucked up and yet so real. That is the value I give to this scenario.

I really don't think that, besides Tina and Nat, there is a single member if that kitchen aware of how much Syd was alone last season picking Carmy’s slack. And even they were barely able to help her. Everybody else was to happy for Carmy loosing his virginity apparently. All this scenario could very well repeat itself this season on how much they are insisting on Claire and Carmy getting back together.

I know the show is about leaving toxic cycles and the people who can help you get better. Sydney is supposed to be made from a different matter than the Bearzattos because otherwise, the toxicity will continue. I just wish she could coldly let them know how much of a pest they can be sometimes. And not be treated as unfair because she left her “role” in creating a new system. Anger is boundarie setting emotion and it can be very constructive, and expressed without the chaos of the Bearzattos. She did this in s1 and if done again I think this time the general audience (except the racist/misogynistic obviously) will understand that this tough love is necessary as well.

Let's not normalize (in this show) women taking shit to be good women and a reward for seeing the potential of men. It is not like society is not doing that for us already.

Sydney is not a punching bag, and she knows it, she definitely will stand her ground this season, wich can be very encouraging to young woman entering a workforce that is not designed to support them. I think she will go to Ember to work closely with Chef Terry (Olivia Coleman) to get knowledge of how women can shape this toxic places. It will be her version of forks. The toxicity may escalate to a turning point for her. She tolerated (and transformed) s1 and s2, we know what is in her heart. The point will definitely come, because this is the time for evolving or dying, for everyone.

But again, I need these men (besides you, Marcus, you are going to be her rock) to start taking responsibility for the shit they are fucking up. That would be nice. I am sure there will be moments of it since this growth is literally the show's theme. I am just kind of tired of the “Mother, maid, therapist🎶” undertone of it all. It could be applied to Nat and Tina as well.

[kaythefloppa]

Wild Kratts - Bumblezzzz - Thoughts

This episode airs on TV tomorrow, but was released online in the PBS Kids Video App. So if you're planning on watching it on television, or unable to access the videp app, you may want to scroll off for spoilers

I was aware some bees come in blue (hi Martin). But GREEN???? The fuck?

The epitome of "waking up and choosing chaos."

I envy Chris's organized manner.

Bros went from Salamander Streaming to a Salamander Snack ☠️

This raises - so many questions and thoughts.

Apparently there is a "Villain Weekly" magazine that is sold in copies? I mean there's a Finding Your Inner Villain Seminar so I guess that tracks but... just how many people are stanning, supporting, and funding these villains who, I should specify, NEARLY FLATTENED THE AMAZON. You can't just... walk backwards from that without a serious career-and-possibly-life-ending PR disaster.

(Actually I just remembered that Elon Musk exists and has his share of supporters despite how awful he is to the point where it borders on cartoonish, which I guess kinda tracks here)

2. The magazine has a picture of Donita on it, which implies that it's about her. Why would Donita have a COPY of a magazine featuring her? Why would she have to buy it. Do I not know enough about advertisements in the magazine industry?

3. Why would Donita trust Zach with anything? ANYTHING? He regularly gets his inventory mangled by the enemy every week as a result of his own ineptitude and often steals whenever said inventory is too shitty for his own good. She really shouldn't be surprised that he forgot to give it back.

4. Donita canonically lives in New Hampshire. Zach lives in Massachusets. That is an hour and a half away just by driving. Even if Zach isn't by his mansion, still he could've just flown his plane over to Donita's mansion. Or if he was too lazy, he could've hired his bots to do so. Inversely, Donita could've just come and have the manequins collect.

5. DONITA THREATENING ZACH WITH MOB VIOLENCE BY SICCING DABIO ON HIM IF HE DOESN'T RETURN THE BOOK WHAT THE HELL???

I feel like I shouldn't be surprised. I mean, this is the same person who quite possibly forced Martin to undress and into new clothing whilst he was in suspended animation in her debut appearance (and also sicced Dabio onto him when he resisted), nearly drove lemurs to extinction all over a dress in the Season 3 finale, attempted to skin salamanders alive for a fire-proof suit in S5, and oh yeah, was instrumental in the attempted destruction of the Amazon Rainforest. But still, this was so out of nowhere, and the fact that Dabio smiles; (and remember, according to Season 3, his ancestors have been working with the Donatas for generations, so this shit was a family business) This one scene, if all others haven't, single handedly manage to show Donita and Dabio as arguably the most brutal, nasty, and vile villains. It's just one scene, but I see these guys in a pretty different light now.

Also, I mentioned this before. If she's willing to do all that previous stuff mentioned above for her own gain, if she's willing to do this to Zach over a petty book loan, what the heck is she gonna do to Paisley when she finds out about her betrayal? What's she gonna do to Rex if he eventually redeems himself?

