#all these superheroes are basically the writers playing action figures

[gon-and-killuas-mother]

due to the Naruto/Batman crossover i've been reading i will now be stepping into the Batman fandom

i mean, i've always liked Batman, but i never got into the comics bc there's so MANY so i settled for the animated tv shows and movies

specifically, i wanna see more Bruce being a kind person! also i need more Nightwing in my life. Dick Grayson might be one of my favorite DC characters next to Bruce Wayne

unfortunately for y'all this DOES mean i will be composing a self-insert story in my head. there's already one simmering on the mental back burner. it's how you know i love a story or group of characters; i write a self-insert fanfic as a coping mechanism for whatever shit is happening in my life. and boy do i need to pretend there's an edgelord billionaire taking the streets during my waking hours and investing part of his fortune to studying my illnesses during the day

whoops i already wrote something under the cut

i think, for my story, my self-insert has my basic personality and definitely my gender. they're an artist living either in Gotham or Blüdhaven. they use a wheelchair, sometimes a rollator, and deal with my same chronic pain and fatigue. oh and bc i rarely hear southern accents in these shows, this pal is from good ol' Arkansas but moved to follow their kid brother to either Gotham or Blüdhaven

the basic Plot that my brain generated to connect my character to the Bat family hinges largely on chance. Nightwing is on patrol, maybe following leads on the current Mystery. he stops on the roof of an apartment building towards the end of his patrol and takes a breather, sits on ledge and goes through files of evidence etc etc

enter my character (uh let's call them Rhys?) who opens the door to the roof and pulls out their rollator that they've managed to lug up the last flight of stairs, since the elevator doesn't go all the way to the roof. they also have a large art canvas, an easel, and their bag of supplies precariously balanced on the rollator.

Rhys spots Nightwing, who was surprised to see anyone else on a rooftop at 4 in the morning, and they look around and go "I'm not. I'm not interrupting anything, am I? Usually one mask brings more."

Nightwing stands up and assures them they're safe. he's about to leave when they pull a huge thermos from their bag (how did they get all of this up here??)

"My brother gave me this for my birthday a few years ago," Rhys says, lifting the thermos so Nightwing could see it. They pop off the lid, which turns out to be two that can be used as mugs. "Weird kids don't make a whole lotta friends. But he said the easiest way to someone's heart is through a shared cup of coffee."

and how could Nightwing, running on a handful of hours of sleep with at least another eight hours of detective work ahead of him, possibly say no to that?

he accepts the coffee and quietly sends a message to Barbara that he's taking a brief detour, all the while Rhys is setting up their easel and canvas. there's already some rough sketches and a couple layers of paint. Nightwing knows the skyline of this city well enough to recognize it even through an artist's eyes.

Rhys tells him that the sunrises here are unique. back home, the skies were crystal clear and nearly every sunrise was hallmark-worthy. but here, the pollution and glass windows reflect and refract the light in more ways than they could've imagined, and they have a series of paintings stashed in their tiny apartment devoted to color studies.

for one reason or another, this becomes a regular thing. several times a week, Rhys takes the elevator to the top floor, then heaves their rollator and supplies up that last flight of stairs. and every so often, when they open the door, they find Nightwing waiting for them. he starts bringing breakfast with him, but tells them he likes their coffee better (bc there's something about a coffee shared in a thermos that can't be replicated by any coffee shop)

eventually they ask each other about family. obv Nightwing doesn't give too many details, but enough to add to conversation. Rhys only has their brother, as their parents have been out of the picture for years.

one day, Rhys is quieter than usual, and hasn't touched their canvas yet, instead sketching and scratching out and balling up scrap paper etc etc. Nightwing asks what's wrong, and it takes a bit of nudging, but Rhys eventually tells him they haven't heard from their brother in a little over a week. it's not so unusual, but they get anxious anyway. they assure Nightwing that their brother probably just forgot.

then a week passes, and Nightwing is alone on the roof longer than usual. he's about to leave when Rhys opens the door, and he doesn't even have to ask how they're doing because they're pale, fidgety, and the circles under their eyes are much more pronounced.

their brother hasn't returned any calls or texts. more worryingly, his phone seems to have died or disconnected several days ago. Rhys doesn't ask any favors, but they don't have to, because as they're piecing together what info they have, Nightwing is already looking through police databases and missing persons and so on.

he hits a dead end, but one that is more informative and condemning.

Rhys's brother has a file in the system, and it's buried behind a top secret confidential report. something, something, Nightwing makes a loose connection to the case he and Bruce are working on for the A-plot. he promises Rhys that he'll find their brother.

and he does. he and Bruce bust the A-plot scheme involving (insert name of gang) that was responsible for dozens of disappearances. only a few of the victims were saved, the rest had been killed long before Batman and Nightwing stormed the keep.

Nightwing finds the brother. his body is floating face down in the canal a few blocks downstream, along with a dozen or so others. he's been dead for two days at least.

once the bodies are retrieved and safely transported to the nearest hospital morgue, Nightwing heads back to Rhys.

the sky is already turning from black to grey as he lands on the rooftop. Rhys has their easel set up and looks to be halfway through their current painting. they look up, about to greet him, but their smile vanishes when they see how grim Nightwing seems.

they blink back tears threatening to fall, turn their attention back to the canvas and pick up a different paintbrush. they quietly mix different colors on their palette until they're satisfied, before slapping the paintbrush to the canvas.

"Please," they finally say. the tears are flowing freely now. "Tell me what happened."

Nightwing sits on the ledge next to his cup of coffee. he remembers how his heart shattered when his parents were killed. he remembers the crushing despair upon learning of Jason's fate.

he isn't new to delivering this message. to telling an innocent family that their loved one is gone. he's learned how to keep it professional yet empathetic, to hide the worst details while satisfying their desperate need to Know.

there was something different about this one. maybe it was the determined focus Rhys was giving their painting, despite the tremor in their hands and their short breaths.

Nightwing tells them everything he can, save for the worst details. Rhys doesn't need extra imagery for their inevitable nightmares. but he explains the gang, the villain, the blackmailing, and Rhys paints on, only stopping to wipe at their eyes or blow their nose.

he finishes his story and watches them paint.

after some time of sitting in silence, the city slowly awakens and the sun rises. it isn't until the sun is nearly level with the tallest buildings that Rhys drops their paintbrush and buries their face in their hands.

the painting depicts their usual imagery, the sunrise filtering through smog and glass towers. the foreground shows a rooftop, not so different from the one they currently sat on. at the farthest edge of the rooftop, standing on the ledge with his hands raised--perhaps greeting the sun, or waving goodbye to the viewer-- was a boy. Rhys hadn't given him much detail, but they didn't need to.

Nightwing saw not just their brother, but his. that boy could just as easily be Jason as any other kid whose lives were cut short.

Rhys packs their things and stands to leave. they don't touch the painting. Nightwing asks what they'll do with it. Rhys looks at it one more time.

"Take it," they tell him. "I can't look at it anymore."

when Dick comes home with the canvas, he leans it against the wall and stares at it. one of the other Bat family, maybe Steph? Tim? comes in and sees the painting.

"Whoa," they say. "It's beautiful. I've never seen a sunrise look so sad before."

