#This storyline is SO good and everything I'd want on the show

[magentagalaxies]

going to a comedy open mic tomorrow mostly to watch my friends (it's at a cool venue that my improv troupe performs at once a month and a few improv troupe friends are doing standup there) but when these friends were asking if i'd be interested in coming they were like "btw there's usually a ton of open spots on show days if YOU want to do something... and they're not strict about it only being standup either, people have done character pieces and sketches etc like they embrace the weirdness... and they're not strict about time limits you could probably do anything between three and eight minutes... sometimes if there's not enough people signed up they'll even let you go twice..." and i'm like god damn it i thought i was gonna take a break from aubrey but this setup is like tailor made for an aubrey appearance lmao

[doctorbunny]

MILGRAM Hallucination Booklet Translation pt.1 (Yamanaka and DECO*27 Interview)

Context: This interview was from a booklet handed out at the MILGRAM Hallucination live show on the 21st January 2024 (if you want a copy you can buy it here) This translation was made possible by the generosity of @maxpawb sharing images of his booklet with me This translation is mostly my own, but @maristelina helped me with some sections. Now without further ado:

Q.01 Introduce Yourself. I'm Takuya Yamanaka. I'm the creator/planner/screenwriter for MILGRAM. I'm DECO*27. I work as the music producer for MILGRAM. I like Hatsune Miku.

Q.02 What reactions from the guards have been the most surprising so far? Yamanaka: There are a lot of guards that were born overseas, aren't there? Even though it's created with rather Japanese sensibilities, overseas audiences didn't seem to mind at all. Though the countries and sensibilities are different than what I anticipated, votes have become more multifaceted, it's very interesting, isn't it? DECO: To forgive or not forgive the prisoners what do you do, whether it goes as you expected or the result turns out to be quite the opposite, its fascinating. Maybe your nationality affects the kind of criteria you use to make judgements? I've been thinking about something like that.

Q.03 Is there anything you didn't imagine would happen at the start of the trial? Yamanaka: I didn't write it with a large overseas audience in mind, because from the start I wasn't worrying about popularity at all, I simply didn't think I'd be watching over so many guards. Milgram was developed as a more underground project, but it's popularity is a good surprise, isn't it. DECO: There were more people who got into MILGRAM without already caring about my music than I imagined, it was surprising. I feel like MILGRAM has spread further beyond than what I thought it would. I'm very grateful!

Q.04 So far, what's made you the happiest? Yamanaka: Everything. As a creator it brings me great joy to see a work that existed in my mind, take shape and be enjoyed by so many people. Other than that, because I also love the characters I've birthed, seeing all the guards talking about them and sharing their thoughts, both positive and negative, has to be the best feeling. DECO: It makes me happy to see lots of people analysing the meanings I put in my songs! The theories get pretty close to the truth too, I think... the power of all the guards is really cool.

Q.05 So far, what has been the most challenging? Yamanaka: Because I have to change the script in accordance with the audience's decisions, I can't create the entire story in advance. Furthermore, as of the second trial, there aren't only individual character storylines, the prisoner's verdicts begin to emerge and they influence each other. That is to say, I can't start writing until after everyone's results are out. Willingly subjecting myself to doing something this unreasonable, is what I feel is difficult for me. But because DECO*27 is also going through the same hell, we're holding on to some semblance of sanity. DECO: The story changes in accordance to all the guards' choices, and the music has to be written to match. I think this is harder for Yamanaka-P, who writes the script, than it is for me... But though its tough, I feel its really worthwhile, It makes me really happy to be able to communicate with everyone through my songs!

Q.06 Do you have any regrets like "I wish I had done it differently back then!"? Yamanaka: I've thought it over quite carefully, but there's nothing in particular. I think everyone involved in the project is giving it their all and its a really passionate environment. DECO: Nope! I've been able to put all the things I've thought of into my songs.

Q.07 Which prisoners are the easiest to write dialogue/music for? Yamanaka: If I had to pick one, it'd be Fuuta. He's the type of person that's pretty easy to write because his brain never shuts up. Other than him, Yuno and Shidou are relatively academic kids in theory, so they're easy to write because they're very clear when it comes to what they want to convey. [TL note just because its funny, the idiom Yamanaka uses is lit. "There is barking in the inside [of Fuuta's] head] DECO: It went smoothly for all of them!

Q.08 Which prisoners are the most fun to write dialogue/music for? Yamanaka: Muu's lines were the very fun to write~. I'm fascinated by her approach to life and can't help but envy how fun it must be to behave like that. Yuno and Amane are my runners up. I enjoy writing the kinds of characters who plainly state their ideas and speak eloquently. DECO: Mahiru! From the start writing about the relationships between men and women has been what you might call my forte, its enjoyable to make. I feel like this is also why I find Yuno easy to write for.

Q.09 Which prisoners are the hardest to write dialogue/music for? Yamanaka: Overwhelmingly, Haruka's dialogue takes me the longest to write. I have to use the parts of my brain that I wouldn't normally use to figure out how to not just directly convey what he wants to say. DECO: None of them!

Q.10 What's your favourite combination of characters? Yamanaka: Amane and Shidou. They're on completely different wavelengths about everything, and the best part is that there's no getting around it. My second pick might go to Yuno and Muu. They don't get along at all so their fights are never just superficial squabbling. DECO: I always like the interactions between Es and the prisoners. I'm liking how over the course of the voice drama interrogations, Es seems to be gradually coming to understand the prisoner's humanity. Especially Es + Mahiru!

Q.11 Do you want to be friends with any of the prisoners? Yamanaka: Shidou and Kazui. I like the idea of being friends with professional people. I think that people who choose to go into something specialized, its clear they have a kind of resolve and that's charming, isn't it? DECO: Yuno! I feel like she'd be easy to talk to. She seems like she's used to friends who maintain a good distance from each other. [note: while 'good' here can mean a fair amount of distance, in Japanese relationships the concept of boundaries is also built into the idea of distance, so in English you might talk about someone who is a close friend but still has good boundaries, but in Japanese this is someone who has the 'right amount'/ちょうどいい of distance from you, so this could mean Yuno doesn't have any close friends or that Yuno is just a good friend because she isn't going to turn up to your house unexpectedly and eat all the food in your fridge]

Q.12 Do you want to date any of the prisoners? Yamanaka: I love all of my characters a lot, but, well... how should I say it... I don't think I would date any of them. [TL note: I had to shift the wording to be more natural in English but the Japanese Q is more like 'which prisoner would you want to be your boy/girlfriend?' curse english for not having an exact equivalent to koibito, so Yamanaka's answer is more like 'I think would break up with all of them' its a nominal difference but my friend said to mention it bc its funny] DECO: I'm sorry.

Q.13 What's your favourite line/phrase? Yamanaka:

[Scene from Muu's first voice drama Crying B, TL taken from MILGRAMMER]

Es: Judging from your facial features, are you what they call “half-Japanese”? [lit. haafu/Half] Muu: Yeah… I’m biracial. [lit. daburu/Double]

It would have to be that wouldn't it? I got goosebumps when I wrote it it. DECO:

"It's not my fault"

I think that single phrase was able to represent Muu's character really well, if I do say so myself.

Q.14 Are there any prisoners that you think its good they're in MILGRAM? Yamanaka: All of them. Without these 10 people, this Milgram would be a complete failure. DECO: Without these 10 people, MILGRAM wouldn't exist!

Q.15 Is there anything the guards aren't aware of yet? Yamanaka: Of course, there may be some minor details, but I don't think there are any major points missing. The mysteries have already disseminated, I feel the full picture will be clearly revealed if the theories and wild speculations, which have been shared around the world, come together. As expected. DECO: There are! I hope you look forward to the gimmicks I wanted to put in my songs that will come out in the third trial!

Q.16 Is there anything you haven't been able to do up to now, but you want to try doing after this? Yamanaka: I want to do a stageplay. Every performance would be a different story set in Milgram. If anyone reading this is involved with stage productions, please contact me. [I can't find it now but I swear a while ago Yamanaka tweeted something similar like "I'm interested in doing stage adaptations of Caligula Effect or MILGRAM, if anyone is involved with stage production please contact me" I hope he does it, a MILGRAM stage play would be awesome] DECO: Fortunately, I'm already doing everything I want to do! Writing the trial 3 songs couldn't be more fun.

Q.17 Represent "MILGRAM" in one word. Yamanaka: 『人』 "People" DECO: 『噓』 "Lies" [This one is both simple and interesting so as a preview I'll share how akka and DMYM answered] akka: 『幻』 "Illusions" DMYM: 『信』 "Faith"

Q.18 Give a brief comment about the future of "MILGRAM". Yamanaka: There have already been plot developments that I personally wish I didn't have to write. The guards have all chosen a very intense path. It's frightening. I've also been ready to obey these choices since the start of MILGRAM, so I think we all should enjoy this story that can only be told once together. DECO: I've already started writing the prisoner's songs. It's hell. Please prepare yourselves. Q.19 A message for the guards. Yamanaka: Thank you for always looking after the prisoners. Milgram is a work that involves the participation of everyone, including yourself. The thoughts you had, the actions you took, the joy, and resentment you felt towards this prison, all this became a part of Milgram too. I would like you all to please live healthily in your realities alongside Milgram. DECO: Thank you for your hard work as guards. Although MILGRAM is full of troublemakers, we would be grateful if you could continue to watch over us for a long time to come. We will do our best to meet your expectations.