As someone who has made it my legal obligation to analyze the timeline in Wild Kratts, I will definitely say that this episode takes place on June 20th, the first day of the summer season. That means absolutely nothing in the grand scheme of things.

I don't even think I should explain how terrible of an idea this is.

This is plain biology and a fact of life, but since they missed the opportunity to make a Bee Movie reference, I will take this as such as compensation.

Because I didn't say it earlier, I'll say it now: Bumblebees are so. Fucking. Cute.

AAAAAH!!!!!!!!!

Not enough screengrabs to convey this but the brothers are obviously trolling Zach here and I love it.

For all of you angst writers, here's some new ammo. Because I'm fairly certain that this can unoequivically KILL a human being if bumblebees were as big as us. In fact between this episode, and the next episode, Chimpanzee and Me, I'm convinced that the only reason Zach's robots are henchmen is so that the brothers can get away with being as violent as fuck towards them in so many beautifully creative ways without any actual bloodshed.

The fuck even is this episode 😭😭

CONCLUSION:

PROS:

The humor, once again, is amazing. It didn't get in as much laughs as the previous one, but still.

The Bumblebee Suit. It's such a breath of fresh air from the more uncanny looking Creature Power Suits in the modern seasons

Bumblebees are indeed highly endangered. It's good that this episode brings light on that and how important it is to protect them

CONS:

This entire episode's plot goes by... way too damn fast. Seeing the bros immediately get themselves into the jam, and then also immediately seeing Zach, and even the brothers quickly explaining bee features to Aviva. It all feels like this episode is just on fast-forward, even though it's a regular-length episode. It really could've been paced better.

Zach's motivations are stupid as ever, and he is at his peak bitchiness here. But again, the fact that such cartoonishly bullshit evil like this happens in the real world (which WK cleverly delivers a giant middle finger towards), and the fact that Zach gets his ass kicked for his genuinely awful plan mitigates a LOT of damage.

Final Ranking: 7/10. Still pretty good. I've been anticipating a Bumblebee episode for the past year after seeing leaks of a magazine featuring the Creature Power Suit, and it did not disappoint.

[flower-boi16]

I think what's actually alarming about Helluva Boss and Vivziepop is that the shower suffers from heavy creator-fan enmeshment, and the writers/Vivziepop don't see themselves as the problem for it. It's like they see themselves as the victims, too, while encouraging their fandom's toxic mindset and behaviors.

The writers/Vivziepop are not only too entangled with their fans, but they're THINKING like fan artists/fanfic writers instead of actually making a show. There's a difference between writers of a show and fanfic writing. When you take up the mantel to create a show you have to carry yourself in a way and write your show with a point otherwise you end up with shows like Helluva Boss/Hazbin Hotel, Miraculous Lady Bug, SVFOE, SPOP, and other shows that fall into that category. Some of them focus more on the shipping than the point of their show to begin with.

What makes a good show is having that distinction or maintaining that professionalism. Creators of shows should NEVER let themselves sink into the cesspool of their Fandoms because they should be focused on their story/message instead of all this shipping/woobing bullshit.

TLDR: Helluva Boss never had potential with VivziePop holding the reigns to begin with. It's too disorganized and unfocused, and with the Fan Enmeshment, it was never going to grow or expand from its fanfic-y feeling. If the creator of the show never grew up, we should never expect the show to grow, too.

Though it is a shame since it could have been charming, had someone more professional taken the show.

Viv definitely was never cut out to handle a big project like this. I’ve said this many times before, but ya, Viv writes like a fanfic writer; everything with how messy the structuring of how her shows is and how poorly they are planned makes me think this.

It reminds me of when I tried to make my first fanfic and just went in without a plan with how to structure it which led to me just abandoning it early on. Viv writes like that.

She didn't listen to criticism of her Zoophobia comic and she still isn’t listing here. She shifted the focus of HB away from the premise to shipping nonsense and now we have this weird mess of a show that doesn’t even know what it wants to be anymore.

Season 2 seems to prioritize relationship drama over the actual premise which caused the show’s downfall. Hazbin feels a bit less fan-ficy but it’s still very messy.

Viv just crams too much shit into too little time which results in the pacing being awful. She paces her shows like a fan fic writer. It feels like she only came In with a small understanding of how show running works and jumped right into the industry because she was excited to show off her gizzalion OCs she had since high school.

Everything about HH/HB feels amateur. I really think that before you get into storytelling you need to actually study how to create good stories, like there are YouTube videos out there you could watch for free that give a run down of what is good or bad writing.

You don’t need to spend 20+ in school to be a good writer but you need to have a basic understanding of how to even write your ideas before you start making stories…which Viv clearly does not.

HB Season 2 in general doesn’t feel like a natural continuation of the first season. It feels like a fan-fic written by a fan after season 1 ended posted on wattpad that the show runners decided to animate and voice into a full season.

Viv should have learned how to run a show before jumping into something as ambitious as this, but she didn’t, and look at what we got.