[denimbex1986]

'Oppenheimer film review — Christopher Nolan delivers the bomb but can’t crack the man

Cillian Murphy’s charisma holds together a film of astonishing images but fumbled storytelling

No action figures are yet being sold of J Robert Oppenheimer, father of the atomic bomb. He is the stuff of a lavish summer blockbuster all the same: Oppenheimer, a $100mn, Imax-ready portrait from writer-director Christopher Nolan. It makes an unlikely Hollywood prospect. The film doesn’t just forgo superheroes, it is steeped in the very definition of the all-too-human. Feel the tortured ambivalence; witness the dark shadow of doubt. A popcorn trail that leads to Hiroshima: a high-risk strategy.

The star is Cillian Murphy, whose weight loss for the part leaves it looking like the bomb was created by former Talking Heads frontman David Byrne in the era of concert movie Stop Making Sense. Supporting him, a giant cast includes Emily Blunt as wife Kitty Oppenheimer and Robert Downey Jr playing Washington insider Lewis Strauss; among the throng are Kenneth Branagh, Florence Pugh and Tom Conti, as an avuncular Einstein.

The film runs three hours precisely. This is also the typical length of an exam in many British university finals, a rhyme with early scenes of the fragile young Oppenheimer at Cambridge. And with the film as a whole, in truth, which can feel like an undergraduate essay, packing in factoids to mop up marks. It also has a touch of psychoanalysis: Nolan sure that if he aims the camera at Murphy just-so, his character will crack right open.

Florence Pugh is among the supporting cast, playing one of Oppenheimer’s lovers Put like that, it sounds hubristic. The film still has much to recommend it. Nolan taps the full sensory potential of moviemaking, pushing picture and sound to meet the scale of the story: clever lines dot the script; the whole project is admirably willing to wrestle with matters of great weight through cinema. But the source is a book: a credit given to Kai Bird and Martin J Sherwin for their 2005 biography American Prometheus: The Triumph and Tragedy of J Robert Oppenheimer.

All to the good. A gifted choreographer, Nolan has also long struggled with rendering characters in three dimensions. Bird and Sherwin have done the legwork for him: the principals come with rich biographies and ready-to-go dialogue. The book also provides the story’s basic shape: a Greek tragedy, structured around the trial-by-any-other-name Oppenheimer faced during the postwar inquisitions of Joseph McCarthy.

Physicist, womaniser, linguist, leftist, enigma, coward, genius. The film must find room for many Oppenheimers. It duly shows how illusory the divides between them were, one Oppenheimer habitually setting off chain reactions that imperil another.

And yet here, not all are created equal. Blue eyes gleaming, Murphy’s sheer charisma is often the glue that holds the film together. But the through-line from one part of his character to another can be hard to track. We see cocksure intellect, for instance, but have to take on trust that the same man could also be a shrewd handler of personnel, taking charge of the rogue elements building a nuclear weapon in desert Los Alamos, New Mexico.

That period claims much of Nolan’s focus. Of course. This is the crux; the crossroads. But you sense a second reason for Nolan glomming hard on to the moment. As a creative hub thrown up out of plywood, Los Alamos resembles a movie set as the second Oppenheimer becomes director of his band of mercurial talents, facing down bad weather while a producer hovers in the form of US Army Lieutenant General Leslie Groves (Matt Damon). At one point, the script calls its subject the most important man in history. Oh, you think: and yet here we are watching another film about filmmaking.

Still, to quote Robert Shaw in Jaws, Nolan delivers the bomb. He can be an astonishing image-maker. The test in the New Mexico desert is all that and more, the mushroom cloud a strange white apparition, dread and wonder on the watching sun-goggled faces. (“It hardens the heart,” Oppenheimer says, hauntingly.) For all Nolan’s unease with inner lives, Oppenheimer is at its most effective shrunk down to faces and human drama: Los Alamos lost in queasy jubilation after Hiroshima, the scientist’s later hounding driven by one small man’s grudge. What an indictment. The species still so petty, even now.

The film also overplays that hand. The decision to treat the background to the trial like a gaudy whodunnit is misjudged. The storytelling is fumbled too, key scenes saddled with flashbacks and distracting flips between black-and-white and colour. When Oppenheimer needs a spotlight, Nolan puts on a firework display. And the detail comes to feel scattershot; unthinking. (We still never see the moment in Bird and Sherwin’s book where, sharing a lift with McCarthy himself, Oppenheimer gave the senator a wink.)

For all the hint of Hollywood in Los Alamos, Christopher Nolan isn’t Robert Oppenheimer. Nor is he Stanley Kubrick, who gave us that deathless nuclear comedy, Dr Strangelove. Kubrick was brilliant; Nolan is proficient. You may still find that his new film stays with you for days, turning itself over in your mind. And if that owes as much to Oppenheimer as Oppenheimer, the pair do have much in common: each as bold as they are flawed, two contradictory equations.

★★★★☆

In cinemas from July 21.'

[tentacleteapot]

this is about mascot horror and how a lot of the issues people have with it are caused by capitalist business practices, especially the recurring “this was churned out by cynical game developers trying to capitalize on a tween audience and make a quick buck” problem. this is often an entirely factual statement, and in no way am I saying that mascot horror or any other genre exists in a vacuum where there’d be nothing to critique about it if capitalism didn’t exist. what I am saying is that like any genre, mascot horror contains both extremely sincere and well-made entries and cynical cash-ins, and we’re currently seeing a disproportionate number of the latter—much like superhero films being done such a disservice by the MCU's assembly line five-movies-a-year-approach. that said, there are plenty of artists and developers working in this genre aside from the horde of profit-hungry, cynical writers and programmers churning out the next installment of Scraggly Sam’s Nostalgia Maze. the core idea of taking something nostalgic and equally profit-driven from one’s childhood and focusing on the unethical business practices of the companies that fed you your favorite animated movies and action figure commercials disguised as TV shows in your youth isn’t a flawed or invalid idea to want to play around with, and neither is the basic idea of “wouldn’t it be funny if something you thought was cute tried to bite you?” in no way am I saying Let People Enjoy Things in any sort of defensive, ‘nobody can ever criticize anything that I like’ way. my point is that the conflation of genre with bad genre entry is a plague on critique in any medium, one I’m guilty of myself when it comes to certain genres, and all it does it make it tiresome to try and talk about my interests.

I think I need a "a work of art or fiction adhering to the rules of its genre isn't inherently bad, and while disliking or becoming tired of genre conventions is totally understandable it might be worth your time to seek out another one if you're tired of a specific genre's defining characteristics" sign to tap

[autisticcassandracain]

Thinking about Scott Free again.... I think what tends to throw off writers about him is the fact that he honestly isn't a superhero.

I mean, nowadays he is; JLI definitely made him one by incorporating him into the Justice League. But originally? Sure, he had a costume, but it was a showman's costume he inherited from a dying man, not a superhero costume. He did help people on occassion, when he came across people in need or they asked him, but he didn't go out of his way to fight crime or anything. The vast majority of his adventures happened because people came to fight HIM, not the other way around. He would've been perfectly content to just live a relatively quiet life performing escape tricks for money.