[A link to part 2 will be posted here when its ready]

(Japanese transcript under the cut)

Q.01 自己紹介を。 山中拓也です。 ミルグラムでは企画・原作・脚本をしています。 DECO*27です。 MILGRAMのサウンドプロデューサーを務めています。 初音ミクが好きです。

Q.02 これまでの看守たちからの反応で驚いたことは？ Yamanaka: 海外にもたくさんの看守が生まれるていったことですね。とっても日本的な��性で創っているので、海外ウ���とかきにしていませんでした。やはり国が違うと感性も違うものだと思うので、より多面的な投票がされて、とても面白いですね。 DECO: 囚人が赦すor 赦さないのどっちになるか、と自分で予想していたりもしたのですが、結構それが逆の結果になっていることがあって興味深ったです。もしかして国民性で判断基準が違ってくるのかな？とか考えたりしました。

Q.03 審判開始時点では思い描いていなかったことはあるか？ Yamanaka: 海外ウケ気にしたことないと書きましたが、そもそもウケ自体あまり気にしていなかったので、シンプルにこんなにたくさんの看守の方に見守っていただけるコンテンツになるとは思っていませんでした。もっと、アンダーグラウンドで展開するつもりだったんですが、嬉しい悲鳴ですね。 DECO: 想像以上にDECO*27を知らない方にもMILGRAMを観てもらえたことに驚きました。自分の思っていた以上にMILGRAMが広がったなと感じています。ありがとうございます！

Q.04 これまでで一番嬉しかったことは？ Yamanaka: 全部です。自分の脳内にしかなかった作品が、形になり、たくさんの人に楽しんでもらえること自体がクリエイターとしては大きな喜ぶです。あとはやはり僕は自分が産んだ登場人物のことが大好きなので、プラスでもマイナスでも看守の皆様が彼らについて語って、想いをぶつけてくれいることが最高に嬉しいです。 DECO: たくさんの方に自分が音楽に込めた意味考察してもらえた嬉しいです！かなり正解に近い考察もあって、看守の皆さんのパワーすごいな…と思っています。

Q.05 これまでで一番大変だったことは？ Yamanaka: ユーザーの選択によって、シナリオを変更をするので、あらかじめ制作することができないということです。しかも二審からは個人のストーリーラインだけでなく、他の囚人の結果による影響も出てくる。ということは全員の結果出てからじゃないと制作できないということです。そんな無茶を勝手に自分でやりはじめて、勝手に自分で大変な思いをしています。同じ地獄をDECO27も味わっているので、なんとか正気を保っています。 DECO: 看守の皆さんの選択に応じてストーリー変化し、それに合うように音楽を書くことです。これは僕よりもシナリオを書く山中Pのほうが大変だろうな…と思いますが…大変ではありますがとてもやりがいをかんじていますし、曲を通じて皆さんとコミュニケーションが取れていることが嬉しいです！

Q.06　「今思えばやっておけばよかった！」のような後悔はあるか？ Yamanaka: よくよく考えてみたんですが、特に無いです。制作に関わる全員がベストを尽くしてくれているとてもアツい現場だと思います。 DECO: ないです！思いついたことはすべて楽曲で出力できています。

Q.07 シナリオや音楽の制作がスムーズな囚人は？ Yamanaka: 一人あげるとすればフータでしょうか。頭の中でわんわん言ってるので、かなり書きやすいタイプです。あとはユノや、シドウあたりの比較的理論的で偏差値高めな子たちは何が伝えたいかが明確なので書きやすいです。 DECO: みんなすんなりでした！

Q.08 シナリオや音楽の制作が一番楽しい囚人は？ Yamanaka: セリフを書いていて一番楽しいのはムウですかねぇ~。こんなふうにふるまえたち人生楽しいだろうという憧れすあります。次点でユノやアマネでしょうか。思想がはっきりしてて、弁の立つタイプは書くのが楽しいです。 DECO: マヒルです！自分が元々男女間の関係性を描くのが得意ということもあって、楽しく制作しています。そういった意味ではユノも書きやすいなと感じます。

Q.09 シナリオや音楽の制作に苦労する囚人は？ Yamanaka: 圧倒的にセリフを書くのに時間がかかるのはハルカです。彼が伝えたいことを、伝わらないようにする調整に普段は使��ない脳を使います。 DECO: いないです！

Q.10 お気に入りの組み合わせはあるか？ Yamanaka: アマネとシドウ。すべての要素が噛み合わなさすぎて、どうしようもないところが良いです。次点でユノとムウかもです。表面的なケンカにならないだけでかなり気が合わないので。 DECO: エス対囚人の絡みは須く好きです。ボイスドラマの尋問によって段々とエスが囚人の人間性を掴んでいく様が気に入っています。特にエス＋マヒル！

Q.11 囚人を友達にするなら誰か？ Yamanaka: シドウとカズイ。友達にいてほしい職業の人たちです。なにかのスペシャリストを選択する人たちというのは、何かしらの覚悟が決まっている人だと思うのでそれだけで魅力的ですね。 DECO: ユノです！話していて気楽そうだなと感じます。お互い良い距離感を保てる友達になれそう。

Q.12 囚人を恋人にするなら誰か？ Yamanaka: 僕は登場人物のことを全員最高に愛してますが、まぁ、なんというか、全員やめとこうと思います。 DECO: ごめんなさい。

Q.13 お気に入りのセルフやフレーズは？ Yamanaka: 「その顔立ち、ハーフというやつか？」「うん...…ダブル」ですね。書いてて鳥肌でした。 DECO: 「悪くないもん」 1フレーズでムウのキャラクターを上手に表現できたなと我ながら思っています。

Q.14 ミルグラムにいてくれてよかった、と思う囚人は？ Yamanaka: 全員です。この10人でなければ、このミルグラムになっていないので。 DECO: MILGRAMはこの10人がいなければ成立しません！

Q.15 看守たちにまだ感づかれていないことはあるか？ Yamanaka: もちろん、些末な部分はあるかと思いますが、大きいところだとないんじゃないですかねぇ。既に問題はバラまいたし、世界中に発信された考察や妄想を組み合わせたらきっ��り全貌が明らかになる気がします。さすがです。 DECO: あります！第三審で僕が楽曲を通じてやりたかったギミックが出てくるので楽しみにしていてください！

Q.16 今できていないが、今後やってみたいことはあるか？ Yamanaka: 舞台がやりたいです。毎公演、コンセプトの異なるミルグラムで行われる舞台。舞台制作に関わる方が、読んでおられましたら是非山中まで。 DECO: 有り難いことに、やりたいことは全部やれています！第三審の曲を書くのが楽しくてしょうがないです。

Q.17 「ミルグラム」を一文字で表せ。 Yamanaka: 『人』 DECO: 『噓』

Q.18 今後の「ミルグラム」について一言。 Yamanaka: 既に僕が個人的には書かないでいたかった展開が確定しています。看守の皆さんなかなか強烈な道筋を選びました。恐ろしい。自分もその選択に従う覚悟をしてミルグラムをスタートしているので、一度きりの物語を皆さんと一緒に楽しもうと思います。 DECO: 既に楽曲を書き始めている囚人もいます。地獄です。覚悟しててください。

Q.19 看守たちへメッセージを。 Yamanaka: いつも囚人たちのことを世話してくださってありがとうございます。ミルグラムとは、参加する皆さん自身を含めてミルグラムという作品です。この監獄に対して感じた思い、起こした行動、喜び、 憤り 、それらすべてが作品の一部になります。是非ミルグラムと共にある皆さんの現実を健やかに生きてくださいませ。 DECO: いつも看守としてのお勤めご苦労さまです。曲者ばかりのMILGRAMですが、これからも末永く見守っていただけると幸いです。期待に応えられるよう、尽力してまいります。

[gffa]

Final result of Padawan's Pride is that I, tumblr user gffa, loved it! I loved the plot, the characters, the voice acting, the moments of humor, the moments of gravitas, the moments of aching hurt, the moments of love, all of it was an absolute ride that I had a good time with.

I went in with fairly low expectations, where the reviews I'd read ahead of time gave me the idea that it would be a fairly light, airy story without a lot of weight and I knew that Obi-Wan and Anakin were separated about a quarter of the way into what's probably a 30k word story or so. I was wary it would be like Brotherhood where it was billed as a story about the relationship between the characters, but then just really... wasn't.

But instead the relationship between the characters was never far from the plot of the story, there were so many moments of Obi-Wan and Anakin's psychic connection with each other, where even separated by being on opposite sides of the planet, they still felt the other and were aware of their emotional state.

I can't even quote them (not without it being a two thousand word long post) to show the connection, because it was just always there and the author really used that to great effect--these are PSYCHIC SPACE WIZARDS, they're constantly feeling motivations and feelings, in a low-key way that you might not notice until you're looking for it. But they're always there. Always connected to everything around them. And most importantly to each other--well, most of the time. And that one time they're not connected is an incredible character moment.

