#a real murderer l

[redsparrow12]

Freddy Krueger drove by me on a moped.

I also saw Jason holding a knife at the Dunkin Donuts Drive Thru

I JUST WATCHED THE FUCKING DARK KNIGHT OF GOTHAM WALK OUT THE AUTOMATIC SLIDING DOORS OF MY LOCAL GROCER WITH HIS CAPE BILLOWING MAJESTICALLY IN THE OVERDRAFT I FUCKING LOVE HALLOWEEN

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[lukedrawzstuff]

Hey hey y'all I just want to tell you.

THEY'RE BESTIES!!!

And L has a new gradient in his eyes...

They should kiss-

[kiyomitakada]

if light yagami were alive in 2024 i don't think he would kill trump but i do think he would be tempted to

[mervynbunter]

MERVYN BUNTER, a man of parts

[lacquerlagarde]

True Love Waits by Radiohead is a song perfectly illustrating how L feels about Naomi.

“I’ll drown my beliefs to have your babies / I’ll dress like your niece and wash your swollen feet” - L will give up his selfishness and moral grayness because of how he feels about Naomi ,,, even while knowing Naomi is betrothed to another he’ll do anything for her, be it literally or figuratively washing her feet

“I’m not living / I’m just killing time / your tiny hands / your crazy kitten smile” - L has lived robotically as a problem-solving alienated individual only known as the World’s Greatest Detective ,,, the Kira case has made him lose faith so he feels he’s only spending time rather than getting somewhere closer to the solution - all while he’s remembering Naomi and specifically what it was like to meet her in person

“And true love waits in haunted attics / And true love lives on lollipops and crisps” - juxtaposes L’s bleak and robotic/cryptid lifestyle being closed off in a room solving cases with 1) Naomi’s joy and excitement with getting married to Raye soon and her living an assumedly normal life with a family and/or 2) L’s safe foods; there is true love L waits with but Naomi already “knows” and lives in it even if not with L (much less her love with Raye is not true but L waits)

“Just don’t leave” - …

[bitchinlyras]

if MY hot australian doctor husband killed a genocidal dictator i would just love him MORE but idk maybe that’s just me

[hoarder-of-rats]

I got curious and so was doing some research on the etimology of the names of states and biomes in Brazil, and apparently most of it is named after words in the languages of the native peoples! Examples:

Caatinga comes from Tupi-Guarani: Ka'a (vegetation) + Tinga (white, clear)

Roraima comes from Ianomâmi: roro or rora (green) + ímã (mountain).

Acre comes from Apurinãs word aquiri, which means River of Alligators.

Pará comes from Tupi-Guarani pa'ra, which means Sea River, because the river was so wide it looked like the sea.

Like, most of the states whose names aren't actually words in Portuguese (for example, Rio De Janeiro (January River (?)) come from Tupi-Guarani, and I think that's neat

[rusty-gloinks]

Crazy asses

[luciluck2046-md]

18 19 E (all of them you're willing to talk about)

𖥂~𖥂~𖥂~𖥂~𖥂~𖥂~𖥂~𖥂~𖥂~𖥂~𖥂

𖥂~𖥂~𖥂~𖥂~𖥂~𖥂~𖥂~𖥂~𖥂~𖥂~𖥂

𖥂~𖥂~𖥂~𖥂~𖥂~𖥂~𖥂~𖥂~𖥂~𖥂~𖥂

THANKS FOR THE ASK :3

Sooo:

18.

What embarrasses L is being taken by surprise. Since she's not from any of the Copper 9 Divisions, she isn't connected to the right database. So she can't see if anyone or anything snacks up on her she will go gun mode.

What embarrasses D is... Overreacting. The problem? She overreacts TOO MUCH. So yeah, RIP D.

19.

L's favorite number is 9. No reason, she just likes the shape.

D's favorite number is 7. Because that's the drone version which Tessa got, like, her full name(now) is Tessa James Eliott v7

E

Uhhh, I would totally get along with L. Like, sister-sister relationship! She's SD L because my internet name is LuciLuck, so a lot in common.

D? Uhhhh- Maybe because of anxiety we would kinda get along. Also because she's another self insert character (my real name starts with D). But she hates stupid jokes and I make waaaay too many, so she would probably kill me in the first 8 minutes. Maybe she would also kill me for giving so much trauma to her 🫡 (NO ONE ESCAPES UNTRAUMATIZED. I HAVE ONLY ONE CHARACTER THAT HAS A STABLE MENTAL HEALTH AND NO TRAUMATIC EVENTS AND HE IS NOT FROM ANY OF MY FANFICS. He's Andrew from "Charlotte and the Dragon's Eyes" an original book I'm writing)

[enthusiastic-nimrod]

Finally got to play The Murder of Sonic The Hedgehog, and it was so cute! Shoutout to Knuckles, who's absolutely adorable sprites made my day ༼ つ ◕_◕ ༽つ

[wearenotasfarwest]

L during the Los Angeles BB Murder Case.

[snowstories]

[Timmy Turner voice] I wish every Links Meet AU that uses Marin as a phantom to haunt and traumatize Link goes to hell no matter what

[melonymint753]

profiling is not a science, and liking twisted stuff doesn't means you'll grow up to abuse other people but I'm sure fine with laying out these *~actual~* signs to make everyone who had these traits as a child be scared of themselves :) and using my degree to back this up :)

And since I made sure to say it's not a correlation, nobody would walk away from this with subconscious biases against people who exhibited this behavior during childhood ✌️

[heartfullyferal]

puts my hands together humbly

The absolute way Damon initiated sheer unadulterated violence on a Mysterious Original Fucker when hardly anybody else was that snapped just for looking at a man they apparently just MET.

It is the ONLY evidence I NEED aside from Lizzy clearly being on screen.

There's something SO DEEPLY Hey Fucker You Took My Kid Before I Could Argue And I Have Been Pissed As Hell For Sixteen Years about the way HE KEEPS SQUARING UP TO ELIJAH THAT JUST GOES B E Y O N D.

@the-11-doctor According to your local notes it's giving "he wouldn't straight up run at walking Instant Death for Elena but there's a Dad heart in there that would get ripped out over his baby girl" and I need you to come back and confirm the thing on stage real quick

BUT SINCE HE WAS HUMAN DAMON HAS LOVED WITH LIKE HIS W H O L E BODY.

You give him a daughter, and he's just going to go out of his m i n d. If you were also KATHERINE that give that child life he's going DOUBLE Sire Feral over this creation, and GOD

The man's brain is unreasonable all the fucking time don't you ever fucking take Lizzy away ever again he will literally split the planet in half for her before he remembers his fucking NAME.

the hate was so pre-established that coming for Elena makes it strike three on Damon's entire life and love PERSONALLY from The Mikaelsons.

Nothing compares. Persecuting the mother of his child, sacrificing the NEXT one to come along, AND raising his kid and keeping her the fuck away from him when he could have done it?? He could have. HE SHOULD HAVE AND NOBODY ASKED. THEY DECIDED F O R HIM. You walk out to process fatherhood for a week and suddenly you're not valid to talk to anymore. That shit fucking hurts.

he failed two Petrovas and it's like he was dared to fail the next one by a smug thousand year old chaos bisexual who's obsessed with Stefan for suspicious Future Reasons.

[the-kipsabian]