JLI was the first series that specifically made him a superhero; yes, Scott had worked in a hero capacity before, but he'd mostly stumbled into it. This was the first time he started seeking out heroism. And JLI just had no idea what to do with him; they barely mentioned his escape artistry, instead making him an engineer, and basically cast him as the straight man in the group. His largest arc had him unconcious and captured for like 10 issues. They REALLY didn't know what to do with him.

And a lot of other comics have followed in JLI's footsteps; making him a superhero, but being confused about what to do with him, erasing his escape artist roots in favor of either his New Genesis connections or engineering skill. Even the ones that don't cast him as a superhero don't typically play into his escape artistry much. They just... don't know what to do with him.

And it's not that difficult to figure out why. The core of Scott is escape, as a concept. And escaping is a fundamentally reactionary action; in order to escape, you need to be trapped first. Scott, in the original Mister Miracle series, was rarely a driving force behind the plot, but rather reacting to what was thrown his way. Notable exceptions were turning points in the story, such as when he decided to bring the fight to Granny to win permanent freedom. He was a much more passive character than many superheroes.

One of the core aspects of superheroes, at least in the DCU, is the eternal fight. Evil is never defeated, so there will always be heroes to fight it. But such an eternal loop is difficult to keep going for Scott. If your goal is to fight evil, you can keep doing that for forever, because there will always be more evil to fight, no matter how many evildoers you defeat. But if your goal is to escape evil, trying to keep an eternal loop in place becomes progressively harder. After all, once you've escaped, it's over. You're not seeking out new evil to escape, so it needs to seek out you. Which, once again, makes you a much more passive character than most superheroes, and in addition, this becomes difficult to keep up the longer you go on.

You can see this in Mister Miracle v2, where they made Scott much more of an 'everyman' than he was in the original series, with a much stronger focus on wanting to settle down quietly, even going so far as to move him to suburbia. But as the series progresses and more threats keep rising up, it becomes increasingly obvious that this quiet life he wants is unobtainable. He cannot escape evil, not really, not ever. It eventually results in him throwing away his wish, and moving to New Genesis. This is the same conclusion the original series came to, as well, only here it's somehow more depressing, because it's a failure. A failure to escape, to have the life he and Barda crave. They try to give it a different spin, but it doesn't quite succeed.

Scott's story is one with a clear end point, which, due to the nature of superhero comics, he's never allowed to achieve. He's a difficult character for DC Comics to deal with, because the thematic core of his character is counter to how they wish to tell their stories.

I honestly don't think Scott's the type of character you can keep going forever. Most superheroes recognize that their fight is an unwinnable one, and their goal is not to eradicate all evil forever (though it would be nice), but to make the streets saver, which they do accomplish when they put criminals away, even if they'll break out. They win if their presence keeps people saver than they were before. But for Scott, a win is an escape. If he has to keep escaping, and it never seems to stop, eventually the logical conclusion is that true escape is impossible, which is entirely counter to Scott's entire character. At some point, he has to escape, permanently.

Luckily, we have another Mister Miracle waiting in the wings to take over, who is a proper superhero, whose backstory does facilitate wanting to help people as a goal in itself, and his name is Shilo Norman. I honestly think that the ideal arc for Scott would be to escape from Apokolips permanently, set up his life on Earth as an escape artist, and to mentor Shilo as he takes over the mantle of Mister Miracle. The man, more than perhaps any other hero, has to end his arc in retirement. He can still be Mister Miracle in escape artist fashion, but leave the heroism to Shilo, a character much better suited for it.

[immaturityofthomasastruc]

Master Fu: Master of Failure (200 Follower Special)

Mentors are some of the most important characters in all of pop culture, as they help the protagonist advance in his journey while helping them improve in skill and personal growth. Because of their vital role, mentors tend to be among some of the most memorable characters in their respective franchises.

Mentors can be a variety of people, from wise sages, to former soldiers, to just regular people with a strong moral compass. What matters is the impact they have on the hero, and the role they play in the story.

Master Fu does a poor job at accomplishing both of those qualifications.

Like, well, basically every bad thing in Miraculous Ladybug, the ideas behind Master Fu were interesting in concept. The problem was the execution, or rather, what little we got with Master Fu. Yet he still manages to be memorable (no pun intended) for all the wrong ways. But before we get into Master Fu, let's get into a problem with Miraculous Ladybug in general that plagues several characters and plotlines.

Order of the... What Exactly?

Despite being “the last known member of the Order of the Guardians”, Master Fu hasn't really explained much about the Order he's from. All we really know is that he was trained to guard the Miraculous and distribute them to worthy people. And the Order does this... why exactly?

This is a huge problem with Miraculous Ladybug, the underdeveloped lore behind a major part of the story. Despite being connected to the Miraculous, you know, the magical artifacts the show is named after, we still don't really know much about why they were formed in the first place, and what their connection to the Miraculous is.

Oh wait, the origin of the Miraculous actually is explained... in an issue of the tie-in comic.

Someone seriously thought it was a good idea to explain that Kwamis are connected to abstract concepts like creation and destruction, and how the Miraculous were created, both very important things to learn, AND THEY DID IT IN A GODDAMN TIE-IN COMIC THAT ONLY LASTED THREE ISSUES! 

I shouldn't be expected to read supplementary material to understand the backstory of a show. You don't need to watch Star Wars: The Clone Wars to understand the tragedy of Order 66, so why would you expect your audience to read a comic book to understand the origin of the magical objects that give your main characters superpowers?

Even the explanation we got isn't that detailed. Okay, fine some guy created the Miraculous to give the Kwamis tangibility (which actually explains how they can phase through solid objects), but... how and why? How was this sage able to see Tikki, how was he able to create the Miraculous, and why did he do it?

This extends to the Order of the Guardians as well. How and why were they formed? What exactly do they even do besides guard Miraculous? Why do they even guard the Miraculous in the first place? We even learn more about their methods, and trust me, I'll get to that later.

In Xiaolin Showdown, the pilot episode of all things explains why Shen Gong Wu are so important, and why the Xiaolin Dragons dedicate their lives to protecting them, because they maintain the balance between good and evil, and if they fall into the hands of evil, the world could fall into 10,000 years of darkness. Yeah, the first episode actually does a good job at explaining the backstory of the show, who would have thought? And it's from a show that has a better representation of Chinese culture when this is what the main character looks like.

Overall, the Order of the Guardians is an underdeveloped concept that does very little to help out Master Fu as a character. If the backstory of a character is so vague, how can we even understand the character's motivations in the first place? And by God, are Master Fu's motivations confusing.

Master of Not Doing Anything

Before I started working on this, I saw a video review of Miraculous Ladybug by someone who had never seen the show before, and only did so because one of his friends said they would start watching One Punch Man if he did. Even though he only mentioned Master Fu a few times, he described him as “a dude with a jewelry box full of superhero bling”, and felt like that was all those unfamiliar with the show needed to know. As someone who is familiar with the show? Yeah, that's basically all Master Fu is.

Despite being classified as a mentor, Master Fu doesn't really do a lot of mentoring. Sure, he occasionally talks to Marinette, but whenever things get rough, all he really does is hand out a Miraculous for Marinette to give to someone else temporarily.