For a shorter story, it packed in a lot of emotional punches (including an ending that made me want to lay on the floor and cry because it hit me right in the feelings place) and had a lot of great character insight and Jedi philosophy and culture woven into everything. It felt like a story where the author really cared about the worldbuilding, but it wasn't a story about that, it was just there in the background, which delighted me.

Yes, the main storyline is a light, breezy story, but it was a genuinely fun one that was packed full of all the character moments I could have asked for, it had some crunchy edges to the characters and their interactions, they're still early-ish on in their relationship and often don't fully understand each other or take things in bad faith or have trouble really trusting in each other--but they get there in the end. And it's not a story about anyone being the bad guy, it's a story about two characters who don't always see eye to eye but still try to work towards each other and, in this moment, it works out for them because there's no evil space wizard dripping poison in anyone's ear. As always, I can't guarantee anyone else will enjoy it, only that I had a great time with it and wound up quoting almost five thousand words for my citations project and made almost 30 posts about liveblogging it, so that's my stamp of approval.

If anyone else has listened to it, PLEASE COME YELL WITH ME ABOUT IT.

[gothamite-rambler]

Bruce Wayne would be fricked for a while if Diddy was in his world and got caught.

I saw a video on tiktok (i just use to watch videos) and it made me laugh because it posed the question of what if Diddy or that island guy (don't want to say his name) were in the DC world and how Bruce Wayne as like a crazy rich play boy would be kind of screwed in terms of people questioning what the guy who disappears at parties, has taken in like three adopted kids, had a kid with a random woman, the second son fucking dying (and possibly being confirmed alive or has to remain in hiding), adopted one girl and took in a black boy and it's like we as readers know he's a good dude, but could you imagine that? Heck he might have people argue he's not that type of guy, but then have people go "I don't know Lex was attending those parties." And then someone goes "Yeah, but he's an actual bad guy!"

Heck a picture of Bruce shaking hands with Diddy under the assumption he was a good guy years before everything was revealed or Bruce was aware, but he knew the power Diddy had. Also the guy asked "Why did Dick Grayson just leave and move to Bludhaven?" And I love that lol because again we know why he left. It was a mix of rebellion and wanting to be his own hero, but... the gotham people don't know that.

Now Bruce has to remain quiet as people question how he's adopted one orphan, one kid who had a drug addicted mother and father and again died (and there was a CPS comic storyline after Jason died mind you), one who's parents died later in life and then Damian... is related to Ra's! (which I'm not sure if the world knows).

He's fighting for his life, but what he hates the most in this situation? The people he saw on twitter and defending him in the sense of the possibility he was involved, the creep fangirls, the strange homophobic and accusations of being a diddler. Dude would be pissed, like I'd feel so bad for him lol. So bad to the point I imagine after Jason Todd has a good laugh, he has to defend freaking Bruce and argue while he is a lot of things, he's not attend parties called the freak off (or whatever they were called) or going to islands to do those crimes when in reality Batman had gone there... TO BEAT THE CREEPS ASSES!

Bruce is in his office one day like, "I'm rich, but I'm not a monster. God damn it I send money to help people suffering in war torn countries, I'm a good man!" Gotta be comforted by Selina and Alfred. Honestly I did get annoyed when people in our world made fun of the whole Bruce adopted a young child, because yes at first it's odd, but then you realize he took in a kid who watched his parents die, horribly. That shit is sad to witness and Bruce went through the same thing. Same with Jason or keeping Tim when Tim lost his parents. It shows his kind side. Yes, it's odd he made them robins, but like... a sidekick is awesome to have. lol

That's my ramblings for the day.

[pessimisticpigeonsworld]

D&D saying that one of their favorite plots from the books is the Boltons in Winterfell is a massive sign of their sexism. Now, for anyone one else, I'd probably not care, in fact, I'd agree it's a very interesting part. However, when it comes to the showrunners who needlessly wrote in excessive rape and violence against women, I see it as a red flag. That's compounded by the way they wrote it.

From the beginning of the show, D&D sabotaged the storyline by removing Jeyne Poole. Keep in mind, ADWD was released in 2008, while GOT premiered in 2011, meaning there was no possible way for D&D to not know everything necessary to bring about that specific plot. Add to that the fact that GRRM was heavily involved in season one, them blatantly ignoring Jeyne makes even less sense if they truly cared about adapting it properly.

Knowing this, that D&D themselves sabotaged their own story, the way it was handled makes a bit more sense, though not nearly enough. Without Jeyne there to play the part of fake Arya, a new bride for Ramsay was needed. Sansa was D&D's favorite character, they were unsatisfied with the story GRRM had written for her, they wanted more screen time and plot relevance for her. It seemed like making Sansa take Jeyne's place was a good solution to both these issues.

Except it wasn't. Littlefinger sending Sansa out of the Vale to marry Ramsay makes no sense. Not only is Sansa the object of Littlefinger's obsession, a replacement for Catelyn in his mind, she also was important to Littlefinger getting the Vale on his side (in the show). She was charming the lords and knights, balancing their intense dislike for him with their desire to help/protect her. Not to mention she was his only alibi to save him from accusations of Lysa's murder. Sending her away from the Vale harms Littlefinger's plans. She also would definitely not be "protected" from Cersei; after all the Boltons were loyal to the Lannisters and hated the Starks, what's to stop them from killing Sansa or handing her over once the Northern lords are more settled?

Speaking of the Northern lords, D&D removed the Northern Conspiracy. Throughout the book plot, the Northern lords are plotting to save Arya and depose the Boltons (in a nutshell, it's actually much more complex, but I'm not going into that rn). It's an excellent expression of how the Northerners loved the Starks and hate the Boltons. In the show, the lords are a bit disgruntled, sure, but they have no interest in deposing the Boltons and saving Sansa.

Another major part of the storyline minimized by the show is Theon/Reek. Theon's struggle with identity is a major part of his character throughout the series, and ADWD is no different. He's been stripped entirely of his identity by Ramsay's torture and Theon's own choices. Part of his arc in this book is discovering himself apart from the Starks and the Greyjoys.

That's definitely not what the show did. As I said earlier, Sansa is D&D's favorite character, so naturally she became the center focus of this arc, while Theon was pushed aside. He's essentially reduced to the method of Sansa's escape and goes on track to return to his pre-season one perception of himself: a Stark. This is a massive disservice to his character, Theon isn't a Stark; his life with them is important to his storyline and will definitely inform what he becomes, but it's not the true culmination of his arc. Basically, Theon was turned into a side character in his own story. It's through his pov we see this story, he's the character most tied to Ramsay. Obviously Jeyne is important and a main character in her own right for this arc, but she is not the central character we see the story through. So why is Sansa? She has no stake in this story, Jeyne is forced there after being sex trafficked and Theon is a captive.

So what does this leave for the show version of the plot? There's no conspiracy, Theon's pushed to the side, and politics and overall story are sacrificed. Well that leaves torture and violence against Ramsay's bride. Without the many moving parts of that storyline, it's just a story of a woman being abused horribly by her husband and eventually escaping. However, the escape isn't even the main aspect of the story focused on, that's always the abuse. It's also purely Sansa's abuse, not Theon's or the many people tortured and murdered by Ramsay, Sansa is the sole focus.

So basically, D&D took a plotline that's filled with the inner workings of Northern politics and the complexities of battling identity loss and reduced it to another excuse to show a woman be raped and abused on screen. The desire to turn this stroy into another way to make Sansa suffer is disturbing, and to make matters worse she fucking thanks Ramsay later on?? This whole storyline in the show is disgusting and yet another sign of how sexist D&D are.

[anxresi]

They're absolutely right...

...It's the writers that deserve the lion's share of the backlash, for poor, innocent, boring-as-hell Zoe is merely a tool of the oppressor, aka Mr Astruc. What's being oppressed, you may well ask? Well, interesting storylines, proper continuity, two-dimensional personalities... I could go on. Everything that makes a show compulsive and rewarding viewing that Miraculous Ladybug conspicuously and utterly lacks in every department due to his increasingly destructive machinations, basically.

This pink-streaked plot device masquerading as a serious character can (along with another equally pointless individual called 'Soquerline' who was so unmemorable I almost forgot she was ever a thing) exists for one reason and one reason only: to diminish Chloe's relevance and role in the show to the sum of precisely nothing. Well after S5, job done I guess guys. Well done. Well done indeed. (Although apparently not... they're bringing Miss Bourgeois back for more torture in the London 'special'. Guess Tommy Boy just can't keep away from his favorite punching bag, can he?)

The irony is though, having such a super-sweet but dull-as-ditchwater Mary Sue to replace a well-established and multi-layered person such as Chloe actually sends out a seriously awful message. Why? Because if I was a bad kid and saw S1-3 Chloe, I'd think 'what a fascinating redemption arc, I can inspired by that and do better.' But after seeing S4-5 Chloe and what an arguable downgrade as a replacement the incredibly tedious Zoe is, I'd be more like 'well, obviously there's no point in trying to be good, because you'll probably turn into a psychopath overnight with no explanation in the middle of your genuine efforts to improve. And if what the show is presenting to me as the ideal for a teenage girl to be is the waste-of-blank-space that Zoe clearly is... then a life of deliquency sounds more tempting with every passing minute! Now, where did I put my spray can?'