And I've said it multiple times, but the Rent-A-Miraculous system is a horrible idea. Not only does it require Ladybug to basically leave Cat Noir to fend for himself while she rushes over to Master Fu, she has to think of an ideal candidate for the Miraculous she takes, find said candidate, rush back to where the Akuma is, hope Cat Noir wasn't incapacitated by the Akuma, and then haul ass to Master Fu's place to return the Miraculous as soon as the fight's over.

The idea of introducing new heroes is interesting, but because we see them so rarely, they don't really feel that important. I get that the title is “Tales of Ladybug and Cat Noir”, but I just wish the show would do more with the temporary heroes, like see how it affects their lives. Unfortunately, I can't, thanks to “Miracle Queen”, as usual. I'll get to that episode again later on.

Even when Master Fu takes out the Miraculous, he doesn't really help Marinette think of which one to choose. He just says something like “Take a Miraculous, but be sure to return it to me when you're done.” It doesn't matter, because Marinette apparently knows how all fifteen Miraculous in the box work. Hey, wouldn't it have been nice to see Master Fu actually teach Marinette how every Miraculous works? Maybe have him suggest which Miraculous to take based on the Akuma's powers? I'm just saying, maybe you can take time away from Ladybug and Cat Noir fighting a giant baby to actually give more focus on other characters.

Before that, he was just planning to do nothing and hope Ladybug and Cat Noir could reclaim Hawkmoth's Miraculous for him. According to Tikki in “The Collector”, Marinette isn't even supposed to see the Guardian, and only met Master Fu because she found the Grimoire. So despite being “Guardians of the Miraculous”, he doesn't even help out the random people he decided to give Miraculous to? It's a miracle Ladybug and Cat Noir survived an entire season without any real guidance from Master Fu.

The third season tries to do something by having Master Fu train Marinette to become a guardian, but all of the training is entirely offscreen, and by “Feast”, he just says that her training is complete, and then makes her a guardian against her will in “Miracle Queen”.

Then there are moments unrelated to the Miraculous where he fails to actually be a mentor. Everyone knows about how stupid it was that the writers wanted the audience to sympathize with Adrien for threatening to quit being Cat Noir while Paris is flooded, but this also could have been a moment where Master Fu helped him talk about his feelings, or maybe dispense some wisdom about how hard it is to understand if someone actually trusts him or not. You know, act as a mentor to Adrien?

But instead, they brush over this potentially interesting character moment, because that would actually imply that Adrien has flaws. Because we all know Astruc loves to show the audience that Adrien Agreste is basically the second coming of Jesus Christ, right? And even though the episode making a big deal about Adrien not knowing Master Fu, they really don't have any meaningful conversations outside of that episode, except maybe “Party Crasher”. Though the episode does have Master Fu taking action when Ladybug is incapacitated by the Akuma by giving a Miraculous... to someone he barely knows swimming in Adrien's bathtub. Even he regrets his choice a few minutes later.

And then there's the fact that despite it being his job to guard the Miraculous, he does literally nothing to figure out where the Butterfly and Peacock Miraculous are. Sure, he briefly talked with Marinette about Gabriel possibly being Hawkmoth in “The Collector”, but she did most of the investigating in that episode.

Hell, “Sandboy” establishes there's a way to contact Nooroo, the Kwami of the Butterfly Miraculous, on his birthday, but Master Fu turned it down, so they did it behind his back! For the love of God, this is a chance to figure out who Hawkmoth is and bring the conflict with him to an end, and you're passing it up?! In “Heart Hunter”, Master Fu says that Hawkmoth “talks a lot, but hasn't achieved much so far”, but you could easily apply that to Master Fu himself.

Outside of giving Miraculous to Marinette to borrow, what has Master Fu actually accomplished in the story? Maybe his backstory will shed more light on him as a character, and won't just make him look even worse.

The Bungled Backstory

One of the most frustrating things about Master Fu's backstory is that it actually has some pretty good buildup.

In “The Collector” we learn that Master Fu made a mistake that led to the destruction of the temple the Guardians operated out of, and the Butterfly and Peacock Miraculous were lost in the process. This does a good job at setting up the mystery of what Master Fu did to destroy the temple in the first place. It continues in “Sandboy”, where Master Fu's worst nightmare is him heing haunted by the ghosts of the guardians he accidentally killed, and then we see in “Backwarder” that Master Fu had confidants to help him keep the Miraculous safe from what are assumed to be the Nazis. Because I guess guardians get to share their secrets, but not Ladybug and Cat Noir?

And then we learned the full backstory in “Feast”. Much like how “Oblivio” and “Cat Blanc” killed any chances of me ever showing any sympathy to Alya and Gabriel respectively, I lost all respect for Master Fu after watching this episode.

We learn that Fu was chosen to be a guardian at a very young age, and had no other choice but to start his training. One day, he was assigned to watch over A Miracle Box as a test for twenty-four hours without any food, water, or sleep. He decided to use the Peacock Miraculous to create a Sentimonster to get him some food, but his anger corrupted the Sentimonster that made it go on a rampage to eat the Miraculous in the temple... and somehow set the temple on fire judging from this shot.

In my main blog, I had originally made a post calling out Master Fu for what he did, but since then, I've mostly softened up. This is just a fan theory you are free do disagree with, but I like to think that Fu was supposed to use a Miraculous during the test. Maybe he was supposed to use the Mouse Miraculous to get some food while one of the clones sat and watched the box, or use the Horse Miraculous to sneak to the kitchen.

My problem comes from how his backstory affects his actions, and makes him look like a complete hypocrite.

Even though he hated the fact that he was basically drafted to become a guardian when he was only a child, he saw no problem handing out Miraculous to children who weren't that much older than he was when he burned down the temple. I don't even think he should even qualify as a master. His title shouldn't be “Master Fu”, but something more along the lines of “Acting Master Fu” on account of the other guardians burning to death.

Say what you will about Zordon for recruiting teenagers with attitude to become the Power Rangers, but what makes him more likable than Master Fu was that he actually cared about them. He routinely gave them advice, never really lost his patience with them, and understood they had lives outside of their jobs as Rangers. Hell, he was even willing to let them retire to peruse major opportunities in their lives, like Jason, Zack, Trini, and Kimberly, because he knows what it's like to be trapped in a situation that prevents him from living a normal life.

In fact, if Fu really hated being forced to become a guardian, why did he have no problem doing the same thing to Marinette? If anything, Fu should hate the Order of the Guardians, but it's never really explained what really motivated him to continue their practices.

Usually, a backstory related to a supporting character is meant to be followed up by the main characters doing something so history doesn't repeat itself. Anakin Skywalker was driven to the Dark Side because he was afraid of losing someone close to him, with the Jedi Order giving him no support due to their rules against personal attachments. This ideology is subverted in the original trilogy when it's Luke Skywalker's compassion for his father that motivated Anakin to rebel against the Emperor and fulfill his destiny as the chosen one.

But instead of learning from past events, or maybe realizing the Order of the Guardians was never as noble as we were led to assume it was, Master Fu just upholds their tradition of enlisting child soldiers to protect these world-ending artifacts while barely doing anything to help them out. And nobody ever acknowledges there might be anything wrong with the Order.

The Cowardly (and Hypocritical) Turtle

Despite being established to be 186 years old (which still hasn't been explained), and the destruction of the temple happening when he was a child, Master Fu hasn't really done anything with his position.

Despite having all the time in the world, as well as a Miraculous that lets him teleport anywhere, he still hasn't found the missing two Miraculous that Gabriel managed to find at least 129 years after he lost them, give or take.

There's also the fact that, at least, according to the flashback in “Backwarder”, Master Fu may or may not have chosen to sit down and let several historical atrocities and conflicts happen because he didn't want to risk losing the Miraculous. You know, minor things like the Taiping Rebellion, the Crimean War, World War I and II, the Rape of Nanking, the Cuban Missile Crisis, the Tienanmen Square Massacre and God knows what else. What did Master Fu even do while he ran around the world to keep the Miraculous safe anyway?

These both factor into the biggest problem with Master Fu as a character: He's a coward.

Whenever he's confronted with a tough situation, Master Fu's first instinct is to run away and hide. As soon as the Sentimonster that destroyed the temple returns, he takes back Marinette and Adrien's Miraculous and runs away. As soon as Hawkmoth finds out about his existence, he packs up his stuff and runs away. When he's captured by Hawkmoth and Mayura, he gives up his position as Guardian and forces Marinette to take on the role, so he can run away safely.

And once again, despite hating the Order for forcing him to train to become a Guardian, Master Fu has no problem with forcing Marinette, someone who was only a few years older than he was when he was drafted, to become the next Guardian of the Miraculous, all while conveniently losing his memory in the process, which implies that Marinette will lose her memory when she retires as Guardian. I once made a submission to Terrible Miraculous Ladybug AU's joking that he only made up the whole amnesia thing just to dump the responsibility of being Guardian on Marinette, but with his appearance in the Season 4 teaser, I'm genuinely worried that may be true.

And yet, despite every incompetent thing he's done, the show keeps trying to portray Master Fu as this wise old soul, because like with so many characters, the writers think if they keep saying things that aren't true, the audience will just give up and accept these ideas as fact. “Master Fu is a wise mentor”. “Alya is a good journalist”. “Ladybug and Cat Noir are equal”. “Chloe is irredeemable”. “Gabriel is a sympathetic villain”. “Lila is a good liar”. “Thomas Astruc responds to criticism like an adult”.

And I'm not against the idea of a flawed mentor either. I already talked about how complex Dr. K is as a character, and how her connection to Venjix makes her an interesting mentor. What I want is for the narrative to acknowledge that Master Fu is way out of his league. I want someone, anyone, to actually call him out for how poorly he's handled things. I don't want to be told he's a great mentor when the evidence clearly shows otherwise.

But it seems like we may never get that in the show, even though it looks like he's going to return in Season 4.

Let's just hope Master Su-Han is a better mentor, and actually appears in more than a single episode before being escorted off so Marinette can't have any confidants as Guardian. Who am I kidding? That's basically what's going to happen.

[sage-nebula]

could u explain what u dont like about the new ppg show ? i always like hearing ur thoughts on things

Where to begin?

I haven't liked the premise since the get-go. To begin with, the idea that "superheroes but jaded and cynical" isn't revolutionary anymore, it's overdone. It would subvert expectations more to tell a story that's not like that. The days when all superhero stories were bright, colorful, and hopeful stories is long since done. Between Nolan's Batman trilogy, Watchmen, and The Umbrella Academy, we have enough of "superheroes once had hope but now are jaded and messed up adults" to last us a lifetime. Side note, but The Umbrella Academy also did "former child superheroes are now messed up adults" too, so even that aspect isn't unique to this Powerpuff Girls live-action show. If anything, it's like The CW saw the success of The Umbrella Academy and wanted to take their own shot at it, and they just decided to mess up an existing franchise rather than a.) find a comic series already doing something like that, or b.) create something entirely original and actually take a risk. Riverdale just isn't cutting it for them anymore, I guess.

To that end, the entire idea of taking Powerpuff Girls and making it cynical, jaded, and making the Girls complete messes as adults is the complete antithesis of everything the original show was. I'm not saying that you can't ever stray away from the source material when making an adaptation, nor am I saying that they can't handle mature themes with the Girls as adults (or teenagers if they had decided to go that route). Given the difficulties with finding good child actors, plus the difficulties with those actors aging even if the characters themselves don't, I completely understand why they wanted to age the characters up (especially since the primary audience for The CW is teenagers, so giving them older characters to relate to is probably for the best). But you can do that without ruining the central ideas that the original show had, which were that these Girls are superheroines who love being superheroines, whose town loves them back, who have a loving father who does everything for them, who sometimes make mistakes and need to find their own way through things but ultimately are positive figures and role models for girls everywhere. These Girls loved each other, loved their family, their town, loved their roles as superheroes, loved their friends, and that love was always what saved the day. And sure, sometimes the show could be campy and cheesy, but this was a superhero show with anthropomorphic creatures as villains and, well, kindergarten aged superheroines. It didn't need to be realistic and gritty, that's not ever what it was about.

So to know that the show was always going to mangle these characters and the themes of the original for something that is honestly trite and overdone left a bad taste in my mouth even before I saw the bits of the pilot script that were leaked. But seeing what was leaked, what do I hate about it? Well:

I hate that only Buttercup was cast as black when she is known as being "the toughest fighter" and therefore the most aggressive and violent of the three, since that's a racist stereotype of black women (see: the angry black woman). I also hate that she's not only queer, but also hyper-sexualized in her queerness as well, since that goes into more racist and also homophobic stereotypes (both in that she's hypersexual and also that she's the least feminine and most aggressive, so CLEARLY she's a lesbian, am I right?)

I hate that Buttercup threatens sexual assault against Blossom (leaking her nudes) to wake her up.

I hate that Bubbles is apparently a cocaine addict, or was one at some point.

I hate that Buttercup uses "triggered" with air quotes and is apparently some kind of anti-SJW caricature.

I hate that Professor Utonium is portrayed as an abusive father when he loved those Girls more than his own life in the original and, as stated, did EVERYTHING for them.

I hate that there's a whole scene where the Girls talk about his sex life.

I hate that Ms. Bellum is reduced to just being the Professor's abused girlfriend.

I hate everything that was done with Mojo Jojo, both in how he was split into two human characters and how apparently he created Chemical X but the Professor took credit for his work.

I hate that this adaptation made Professor Utonium into an abusive father, abusive boyfriend, and hack scientist who steals the work of others and then cast a black man to play him.

I hate that Blossom apparently killed Mojo and that's why the Girls are exiled from Townsville (or at least not able to use their powers there or something).

I hate that the Rowdyruffs are apparently in this mess somehow (Butch is mentioned at one point in the script as hating Bubbles).

I hate that they belittle the cartoon as being something terrible in this pilot by having Bubbles say that the Professor "sold their rights" to make the cartoon that "whitewashed" them (I get that she's trying to say it made their image look more pure, but considering the actress is literally white, her claiming to be "whitewashed" is fucking hysterical and just goes to show that the writers are trying to use social justice language without having a single idea of what it means). Basically, "the cartoon sucks, our show is better" when that couldn't be FARTHER from the truth.