The most shameless aspect to this whole argument though, is by those trying to paint the hapless Zoe as some kind of lesbian icon. Pardon? She got a plot-mandated crush on Marinette in one episode and somehow that makes her insipid and needless presence an asset for the gay community? Somehow a few people have got it into their heads if you 'dare' to make someone non-straight in cartoons these days you deserve a big pat on the back for that 'risk' alone. WRONG. They should also be fleshed-out, complex, necessary characters whose sexuality isn't just define them or deflect from deserved criticism as to what the hell they are doing there if they turn up in the middle of proceedings with no prior explanation. See: The Owl House for how it's done.

And that's all Zoe being gay is... an irrelevant trait Mr Astruc can point to cynically and say ' you're a bigot for disliking her whatever your reasons are, so I'm not listening to you' instead of engaging with the actual argument which is SHE IS NOT AND WAS NEVER NEEDED IN THE SHOW. Everything you required to make Chloe the brilliant character she could've been was RIGHT THERE in the script but you CHOSE to rub it all out and scrawl some hastily scribbled doodle with no personality other than being 'very nice' in her place. A tragedy. The worst case of self-vandalism I've ever seen. No wonder Jeremy Zag wants to start from scratch with his rebooted movies. More power to him, IMHO.

Needless to say, nearly all the above in the quoted post about her father loving her (we haven't met him yet, it's DEFINITELY not Andre Bourgeois, his name ends in 'Lee' for a start) her supposed growth (the only 'growth' she's had is when she turned into that giant golden Chloe after being akumatized) her alleged pansexuality (all in the desperate mind of the OP) her 'abusive' family (I think you'll find Chloe had it FAR WORSE over the course of the show in that regard, so why not idolise her?) is complete bunkum. and to be frank I couldn't compose a much delusional post if I tried. Sometimes I wonder: what planet are some people on to reach such implausible conclusions? I don't understand it, I'll never understand it and quite frankly I feel quite sorry for the arbiters of such risibly deluded takes.

Last but not least though, we have...

Now this I ALSO agree with 1000%. And I know just the place to 'flush' her... ;)

[spielzeugkaiser]

I have seen S3!! It cost me dearly (oh god my sleep schedule and body) but I'm so glad I did because I LOVED IT. so much!! I didn't know they had it in them but aaaaaaaa. Spoilers under the cut!

- I loved the relationships. I LOVED THEM. I could come on board with Geralt-Yen, I really enjoyed both Geralt-Ciri and Yen-Ciri (she's her mum 😭) and Ciri-Jaskier was everything I ever wanted. There were other things happening this season (👀) but that was the absolute highlight for me + Geralt actually showing that he cares for Jaskier and their relationship f i n a l l y being portrayed as the deep and meaningful friendship/bond that it is. I watch the witcher for a lot of reasons but mostly for the found family and VINDICATION aaaaa

- this was such a good Jaskier season, my love, me eternal light, the reason why I fell in love with this show - he had a PLOT, he had his wits, he had agency, he's still so anxious but was there as bait (they!! adressed his trauma in the little ways!) and I love that they went the route of Jaskier telling Geralt about Phillippa, honestly guys, I can die happy now, especially with-

- BI BARD BI BARD BI BARD BI BARD (nearly everything has been said about this, just. This fuels me. I needed this so bad, t h a n k you netflix for going through with what you started in S1). I can't shake the feeling that things are going to end quite badly but then I also. like to whump the bard. sooo, if I end up right.. 👀

- I might have sniffed a little when they made Geralt cry because he didn't want his mum to hurt?? Don't do this to me I am not strong enough, that got me. That really got me.

- Geralt might have murdered some people this seasons (and was SO DOWN to kill Stregebor, I crackled, I love himmmmm) but he was such a good moral compass for Ciri this season? Had so much integrity? Did they actually manage to keep him of his path of neutrality? WISE MAN GERALT? EMOTIONAL DEPTH GERALT??

- Ciri really grew on me this season! They really did her good

- Yen didn't need to grow on me, but ohhhh SHE DID. I loved her storyline. I loved her introspection - family goat Geralt I am crying

- the costumes were not perfect but honestly most of the time they were slaying and Geralts armour is now sooo much better, I'd say, improvements there too!

- black horsie is a Roach too (with subtitles on) I can forgive them

- Otto out there with the plague of '21 ??? Brooooooooo

- Fringilla absolutely deserves to live her best life, yes queen. Also Cahirs first little breakdown??

- so many book scenes I enjoyed gosh YES. I already said that but the Jaskier&Ciri one guys I melted-

- the pacing felt at times a little weird? With weird interceptions of scenes at times, like the wild hunt one at the end of episode 3(?). But that was just a minor thing that made me go. Hmm? 🤨

- I LOVE THAT VALDO IS JUST A GUY. He is just a guy! A funny little man that sings the equivalent of medieval, sappy, cliched boyband songs about love, ppfpfpf. Jaskier you PETTY bitch it's like wanting the Taylor Swift of the continent to die and I love him for it - this is the first season that I could just. watch again? right after finishing??? what a quality improvement!!

[maxescheibechlinichacheli]

Before / After colouring 🎨

I got tagged such an embarassingly long time ago that I don't remember who it was. Anyways, thank you so much to whomever lovely it was, I really appreciate the tag and finally found time to do a post about my colouring.

I started gifing less than a year ago and learned a lot since then. I gif online in Photopea as Photoshop is just to expensive for me atm (and my old laptop probably wouldn't survive running Photoshop). So, if anyone wants a detailed process of gifing in Photopea, jhmu.

Bed Friend | King and Uea I love how King's desire for Uea is shown in this gif. He is just gone on Uea and barely can hold himself back.

The Eclipse | Akk and Ayan Loved the sun shining from behind Akk's head and had to colour the gif in a way that the sun would stand out a bit.

A Boss And A Babe | Gun and Cher Them and their adoration for each other made me love this show.

My School President | Tiw and Por TiwPor my beloved side couple 💖

The Eighth Sense | Jae Won and Ji Hyun The story of Jae Won and Ji Hyun was the first of a few series that I call "The Right One", i.e. series that just capture me and leave an impact ✨

Naughty Babe | Yi and Lian My favourite ghostship. Also the colours in this scene were just too good to not gif.

Never Let Me Go | Palm and Nueng Just Palm having his big entrance 🤩

Bake Me Please | Shin and Peach This kiss was sooo cute and lovely.

Moonlight Chicken | Alan, Wen and Jim MLC was everything, especially this scene.

Be Mine Superstar | Mingmueang and Namning Aka how to seduce a doctor. I'm excited that we get a new series with Bosston and Jo.

Kiseki: Dear To Me | Bai Zong Yi and Fan Ze Rui A couple and a show that left me speachless. Their story was so just so good.

Wedding Plan | Sailom and Namnuea Loved their story and how insatable they were.

Laws Of Attraction | Tinn and Charn Forever one of my favourite couples and series ✨

My Ride | Mork and Tawan Had the most fun doing a rewatch of this series.

Playboyy | Teena and Zouey The way this show combines gorgeous cinematic shots with that storyline makes me feel like I'm watching a stage show. I love it.

The Sign | Phaya and Tharn Every week this show leaves me spechless it's that good. One of the shows that I call "The Right One"!

Bonus:

The Sign | The colours As I sad in another post, I'm rolling in the colours of this show like a cat in catnip 😎

Edited to add a few people who I'd love to see doing a post about their before / after colouring: @wanderlust-in-my-soul @pharawee @liyazaki @bunnakit @khaotungsfirst @gabrielokun @spicyvampire @zhaozi @guzhu-furen @25shadesoffebruary @chinzhilla @crispywizardtale as always please ingnore if you don't want to do it.

[d-lanx]

ok so final thoughts. i was holding onto hope that the reason punk/drew was opening was to give them time to clean up before post-show interviews. and then they didn't have punk or drew in the post show. so why have punk/drew open? there's literally no good reason. im betting it was just for the rock to make a shock return. as hhh said in the post show, he does what he wants. and with how despite this, punk/drew was the most heavily advertised and most anticipated, i think it was originally supposed to main event until the rock got involved.

problem is it just completely overshadowed everything else on the card. it peaked too soon and there was no way for any other match to top it, making everything look worse by comparison. i feel like just reordering the card would have majorly fixed it. even if punk/drew were second to last, it would have done the card a favour moreso than it did by going first. and ideally it should have main evented. but as we all know, rocky can't handle being anything but the main event. sorry, but this bloodline match didn't need to main event at all. it would have been fine as second to last. they've main evented enough ppv's with this storyline and i'm sure they will for many more (*cough cough* survivor series *cough cough*), they should have switched it up for a change.

the rest of the ppv just felt kinda flat and even the crowd seemed worn out and a bit dead for the rest of the ppv after being so hype for the first match. and from the looks of the dash, anyone who would normally have a hard time staying up late for ppvs (either for work or timezones, etc) just used it as an excuse to switch off after punk/drew, and those who stayed weren't paying much attention cos they were all still talking about punk/drew. the biggest talking point should go last if you want people to pay attention to the whole show and stick around to even watch the whole show. it'd be interesting to see viewership after punk/drew, cos i imagine they'll be a drop after that match (possibly with a pick up towards the end).

i know i'll be rewatching punk/drew over and over. but tbh, i'm finding it hard to really care about anything else. honestly i'd rate the ppv 10/10 if it ended after the first match, but with the rest, and the fumble on the main event entrance, overall the show was pretty mid. punk/drew just shone too bright for anyone else to stand a chance.

just goes to show that, as much as people may say the order doesn't matter and everyone is special and gets a participation award, it does in fact matter who goes on last.

(sorry i don't normally rant like this, i just had a lot of thoughts i wanted to get down. creative really fumbled this ppv ngl).

P.S. if punk was actually supposed to do the post show and they opened so they had that chance for a break, and only missed cos he genuinley felt unable to do it after the match, while i can better understand why the match would have opened, it still doesn't stop it from outshining everything else on the card like that.

[galaxy-fleur]

What did you think of Leon and Ada's new relationship in the remakes? Meta wise

I think it's an interesting and more nuanced take on their relationship! Which I definitely like. I see no point in judging OG RE2's love story between them, no matter how cliché and nonsensical it is. It's a product of its time, and it's charming in its own cheesy way. Teenage me cried over Ada's death in there, so I do have a soft spot for it.

But the Remakes offer a fresh interpretation of what happened between them, and I'm definitely interested to see where they will take their relationship in the future (that is if they do, because I wouldn't mind them just having separate story arcs from now on).

If we're talking actual analysis, I'll put down my thoughts. I don't know if you can call it a full-on analysis per se, as it's more just me writing out my personal interpretations on things. So keep that in mind please!

Long post under the cut. I'm talking almost 4k words and way too many shitty gifs (I have no time to make them all polished). I have way too much to say. I'll basically be going over their entire relationship throughout RE2R and RE4R so... yeah.

RE2R and RE4R are two games that offer a full story for Leon's character, and that's a very awesome thing that Capcom has done. I'd even say it's one of the best things they've done with RE recently. Making RE4R feel like a direct continuation to Leon's arc in RE2R makes total sense, and it makes many scenes in RE4R that much more satisfying to play through.

While RE2R does end on a somewhat positive note (much like every RE game has to), Leon's arc in it is very much negative. He loses more than he gains, he's unable to save anyone, and his good intentions end up being used against him. Claire ends her RE2R story by saving a little girl she has come to care for. Leon ends his RE2R story by losing the G-sample, 'losing' Ada without getting much, if any, closure from her, and not saving even a single person he has encountered. Claire and Sherry don't really count in Remake-verse (which I kinda don't like) because their storylines mostly happened separately from each other.

And that's not mentioning that he gets (assumedly, and I am very much hoping we'll finally see more concrete scenes of how it all happened in Remake-verse) pretty much kidnapped and forced into a life he never wanted right after. To say that Leon can't get a break in RE2R is like saying nothing at all. Poor guy gets put through the wringer on every level.

Now, onto his relationship with Ada, and how it ties into everything... It should be said that, while he obviously grows to care about her throughout their short time spent together, he remains suspicious of her. RE2R Leon is naive, but I often feel like people make him too naive. He's not an idiot. He tries over and over again to get answers from her, and he clearly feels apprehensive with her. And I mean... that makes sense. While she does save him multiple times, she keeps her distance from him.

I'd say he starts opening up to her on an emotional level after witnessing Robert having to kill off his own daughter. He directly confronts her, demanding for answers and voicing his drive to do what's right. In a way, that's him showing his vulnerability to her. And Ada uses it against him. After all, it's a perfect opportunity to play on his (rather naive) determination to be the hero to help her achieve her own goals. Ada is also the only figure of 'authority' he has at the moment. Even if her claim of being FBI seems kinda off, she's the only one he has.

And I'll go over Ada and how I interpret her later. For now, just keep in mind that her using Leon is more of a gray area than just some horrible, disgusting thing. I'm just going over the events from Leon's viewpoint here.

So, they team up. Ada starts softening up to him. They share light banter with each other: 'A: After you. L: Gee, thanks.' She expresses concern over his safety (the alligator scene). I'd say that's the point where he starts to care for her on a more personal level from before. As you would.

Him taking a bullet for her was instinctual. I'd say it's a more pivotal moment for Ada's character here rather than Leon's. In Leon's case it's moreso her taking care of him right after that matters. He directly mentions it to her later on (at least I'm pretty sure his 'you protected me' referred to that). I'd say him waking up to find himself tucked in with her coat and his wound taken care of was the moment his 'I care because it's another person who's in this with me' turned into 'I care because I feel genuine attachment to this person'.

Was it romantic? I'd say that's left for you to interpret how you wish. I like to think of it as him just caring for her as a person. Leon is someone who cares very deeply for others, and he's always striving to be the protector to those around him. I kind of think that someone caring for him when he's weak and vulnerable is something that is very meaningful to him. Now, Ada saves him multiple times at that point. But that's the first instance of her arguably going beyond what's needed. Sure, taking care of his wound was necessary, although she could have just let him be as he was for all we know. But tucking him in on top of that? Yeah, that's an obvious 'I care' gesture.

From then on, Leon is following Ada because he wants to trust her. And I do want to ring this home. He wants to trust her. Doesn't mean he does trust her. Because even though he shows genuine care for her, it's clear that he knows she's might not be telling him everything.

He wants her to trust him, so that she'll tell him what she is keeping from him. So that he can trust her.

The kiss scene is a perfect representation of exactly that, I'd say. Honestly, I'll just link this analysis right here, because I pretty much interpret it in almost the exact same way. But I'll go over it in my own words as well.

Leon's growing frustration is in full display here. He turns around from her, he paces, he tries to appeal to her. To just trust him enough to be honest with him. It's clear that he knows Ada might not be telling everything, but he chooses to believe her regardless.

Hence the exchange that follows this:

Ada: 'Hey Leon, trust me?'

Leon, walking up to her: 'Trust me?' (Reversing her question)

Ada: 'Honestly, if I didn't, you'd probably be dead.' (A genuine answer as far as we know, but it's not one Leon wanted to hear, so he shakes his head, mutters 'Right.' and walks off.)

And I do feel like Ada knows that Leon is suspicious of her here. Her reaction once he walks off comes off as kind of panicky to me. She knows she might be losing him, and she can't have that. So, she once again appeals to what she knows is his weak spot. His drive to help others and 'save' the city. It does work. Somewhat. But he's still swaying, so she does the first thing she thinks of. She kisses him.

She, quite literally, cuts off his line of thought so he stops thinking about it. Because him thinking is dangerous for what she's really doing here.

I think it would be very disingenuous to say that that was a kiss of love or affection. It is not presented as such, nor is it addressed that way in all. It was Ada's last attempt at stopping Leon from questioning her any further. How much of it was her focusing on her goals, and how much of it was her effort to 'protect' him from potentially figuring out the truth, is left to your interpretation. But whatever intentions she had, good or bad, it was a kiss of manipulation.

It does shut Leon up, as he's visibly stunned. He doesn't even say anything at that. He just stares at her, then at her hand on his knee. Now, here's the tricky part of it all. Do I think Leon felt romantic affection/attraction to her here? On some level, I'd say yes. But it's definitely no 'love at first kiss' or anything like that. He's confused, mostly. While he spent arguably little time with Ada, it was a time full of meaning. Surviving side by side and protecting one another is no small feat. And Ada did show her care for him.

I think, he chooses to trust her in that moment, because he, once again, wants to believe in her. Even if her kiss felt out of nowhere, and so much of what she says (or rather doesn't say) makes no sense. He chooses to trust her because he wants to think that she's a good person who cares for him.

And so, we come to the pivotal bridge scene once he learns the truth. I do like how he confronts her in a blatantly emotional manner rather than logical. It's not so much about her being a mercenary itself, as it is about her using him and lying to him. That's what he's actually confronting her about, whether he realizes it or not. That's exactly why he tells her to shoot him, fully resolute as he holds her gaze. He wouldn't do that if he was just trying to apprehend a criminal like a good cop would (as he tries to present it at first).

But, he never gets that closure or resolution he was aiming for. Ada lowers her pistol. He breaths out shakily, probably wanting to continue talking, to figure this out. But he doesn't get that.

I do think Ada telling him to take care of himself as her 'last words' is a very painful thing for him. Because it leaves him with no actual closure on what happened between them. Ada chose to not harm him, and her last words to him are ones of selflessness. But she also lied to him and used his vulnerabilities to achieve her goals. And it's not like Leon knows anything about her occupation, and just how much she's involved with it on an emotional level. Maybe she's someone forced to do this against her will. Or maybe she enjoys doing such dirty jobs for all he knows.

That's the thing. Leon doesn't know. And that must be both frustrating and painful. He's basically left questioning all of his interactions with her, how much of it was genuine, whether she was honest with him at all.

And, most importantly, his time with Ada basically proves to him that his drive to protect and save, his willingness to give people the benefit of the doubt - is a flaw, and a weakness. It directly ties into his arc in RE4R. (And his relationship with Krauser, in a way, but I won't go over it here.)