I could go on. I always knew I was going to hate this show but the racism, the homophobia, and the complete degradation of everything the original show stood for is so much worse than I could have imagined. I thought we couldn't sink lower than the rebooted cartoon on Cartoon Network, but boy, was I wrong. Apparently they are retooling the pilot, but given that they said their reason for doing so was that it was "too campy and not grounded in reality" my hopes still remain in Hell (where they were originally but yet somehow it still ended up worse than I could have thought). All I can say is that I hope this trainwreck gets canceled before it ever airs. I doubt that will happen, but that's what I'm hoping for anyway.

[tathrin]

Ahhhhh yes wonderful! That is A: absolutely the goal when I write something THANK YOU SO MUCH and also B: how I like my stories too. I would much rather have a story where I can see each step of the plot than one that just lurches in and catches me off-guard with a “ha ha surprise twist!” Especially when it’s something that’s implausible, shocking, or terrible: I want the mounting anticipation or dread more than just a fleeting moment of “oh wowserz didn’t see that coming!” which is so much less satisfying imo. Even if I didn’t cotton-on ahead of time, I’m still more delighted by a story where you can see the twist in retrospect than one that’s “surprising” because it never bothers to set the twist up at all.

See: soooo many modern action/superhero movies ugh. It seems to be a common fallback for some writers now to engender a moment of shock and awe in order to cover for the fact that they’re failing to establish a proper emotional arc or connection that would make people react like that even without the shock. (That’s why they’re so obsessed with “spoilers” now. If one single spoiler would ruin your whole film, it’s probably not a good film buddy.) We all know who Luke Skywalker’s father is now, and ESB remains a fantastic film because it’s got the same emotional weight regardless of whether the audience is gasping in surprise or not. There’s such a difference between “don’t spoil this twist so that other people can experience it for themselves” and “don’t spoil this twist because without it there’s no point to the whole damn movie” lol.

And apparently I feel rambly (I’m not procrastinating writing a scene, shhhhh) so I’m going to ramble about my thoughts on twists/surprises in stories a bit now. But I’m more just venting at the void now rather than talking just at you, so feel free to scroll past and ignore me as I soapbox XD

But take a Heist Story or a Mystery: what makes a really good heist or mystery is one where all the pieces fit together so that when you go back and read it the second time, you can absolutely see how it happens even if you didn’t figure it out ahead of time on the first read/watch — and that’s what makes the story good to read a second time, too. (The Rogues of the Republic series, which is basically Ocean’s Eleven meets D&D, does this really well, btw, if that sounds like something up your alley. To reference back to an earlier ask, that trilogy was also a big part of my slowly dawning “oh maybe you can have modern elements in a fantasy story without it sucking” revelation.) I don’t like Shock Value Stories where once you know the “twist” there’s not really any story left.

One of my favorites for keeping-people-guessing-but-not-too-much is Aaron Allston’s Star Wars novels. He’s mostly writing about fighter pilots-turned-con-artists-and-spies, so there’s obviously repeated “oh look at what they pulled-off to fool the bad guys with!” elements, some of which the audience gets clued-into ahead of time and most of which the audience is along for the ride on...but they always fit. He takes the time to set each con up, and then jumps ahead to the pulling-it-off stage, so that the audience gets to go “oh that’s how they did that, awesome!” instead of just standing slack-jawed in confusion on the sidelines.

The best twist I’ve ever experienced was the one in the first Knights of the Old Republic video game. I don’t know if you’ve ever played it — I don’t know if you’re a Star Wars fan at all — but to this day, it remains my absolute favorite game of all time. And it’s because the twist is so well earned, and packs such an emotional wallop when it comes...and it continues to maintain that emotional wallop even on a re-play when it’s no longer a twist. It’s why I’m so invested in that whole era of the SW universe, and in the character of Revan in particular. The emotional experience of that revelation cannot be beat.

Or getting back to fantasy: have you done the Provost’s Dog series by Tamora Pierce? There’s a twist in the third one that is SO heartbreaking that most fans literally avoid talking about it openly online even with spoiler tags because they don’t want to spare anyone the pain of spoil anyone from experiencing it. But it’s set-up in such a way that you could see it coming...if you wanted to let yourself. But you don’t want it to be true, so you don’t let yourself think about it; you tell yourself it’s impossible; you ignore it. (Or so I judge is the general experience and not just my own, because most of the reactions I’ve seen to it that weren’t just wholly shocked have been along the lines of “I didn’t want it to be true!” or “I thought for sure she’d pull something else in the end!” etc. I’m sure there were people who did see it and who let themselves see it, but the bulk of us seem to have gone NOPE LA LA LA if/when we picked-up on clues.)

It is also really interesting to look at stories that you’ve known for so long and see someone else experiencing them for the first time, because we know all the twists...but they don’t. So it reminds you (or me, at least) of what it was like when those things were twists. Because Boromir trying to take the Ring isn’t a twist, Rohan making it to Gondor in time isn’t a twist, Aragorn sailing in on the boats isn’t a twist, Gollum biting the Ring away isn’t a twist...unless you’ve never read it before. I don’t remember the first time I read LotR, because it was so long ago. I don’t remember what it was like not to know if Merry and Pippin were alive! I don’t remember what it was like not to know that Gandalf would come back! I don’t remember what it was like to be surprised by anything in this story...but it is so much fun to see someone else be surprised by all the things that were surprising the first time you read them!

Anyway I don’t even remember what point I was trying to ramble my way towards anymore, I’m sorry. But yeah, basically: I like when I’m surprised by what I read, but I don’t like when I’m blindsided by it. If that distinction makes sense. I want to go “oooh!” not “wait, where the fuck did THAT come from?” XD

Also getting back a little more on topic to actually respond to you and not just screech into the void: I agree with your tags about shippier takes on Boromir’s sexuality, I have no objection to those (that is not a hill I will die on lol) but they always come across to me as “oh someone is doing something different with Boromir, okay!” because in my head? Yeah he’s hella ace. (Anyway I think that really, you could not have phrased it better if you had tried, because what is a better phrase to use when talking about Boromir than hills you die on?)

🎯 🤩(and my boy boromir for 🧠 please!)

From this ask meme.

🎯 Have any of your readers accurately guessed major plot points? Care to share which?

Oh gods, probably? I'm not much of a "twist" writer tbh. When I get "gasps of shock" out of folks, it tends to be less a result of a plot twist they didn't see coming, and more in regards to the specific details of how x-y-z happened. If that makes sense? There are a lot more "oh no, Tathrin isn't really going to...oh crap, we are! oh crap!" vibes happening in my comment section than there are "wow, I didn't see that coming!" ones, I think? I'm more interested in getting people invested in seeing what happens next than I am in surprising them with something unexpected, I guess. So instead I'll answer the other way, and say that I was surprised that more people did not anticipate the death at the end of this story, because I had assumed that it was a foregone conclusion based on what the story was ¯\_(ツ)_/¯

🤩 Who is your favorite character to write?

Boba Fett. (Original Flavor Boba Fett, I should say.) The only reason I don't write more of him is because he needs a story that deserves him, you know? And he's a pretty singular barve. But I love looking at the world(s) through his T-shaped visor.

🧠 Pick a character, and I'll tell you my favorite headcanon for them (for Boromir).