He throws away her bracelet on the train, and I think that kind of shows that he chooses to believe in the pessimistic way of interpreting their time together. He throws it away because he doesn't want to hold on to something that reminds him of her. And, simultaneously, of his mistakes.

Now, let's go through the same events from Ada's POV, shall we? It's a bit more challenging, since we don't get to be in her shoes, but it's still a fun exercise.

Ada's initial interactions with Leon are ones of annoyance. She basically scolds him like a kid for always getting in danger and acts like saving him is a chore. But chooses to help him out regardless. I think it speaks of her humanity despite her line of work. It's an interesting dichotomy that follows her every single appearance pretty much, though not much is done with it (thanks Capcom). But yeah, despite her visible annoyance with him, she saves him time and time again.

She doesn't visibly soften up to him up until that same Robert scene. She's pretty observant from what we can tell, and she probably already had a good idea of Leon's righteous nature, but it's the first instance of her actively playing into it instead of making small snide comments about it ('Trying to save the world?' 'Good luck with that.'). That doesn't mean she doesn't care, though. It's subtle, but the little sighs and changes in her facial expression do show that she's at least a little bit conflicted at the prospect of lying to him on such a huge level (though you can't see most of it with her sunglasses).

It's one thing to say a passing lie about you being an FBI agent, and it's completely another to play the long game by using someone like that. But she needs to accomplish this task, and it already proved to be more difficult than she expected. Remember, Racoon City was Ada's first time dealing with anything of this sort, too. She might be a mercenary, but it's not like she had to deal with zombies and B.O.W's before that. She's out of her depth, and she has someone pretty much offering themselves to her as her assistance.

So, she takes the risk.

While she does join in some passing banter with Leon after that, she still keeps her distance. She's dry and mostly unemotional in her mannerisms. Remember how I said that Leon taking the bullet for her was more pivotal to her in the story? Let's go over that.

It would be disingenuous to say that Ada is a complex character, unfortunately. Most of the complexity she does have, we pretty much have to add on to ourselves. Hell, I'm doing it right now with this entire section! Capcom is doing a way better job with her in the Remakes, but she's still pretty flat as a character. Maybe this'll (hopefully) change in future installments. But for now, we work with what we have.

Either way, we do know that Ada is someone who's self-sufficient and chooses to work alone. She keeps her distance from everyone, and she lives by 'everyone for themselves' ideology. Basically, a total opposite of Leon's 'protector' role. All that to say... someone taking a bullet for her is definitely not something she would expect. On some level, specifically because she would never do that herself. Especially for someone she basically just met. But Leon risks his life for her. Furthermore, telling her to go ahead instead of anything else.

I think that's the moment Ada starts caring for him on a personal level. Maybe she feels like she should repay him for this. Or that she owes him a debt. Regardless, she takes care of him and tucks him in, before proceeding further.

That care only grows once they reunite. Now she's the one injured, and he takes care of her, despite her protests: 'I can do it myself'. Ada is self-sufficient, but Leon offers her his companionship time and time again. We don't know whether that's something she lacks in her life or not. We don't know enough of her as a character to say that. But she's obviously someone who's not used to getting help from others. Again, on some level, because she doesn't do that herself.

Remember, while Ada did save Leon numerous times before, she always acted visibly frustrated by it, like it was a chore she was forced into, despite her choosing to help him herself. Leon, on the other hand, is quick to offer and insist on helping out, very much eager to do that for her. She already made the choice to use him, but now she learns that he's a genuinely good person with a kind heart, and not just some stupid naive rookie.

And so, the kiss scene, again. I already said that her kiss feels like a last-ditch effort to stop Leon from questioning her any further. And I do think she acted on impulse. Thus why she follows up with a hand on his knee and the: 'I'm counting on you'. And I, personally, think she kind of regretted doing that right after. Or maybe felt extra conflicted about the whole ordeal as a whole. The way she slouches and sighs heavily once Leon leaves is very reminiscent of that. It's kind of a mix of 'Fuck, I messed that up, didn't I?' and 'What the hell am I going to do after this?'

It also should be noted that Ada never meant to tell Leon the truth. It would be convenient for both of them. Leon would feel like he did something good, and she would complete her mission with no further issues. Both sides win. But... things go haywire. And she's confronted with the consequences of her initial choice to use him.

It'll be silly to say that Ada doesn't care for Leon. If she truly was this heartless mercenary some would like her to be, she would shoot him on the spot. Her pistol being empty doesn't really matter, either. Leon was basically offering himself up to her, again. Even without any bullets on her hands, she could have easily knocked him out or something.

But, she can't bring herself to hurt him. Because Leon really is a good person that doesn't deserve that. And she knows that, and she cares for him on a personal level on top of it all. We don't know what she was going to do, before Annette shot her. Maybe I'm actually talking out of ass here, and she really was planning on knocking Leon out cold. But, we'll never truly know.

And her last words for him are to take care of himself. Because, in a way, Ada, more than anyone, knows just how selfless Leon is. On some level, it's a wordless 'I'm sorry', if you wish to interpret it that way.

Boy, was that a lengthy mess! Their first introduction to each sure was tumultuous. But we still have RE4R to go through! Though it'll be more about Ada than Leon.

Nevertheless, let's talk about Leon's interactions with Ada. I think we all know he's noticeably harsher and colder to her. It's an interesting change, and it does show that he feels resentment towards her for what happened in Racoon City. We don't know how his initial conflicted feelings morphed into this resentment, but they did.

I don't think nearly enough people mention that he's genuinely being very damn rough with her in their little sparring session. While yeah, you could make an argument that he's holding back, he's not being careful either. Ada has to put in actual effort to fight him off, which she doesn't even succeed in because he takes her off-guard with his intensity.

And he also puts the sharp end of his dagger to her throat. Just to rub more salt into the wound.

I don't think this was him wanting to hurt her or threaten her, though. It was more of a show of strength. Ada approaches him by taunting him and teasing him, like she can do whatever she wants to him. But he's not that same naive rookie anymore. And he shows her exactly that.

A kind of: 'Don't think you can play the same trick on me twice, or you might get burned' message. A message that I think Ada does get.

As for him smirking at her, I don't think that's him being 'happy' to see her or anything. I think that's just him being amused that she still thinks she can play him like that. He grows all cold and distant with her right after.

Leon obviously has a grudge that he hasn't let go of. I actually like how he's almost needlessly petty with her in RE4R. Making snide remarks, calling her heartless and dismissing her on numerous occasions. It shows that he does care. If he didn't, he would cooperate with her with no further complaints on his part. He's purposefully being cold to her to show that yes, he is still upset about what happened, and he will use every opportunity to demonstrate exactly that. It's petty and kind of childish, in a way. But it makes sense for him, and it adds extra flavor to their relationship at this point in time.

Though, he does offer an opening to her in the boat.

'Have you changed, Ada? Or are you trying to use me again?'

It's a good parallel to his: 'Trust me?' In RE2R, and both phrases are used for a similar purpose.

He gives Ada an opening to trust him and be open with him. One that she doesn't take, again: 'What do you think?'

She gives him no answer. Just like she didn't in RE2R. I think, in a way, that kind of gives Leon an answer by itself. He trusts Ada and relies on her when push comes to shove, but he doesn't give her any more openings from then on. I'd say that's his 'I think we both know this is where we go our separate ways' moment.

With Ada, things are way more complicated, in a good way. Separate Ways gave us so much to work with, and that's amazing.

Throughout Separate Ways, we see Ada bouncing back-and-forth on what she wants to do. She's initially very cold and resolute in her job, helping Leon out more like a passing convenience than anything else. She does still help him, though. She's still dealing with the dichotomy of what she presents herself as, and what she actually acts as.

I really like her confrontation with Luis in particular. She's cutthroat and blunt. Almost chillingly so. And she only relents once Luis mentions her own infection. Him telling her of Leon's infection has little effect.

'And why does that matter to me?'

I think that's a question she's asking herself just as much as Luis here. Though, she's still in her cold, self-sufficient mercenary role here. To be honest, I find her relationship with Luis in particular much more interesting in RE4R, but since we're talking about her and Leon here, I'll just say that Luis is the catalyst to her change (so to speak, Ada doesn't really change as a character per se, I'll elaborate on that later). Not Leon.

She confronts Leon face-to-face, quickly being met with the truth that he is not as easy for her to push around now. And I do think she has zero bad intentions there. She was genuinely just playing around and teasing him. Only to figure out that that approach won't work at all. It's kinda cute, honestly. So, she gives him an opening of her own instead. She tells him to leave Ashley, to prioritize his own safety over hers. Because that's what she would have done in his place. Leon is quick to shut that down. Something that Ada probably expected, as she just huffs and gives a knowing 'Right.' to that.

That's the moment Ada knows Leon hasn't changed. Not really. He might be colder, more ruthless and dangerous, but he's still that same guy, wanting to protect others, no matter what. She knows she'll have no success in swaying him at that point. Hence why she tells him exactly that on the boat later.

The next pivotal scene, I'd say, is her watching Ashley wake up and learn of Luis' death. Ada mostly treats Ashley like a nuisance, something Leon has to protect. Because that's his job. But in that moment, she sees the genuine connection they share with each other. She sees that Leon cares. And not just because Ashley is an innocent person he has to save, but because it's Ashley.

Ada's arc throughout Separate Ways is not that connected to Leon, which is a good thing. Similarly to Leon concluding his story from RE2R by saving Ashley and proving to himself (first and foremost) that he can protect someone he cares about, and that his humanity is a strength, not a weakness, Ada learns to accept herself, too. She's visibly conflicted at the start of SW, but by the end of it, she knows what she has to do, and she made peace with that. Her hesitating before going against Wesker in the facility is one of the last moments of her hesitating with her intentions.

But, again, that scene is more about her and Luis. Luis is very important to Ada's character in SW, and I think that's neat.

While the scene itself is kinda awkward, her encountering Ashley during the final battle is another arguably important one. Her watching Leon and Ashley before that was about her witnessing Leon's care for her. Now she sees that Ashley fully reciprocates that care. They are on equal ground with each other.

And so, the final scene between them. I already said that Leon settled on his answer concerning Ada before that. But Ada makes one final opening to him. It's a selfish one. After all, what exactly would happen if Leon agreed to come with? Would they just leave Ashley to die and fly off into the sunset? On some level, I think Ada knows that what she's asking is unrealistic, especially for Leon. But I think it also speaks of her progression throughout Separate Ways. Ada learns to be more genuine with herself, even if it means being selfish or asking something that she knows will be rejected.

So, she shoots her shot one last time. Leon gives his answer. Ada is not surprised by it. But she is visibly upset by it. She knew it was coming, though.

So, they do exactly that. They go their separate ways. At least for now.

[itsaspectrumcomic]

As a writer, what are some elements that you would want to see included in a romance between a female autistic character and a male character (who grew up with a sister who is autistic? This is also a bit of a forbidden romance and I’m trying to plan this out well to be very respectful and good representation of the autistic community (idk if that’s the write phrasing so forgive me if I’m saying it wrong). I’ve already started research, but I just need maybe a few ideas/suggestions. thanks!!!

Firstly, remember that no autistic person is the same so his sister being autistic doesn't mean he'll know everything about it or what it's like to be autistic. It would be nice to see some representation of how different autistic people can be by showing differing traits in his sister and the female love interest - eg, differences in masking, different sensory issues, different ways they stim, different ways of enjoying special interests etc.

You could show her struggling with aspects of dating culture (going out to bars which are loud and overstimulating? No thanks) and taking things literally (eg, being asked if she wants to go for coffee and saying no because she doesn't like coffee when the guy is actually trying to ask her on a date.)

Show that she is liked for her autistic traits, not despite them. Maybe he likes that she's very honest, or enjoys listening to her talk about her special interests. Let her be a fully 3-dimensional character wither her own likes, dislikes, goals and interests, and try not to fall into stereotypes.

Definitely don't treat it as if he's some kind of hero for dating an autistic person or for 'dealing' with her autistic traits! Like with any disability, that would be very disrespectful. Also I hope the forbidden romance aspect isn't because she's autistic? I'd need to know more context to know how I feel about that.

If you're not autistic yourself, please do get a sensitivity reader who is, whether that's a friend or a professional.

Speaking of good autistic representation - have you seen the show Dinosaur that came out recently? It's about an autistic woman and her relationship with her sister who's getting married, and it has a storyline where she starts dating the guy at her coffee shop. I love how she was portrayed (she stims with her hands in exactly the way I do!) and it's very funny and warmhearted, plus the lead actress is autistic herself, so if you're looking for inspiration definitely check it out. It's on Hulu and BBC iPlayer :)

[antianakin]

If YOU were to write The Acolyte, what would you do?

This question assumes I'd write a Sith-centric story if given the opportunity to write for Star Wars at any point, but personally I just wouldn't write a Sith story. I don't find the Sith interesting beyond what they represent in the larger cosmic themes of the franchise. I'm generally not invested in any of the Sith characters ever (aside from occasionally finding Palpatine amusing, which isn't enough to write a whole show around).

This is also a difficult question to answer without having SEEN the show in order to really delve into the pieces of it that I think could be re-worked into a better show and the pieces that would have to go no matter what. Given that Headland's ENTIRE PREMISE for this show is "where did the Jedi go wrong to make them become the Prequels Jedi", I'm inclined to just scrap the whole thing. Get rid of all of it, every single character, every plot beat, everything.

So what I'll answer instead is: What would I prefer to see out of any generic Sith-centric show?

Personally, I think anyone making a Sith-centric story NEEDS to actually understand the central theme of Lucas's Star Wars better than Headland does. I think anyone making a Sith-centric story cannot see the Sith as "underdogs" and the Jedi as "the institution." The Sith are still the VILLAINS and the Jedi the HEROES. Even if the Sith are the protagonists of the story (and the Jedi antagonists by necessity), it should still be VERY VERY FUCKING CLEAR that the Sith are unquestionably selfish, greedy, awful people and that the Jedi are entirely correct to oppose them. This obviously makes it a LOT harder to root for your protagonists or to relate to them or whatever. It's a much more complicated storyline to try to tell than what Headland is actually going for in her show. Personally, given what we know of Headland, I don't think she's capable of the kind of nuance a Sith story should require.

Any Sith story should be crystal fucking clear that Sith CHOOSE to be this way. They CHOOSE this life. And that they could choose to do OTHERWISE if they wanted to.

Ideally, a Sith story would understand that balance means recognizing your own darkness in order to choose to reject it and control your own behavior so that you don't cause pain and misery to other people. Balance means accepting that darkness exists and choosing to be compassionate and selfless ANYWAY. Without this understanding of what balance means, any Star Wars story is doomed to failure.

So yeah, I think the Acolyte misunderstood so many things that are crucial to telling a good Star Wars story and so therefore it just fails entirely at being a Star Wars story at all. It may have been more successful as an original sci-fi story than a Star Wars story, and I'm getting really tired of Star Wars stories that clearly should've been an original sci-fi story instead.

[lavellenchanted]

watching last week's and this week's episodes back to back was an absolute roller coaster of emotion and I have a lot of mixed feelings about all the changes they're making this season and how they're choosing to compress the campaign beats

incorporating zerxus was really interesting, although I'm assuming it's to set the stage for some things in c3 (which I am very behind on) rather than because it's going to pay off in tlovm so it feels a little bit gratuitous, but I enjoyed it

and it was a nice way to set up the vorugal vs demon fight although I did deeply miss it being VM's plan, because that was exactly sort of high-risk and insane idea that somehow pays off that makes D&D so fun and would have been nice to see on stream

also sad we lost the "where's larkin?" and raishan's more active involvement in helping them take down the conclave

and deeply sad there was no senokir

or kynan! give me my boy!

I'm really fascinated to see where they take this storyline with pike and whatever's going on with her blood, but I am .... not sure about her seemingly doubting/giving up her faith in the everlight? especially after her whole arc in s1 of rediscovering her faith and how to be faithful in a way that's true to herself. she's the chosen of the everlight! and sarenrae helped them out A LOT on stream!

SARENRAE PUNCHED A FUCKING DRAGON FOR THEM AND THEY ROBBED ME OF IT

the hatching of thordak's eggs and the attack on whitestone was a nice way to up the stakes and give percy a more urgent reason to go after ripley on glintshore

very mixed feelings on how glintshore was handled overall though - so much of the impact of that fight was everyone being there and witnessing percy's death but being unable to stop it

and I'm not sure I like percy dying because he offered anna mercy as opposed to his being determined not to let her go because he knows she's a threat that needs to be stopped

and while I assume we'll still get another confrontation with ripley, the party take-down of her was just. so good on stream because of the raw grief over percy's death, I don't see how a second fight with her can replicate that.

also, tbh, really didn't need the sad ripley backstory - I appreciate the subversion of her character but these are twenty-five minute episodes that are already struggling to contain everything and I'd rather the time taken for that flashback had been given to the relationships within VM and they'd just had ripley briefly namedrop the cerberus assembly if they wanted an easter egg for the mighty nein

my biggest criticism of this season is the fact that all the character beats are happening solely between the romantic pairings and we're missing so much of the dynamics between everyone else in VM

and I've got very mixed feelings on the change ups with the perc'ahlia romance in particular; while I love any interaction between them in isolation, I'm really not a fan overall of how they've switched up their narrative

they were the slowest of slowburns on the stream, and both of them kept their distance because neither of them believed the other one could love them; we're basically being given the total opposite here and while I still love them it just doesn't hit as hard

and I assume they're lining up all the resurrections to do at once because they think having multiple ones will cheapen them? buuuut I feel like we're going to lose the individual impact by doing it altogether

and I really hate that it means percy wasn't there for the final showdown with thordak

also kash better fucking be resurrected because if they perma-kill him I will never forgive them, how dare they do my boy like that

this all feels like a lot of criticism and I am still overall very much enjoying the show so GOOD THINGS:

the fight scenes are all beautifully done and so dynamic to watch

raishan. everything about her. I loved her on stream, love her in this, cree summers voice is perfect.