Oh damn, I don't know that I really have any significant ones honestly, since I don't really write him much (although I have been enjoying him recently and uhhh we're not ready to talk about The Zombie Story yet, but. well. there are thoughts happening and Plot Outline Possibility A has a significant amount of Boromir, so. I expect I'll be doing more of that soon shhh). So mostly thinking-out-loud here...I headcanon him as aromantic, because of the whole "delighting chiefly in arms" thing, and slightly baffled by everybody else's interest in all that sappy stuff, as he's always rolling his eyes affectionately at his little brother when Faramir goes off into some bout of poetry or whatnot. Also, I love a Slightly Baffled Boromir in relation to elves and dwarves (and Hobbits, too, but I feel like Hobbits are weird in a less bewildering way somehow) so the idea that he spends 90% of the Fellowhip's journey in a constant state of silent wtf-ing at whatever nonsense Gimli and especially Legolas are getting up to is a delight.

Thank you for making me think about Boromir more specifically!

[me4ml]

Why don't you like Maribat? Why do you think it's a spite or salt ship?

This is presumably because of my Adrigaminette post or the whole Maribat being on the ship list thing.

Quick disclaimer: if you read/ship/write/like Maribat, cool! This is not an attack. This is me answering why I, personally, do not like it. It’s tagged anti, and salt, so it should be filtered. Please don’t harass me over it.

Another note before we start: a lot of what I’m about to write is based on what I’ve read, fic wise or meta, and I blocked off the Maribat tag and fandom a long time ago. It may have changed over there-I doubt it, and I have zero desire to go and look-but this is based on what I’ve seen and read about.

There are, principally, three reasons I can’t stand Maribat, why I think it’s a spite/salt ship.

1). I don’t like Damian Wayne.

2). I don’t like how Damian and the DCU are written in Maribat.

3). Maribat is a mutated salt fic.

If you want to see my reasons why, the rest is under the read more.

1). I don’t like Damian Wayne.

Damian’s not just my least favorite Robin, ranking behind any of the others who have born the name. He’s my least favorite Batfam sidekick overall.

Part of this is his introduction, where he’s a violent, murderous, arrogant, entitled, snotty little brat of a thug. Lest we forget, one of his first acts is to go out, kill a guy, cut off his head, stuff a grenade into the decapitated head’s mouth, and try to blow up Tim. This is his introduction! There are a number of other occasions, including how he treats Jon, his best friend, and the rest of his siblings.

Another part is that he believes that he deserves to be Robin simply because he’s Bruce’s son, and therefore has the blood right to be Robin, to become Batman, and damn anyone else, who are all pretenders. Doesn’t matter that those characters might have a right to become Robin, or the future Batman, he’s the bio son, he deserves it!

Additionally, Damian feels.....not unnecessary, but repetitive, in his actions/characterization. There are other characters who can perform pretty much the same way for whatever storyline is necessary, without including Damian.

Trained by an abusive family to be the best, as an assassin and warrior? Cassandra.

A killer who breaks the main rule of his mentor, which causes tension and strain in the family? Jason.

Incredibly intelligent and talented? Tim.

Damian isn’t unique in what he does, and while that can make him an interesting character, it can also make the focus on him unnecessary.

As well, so much of Damian’s actions and motivations feels like he gets away with stuff, in-universe, because he’s Bruce’s biological son, and so Bruce gives him too much slack, and out-universe, because the writers let him/the fans will defend him. He gets woobified, or leather pantsed. Which leads to:

2). I don’t like how Damian and the DCU are written for Maribat.

For all his (numerous) faults, when written well, Damian can be an interesting character. For example: How does he deal with being deeply insecure? By putting on a mask of arrogance and overconfidence.

Some more examples: How does Damian act like an actual child, when he’s never had a childhood? How can he be a hero, if he’s been trained to be a killer? Can he ever catch up to his siblings, or will he feel like they’re always better than him?

Damian’s sense of being Batman’s son, of being the heir to the Cowl, slams right up against the idea of the Batfam: that there are people who have just as much of a right to call Batman their father/father figure, people who are just as talented and skilled and capable as Damian himself is, if not more. Watching Damian develop, when he’s written right, is actually enjoyable; mainly because when it’s done right, it shows Damian actually progressing and growing, becoming more of a person, with friends and interests. Most times, seeing Damian with his pets can be adorable, same with when he hangs out with Jon.

Is he still a brat? Still sometimes a bit too much of a Demon, an al-Ghul? Yes, but that’s always going to be part of him, and as long as he’s shown to try and grow, or gets called out on that, it’s less of an issue (There’s a completely different rant to be written about how DC likes to chuck character development or backstory into the trash when it suits them for a new run. Damian gets hit with this, as does Tim, or they get handed the idiot/conflict ball, but not the space for it).

Maribat hurls this all out the window. Damian’s bad traits are all “fixed” offscreen-he’s developed, matured, gotten better, whatever you want to call it. It’s basically a writer’s hand wave to make Damian into the character who will be the lead of the story, perfectly suited for his main role of being Marinette’s boyfriend and utterly devoted to her every whim and will. He’s enchanted by her at first glimpse, and defends her against everyone who hates her, because no one can understand her like he can!

Uh, what? This is not Damian Wayne. Even at his best, he’s no broody boy, pulled from his “dark path” by the love of a gentle girl. He’s a Jerk with a Heart of Gold-emphasis on the Jerk. There’s a reason his nickname usually involves “Demon.” Is Damian trying to get better? Yes. But even then, he’s not the type to immediately fall in love. He takes a while to warm up to people, for them to earn his trust, and Marinette would not be like that?

Let’s say that Robin is in Paris for a case, he runs into Ladybug and Chat, and after they explains what’s going on, Robin gives them a stare over his mask, and goes “TT! What a worthless hero, I would have caught him already.” LB and Chat would probably want to deck him, and that’s before he keeps talking.

Same with if Damian transfers to the class, or they meet on a field trip to Gotham. Damian’s not gonna care about some random French teenagers on a tour, or if he was transferred he’s gonna be trying to figure out why his father sent him to Paris, and be focused on the mission, not making friends.

Of all of the Robins, the ones that would be the most likely to capture Marinette’s interest would be Dick or Tim, not Damian. He would remind her too much of Chloe, as Damian, and as Robin, he would be dismissive of Ladybug’s abilities, which would absolutely piss her, and Chat Noir, off.

In characters that aren’t Damian, no one seems to be written properly over in Maribatland. One huge example is that Marinette is so beloved, so pure, that she can make any character fall in love with her, and reform by her pure goodness, including a fic where the Joker-THE JOKER!-becomes her “Uncle J,” and pranks Lila on her behalf.

Uh-huh. Sure. Completely and totally something that one of the biggest, most sadistic twisted, notorious villains in pop culture would do. Maribat winds up worshipping the ground that Marinette walks on, cause she’s “Teh best evar!”

Which then leads to my third and final point:

3). The whole Maribat concept is a mutated salt fic.

Most of the themes you’ll find in Maribat? You will find in nearly every salt fic.

Maybe my biggest issue with the whole Maribat idea is that it doesn’t feel like a proper crossover, which, at their best, explore how characters from one universe and their rules would interact with characters from another universe, and the rules of that one. Putting ML and DC together is a rich opportunity to play with concepts in both worlds!