PIKE TRICKFOOT IS A MOTHERFUCKIN' MONSTAH

love love love that they're giving her so many badass moments to shine

vax's takedown of thordak was brilliant

the animation is beautiful, and the cinematography is gorgeous

music is a+, as always

loved suddenly hyper-competent grog coming up with the plan

percy and cass's perfect sibling dynamic

leader vex! leader vex!

I am very interested to see what they do with the final three episodes - taking down raishan and the resurrections presumably, possibly also taking down ripley (although they might leave her for s4?) and the bard's lament, maybe even a taryon appearance, and then a set up or tease for s4.

[buddiebeginz]

I know the writing on Emmerdale has been shit for a long time but I still think there has to be a reason they’re putting Aaron with another Sugden vs anyone else they could have put him with. So many people assume Ryan never wants to come back but I think he’d come back if the story was good. Aaron being in a relationship with a brother Rob didn’t know he had and them starting an affair only this time Aaron is the cheater is a good story (especially given their history).

And while yeah Emmerdale could just be trying to copy Robron by having Aaron and John hit some of same story beats they also have to know that’s not a great way to get your audience endeared to a couple. Like if they want us to eventually care about Aaron and John as a couple shouldn’t they be distancing Aaron from Robron? Yet they’re not. They’re practically holding up a sign saying remember Robron? Why would they do that unless they're trying to set up an eventual Robron reunion?

They seriously could have brought in anyone for Aaron if they were looking to have a new love interest for him. Why have it be a Sugden when they've already gone down that route, twice actually because Aaron dated Vic before he came out. Plus soaps are always looking for the drama. They don't just introduce new characters for everything to be rainbows and sunshine. John was introduced with the intention to cause drama. The main person he would cause drama with would be Rob. No one else in the village would have as big of a reaction with Aaron dating this guy as Rob would.

I'm not a fan of what the show is doing with this John and Aaron storyline but if it does eventually lead to Rob coming back then I'd deal. The fact is the show really does need a Robron reunion and this isn't just my biased shipper brain talking. The show hasn't been that great for a while now and they really need something to revitalize it. If they were able to get Ryan to come back I know a ton of people would start tuning in again. They need the kind of chemistry that only Danny and Ryan together can produce.

[droughtofapathy]

Hi there! I read your review of Cabaret and saw that one of your main complaints was that a lot of Jewish culture was staged/written out. I’m not Jewish and don’t have that baseline understanding of the religion/culture and was wondering if you could elaborate further?

Hi Anon, I'd be glad to elaborate a little more, with the caveat that I'm not Jewish either, but I do know a thing or two about the history of this show. I'm also long-winded, so... buckle in.

I don't believe the production team intentionally went into it and took an eraser to Judaism as they went, but I do believe that being an English team with far less Jewish influence in their culture and society has made them blind to the inherent Judaism of the story beyond the glaringly obvious. As I've said before, this is a revival made by gentiles for gentiles right from the very conceit. In centering the show on this nightmare puppet spectacle of a cabaret, it does a disservice to the real heart and moral of the story's true epicenter: the boardinghouse and Schneider and Schultz and the grounded people around them. The very fact that it's officially been retitled "Cabaret at the Kit Kat Club" (frankly redundant) shows that this production is no longer about the actual book, but about the frivolous hedonism. Schultz's Jewish storyline is an afterthought hastily plopped down into the cabaret setting. Because of this staging, the focus is never away from the now-very goyish cabaret. Cliff, Schneider, Schultz, and even Ernst were very much given the "I don't care much" treatment by this director who wants everyone to ooh and ahh over the exorbitant pre-show gimmicks and whatever the fuck the Emcee and Sally are doing, and to hell with the actual plot.

Everything from the direction to the marketing to the creative tone seems to scream out that no one on this creative team actually understands the message. The nightclub might be the titular setting, but it's a looming figure in the shadows. A seedy little joint in a back alley where everyone's just trying to survive. Vaudeville could be bawdy, certainly, but the staging and choreography here is vulgar and tiresome, and says to me that the creatives also have little to no knowledge of that artform either.

Cabaret is an inherently Jewish musical. The three original creatives (Joe Masteroff, John Kander, and Fred Ebb) were Jewish men who were all alive during WWII and old enough to understand the horrors happening around them and overseas. Director and producer Hal Prince was Jewish. Revival director Sam Mendes is Jewish. Both Joel Grey and Alan Cumming are Jewish and/or gay. Eddie Redmayne is the first major Emcee on Broadway (baring a few late-run replacements, in the other runs, I'm sure) who is neither. Rebecca Fracknell is not Jewish and beyond the fact that I just don't think she's a good director of musical theatre (which is an incredibly hard artform that differs from directing straight plays), she has no inherent understanding or trust of the rich material already in place. She chose instead to create spectacle without actual spectacle, and focus all the time and energy into the Emcee--a character who was never meant to be the protagonist. The charisma and iconic performances of past Emcees have elevated this role in all subsequent productions, yes, but always as a centrally Jewish (and subtextually queer) figure. By having that representation and interpretation, Cabaret remains a centrally Jewish musicals. By stripping this particular Emcee of that, we get a goyish nightmare puppet, not a man. Not a Jewish man hiding or highlighting his Jewishness. We get a re-centered gentile production dead behind the eyes.

Antisemitism in Weimar Germany takes on a featured role in what should be a starring turn. Fracknell clearly sees herself as Sally, and she's made it all about the Sally in a painfully white goyish feminist way (don't get me started on a rant about the "girlbossification" they're trying to make happen), but the VERY CLEAR intent of the material is that we should not want to be Sally. We should not be proud of being this willfully ignorant girl who doesn't care about the rise of fascism all around her, and actively states that it has nothing to do with her. We should be horrified at her complacency and shamed that we might have gone in feeling the same way. And Schneider says it, she says it right there in what's meant to be the scene, that Cliff and Sally can just run away when the going gets tough without a care in the world, but she can't. When a show takes a Jewish story, written by Jewish men, and turns it into a gentile funhouse carnival and refuses to acknowledge its Jewish-centered book characters and actors (notice how Bebe Neuwirth and Steven Skybell were almost entirely excluded from promo materials until late into the Award Season publicity) to instead prop up a white gentile man and a white gentile woman...well, that's just blatant Jewish erasure.

[sibylsleaves]

I am 100% with you on wanting the show to explore buck’s desire for a family, specifically kids. And yeah, personally, I’m kinda hoping, if bucktommy does break up, that’s largely the cause of it — there’s still a lot of mutual care and love between them, but they just want fundamentally different lives. Cos if they do break up, particularly for buddie reasons, it would suck to sabotage the sweetness of how they’ve come together by making their breakup ugly. Sad and painful, sure, but ultimately amicable.

BUT if they DON’T break up, buck wanting kids is still a really cool dynamic for them to explore. Is Tommy reluctant because of his upbringing? If so, does buck try to compromise his own desires for children to make Tommy happy and so he doesn’t leave? Or what if Tommy is all in and buck wants them too, but then freaks out because he knows what it’s like to have a parent who can’t regulate their own emotions and makes everything about them (even if that’s not a fair assessment of buck, it’s what he could think about himself) and Tommy has to convince him he’d be amazing.

And sure in a perfect buddie future, Christopher is such a huge part of Them and it seems obvious they’d have another kid/s — Eddie now being in a place where he’s ready to be a parent and he gets to actually BE there this time, and we already know how wonderful he is and how well he and buck work together as parents. Plus older brother Chris?? Can you even imagine? That baby would be so lucky. (though I am sceptical they’ll ever go anywhere with buddie, even if it would be amazing)

honestly, I’d love a scenario where, with or without Tommy, buck meets a kid on a call and ends up fostering her (come on, girl-dad buck? too perfect). Like, this man is such a natural caretaker and has so much love to give, let him be a dad, show!

yeah i think the reason I'm so drawn to this storyline is because a) it feels SO obvious to me that this is something Buck would be thinking about at his age, and because of the chris of it all and the sperm donor of it all. and literally ALL of his close friends are parents. and they LITERALLY SET THIS UP IN THE PILOT EPISODE WITH THAT DRAINPIPE BABY. LIKE.

And also b) I can't really think of another show that's had a MALE character like desperately want parenthood. it's always a woman who wants kids and the guy is like i don't know...or it's a woman wanting kids and deciding to make that happen for herself (off the top of my head, I know House and 30 Rock BOTH did this storyline). And I feel like if any show was going to tell that story, it would be 911, and if any actor would want to tell that story, it would be Oliver Stark, because he's said like one million times what he loves about Buck is that he's like this seemingly traditionally masculine guy but he's actually quite soft and has all these wonderful layers to him, and being a caretaker/wanting to be a father is a big part of that.

I could definitely see a storyline where Buck is actually confronted with the question of like, do you want kids/are you ready to have kids and freaking out about it. And I think, Buddie or not, the resolution to that storyline HAS to be Chris. Like Chris being the one to tell him of course you'd be a good dad, Buck. You've been helping dad raise me since I was seven. COULD YOU IMAGINE. I'd weep.

And yeah, I can imagine older brother Chris are you kidding me??? I have considered this at length.