And yet, it’s mainly used to bash ML characters who the writers despise, predominantly Adrien, Alya, and Lila, with members of the class thrown in depending on feeling, and potentially even Marinette’s parents! The only “good” ML characters are the ones who are on Marinette’s side, usually Luka, Kagami, a Chloe who for some reason has been redeemed and is now Marinette’s best friend, and whatever members of the class the writer decides to throw in there.

You’ll notice it’s not called “MiracuBat”, or LadyBat and Bat Noir-it’s MariBat. It’s meant as a focus on Marinette, making her-the hero of the Miraculous Ladybug franchise, someone in-story in story who is incredibly smart and talented and the leader of her team, future Guardian-even more awesome.....by beating down everyone else around her.

Marinette is simultaneously treated as an beaten-up, beaten-down walked-on carpet, and the best person to ever exist ever, go who only needs a group of new, different, better people to recognize that and save her from the clutches of those greedy and ungrateful assholes! That doesn’t include the fics where she’s the unknown child of a superhero or supervillain, making her even more special.

It’s Chameleon salt, class salt, with pointy ears and a cape on.

Some specific examples.

Adrien: Adrien is a spineless doormat who prioritizes Lila over Marinette, or an entitled bastard sexual harasser, only fixated on Ladybug, or even both. Sometimes it’ll get worse, as Adrien will threaten or abandon Marinette if she steps off of his “high road,” and Chat will be a budding rapist, stalking or capturing Marinette after he’s learned she’s Ladybug, while ignoring her prior to that. He will, of course, have his ring stripped and handed off to Damian, who is the “true” soul of Destruction and so therefore a “perfect match” to Marinette’s Creation soul. Occasionally it will be Jason, or Tim, or Dick, but the key thing is that it’s not Adrien!

While Damian’s issues are magically fixed, Adrien gets no such courtesy. Adrien has been abused, just like Damian, and while Damian’s abuse is more extensive and extreme, abuse is abuse. If anything, if Damian met Adrien, he would probably see another abused kid, and want to be his friend/have his “adopt stray person!” Instincts go off. I can much more imagine Damian dragging a bewildered Adrien into the Batcave and yelling “Father I’ve found another one for you to adopt!” than I can Damian immediately hating Adrien, or Chat, simply for breathing.

We never see Clark taking Adrien under his wing, or Bruce, or any of the other Batfam; nor any of the other Justice Leaguers. We never see Selina try to fight Bruce over the kid, because he’s cat-themed, and Selina can train him, this one’s hers Bat, get off!

Adrien’s never treated as a kid, or given actual development. A major complaint among salters is that Adrien is treated as perfect and never develops, and in fic, rather than developing him, Adrien either remains static, with his flaws narratively exploded, or is developed negatively. He’s there to be beaten up on and punished by the writers, if not actually physically beaten up by characters in the fic.

Alya: the not-so-good friend, the cheap excuse for a journalist, the awful person who abandons Marinette for Lila and her “connections.” Never mind that Alya was Marinette’s friend from the beginning, or that Marinette’s chosen her multiple times for a Miraculous. One instance of questioning Marinette about Lila, and Alya’s a backstabbing bitch.

Maribat treats Alya as neglectful, bossy, domineering and submissive at the same time to Marinette and Lila respectively, and as a journalist, the worst of the worst. She’s played as a two-bit paparazzo, and once again, the DCU is used to punish her. We don’t see Alya get mentored by Lois or Clark-indeed, if they notice her, it’s with disdain or disappointment. Often, they’re crushing her under their heel, calling her not only a bad journalist, but a bad friend/person. This forgetting, of course, that Alya runs her blog as a hobby so far, she’s only a teenager, and that she’s had Marinette’s back against Chloe and Lila.

The Class: the dupes or allies as needed. Class salt levels depend on what the writer needs. If they’re pro-class, they’re all on Marinette’s side, aside from Alya Adrien and Lila. Chloe, for some ungodly reason, is “redeemed” nigh instantaneously, and often will become Marinette’s best friend, if that isn’t Kagami already. Kagami will drop Adrien like a wet tissue, never trying to reconcile him with the clas, or encourage him to stand up for himself, or if she does, Adrien, of course, will not listen.

If the writer is anti-class, whoo boy. Openly mentally, emotionally, physically abusive to Marinette, the worst gang of people you would ever have the displeasure of meeting, they all need to be in Arkham.

We never see any of the class make friends with the Batfam, the Titans, Young Justice-unless they’re on Marinette’s side, of course. There’s no Alix stopping Selina at the Louvre, for instance, or Max hanging out with Babs. It’s all based on how Marinette is treated as to whether or not the class is portrayed as being worse than the worst of the Rogues Gallery.

Wrapping it all up, Maribat has made me dislike the entire concept of a DC/ML crossover.

Even if someone had written an non-salt, in-character crossover, I don’t know if I would read it, simply because the well has been that poisoned.

[popculturebuffet]

Of Moons, Millionares and Mothers Part 3: Storkules in Duckburg! aka THE INCREDIBLE STORKULES TERRIBLE BUT WELL MEANING ROOMATE OUT OF MYTH

Hello all you happy people! And welcome and welcome back to Of Moons, Millionares and Mothers, my look at the season 2 arcs of Ducktales! This arc was paid for by WeirdKev27 and I truly enjoy his support. if you want to know how to commission your own reviews or to get a guarnateed review of me of your choice from me a month, stick around to the end. I realized that shoving all my plugs in up top may be driving people away and while I DO make them because I want to make a living off this, i’ts not fair to those of you who simply can’t afford to buy a lot of extra shit like myself to keep shoving it in your face. 

Previously on the Louie Inc Arc, Louie, after believing he had no skills and it was a matter of when not if he ws going to die, found his talent: seeing all the angles and thus being Sharper than the Sharpies. With newfound confidence and a chip on his shoulder from Scrooge saying he could one day be a bigger success than Scrooge himself, founding Louie Inc as a result. But what is Louie Inc? Does he actually have a plan or a bunch of buzzwords. And what does STORKULES, MANLY GAY OUT OF MYTH have to do with any of this? Join me under the cut to find out. 

We open with Louie giving Scrooge his sales pitch that is essentially...

Naturally Scrooge buys none of it. I mean he’s somewhere in his hundreds, he’s probably seen about 80 thousand pitches that amount to “I have no plan but give me money anyway”. There’s a reason there’s a Butch Hartman shaped crater on the lawn from where he threw his ass out. 

Scrooge does mentor the lad, or at least attempt to pointing out he needs an actual product or service (Louie rejects the idea of a lemonade stand as too easy), or as he puts it “Find a problem and create a solution”. 

While the basic PRINCIPAL isn’t bad, find something people want or need and provide it, phrasing it that way sounds like “find a problem people are having and exploit the shit out of that problem for fun and profit.” Granted that IS a guiding principal of business, it’s just not something an uncle should be teaching his kids. They should be teaching them about the anime and cartoons they grew up with as I do with my niece and nibling. 

He does show him a valid example of this in action in the form of Donald. Turns out Donald has found a good way to make money while he looks for a job, can relate: since Duckburg is facing a housing shortage, likely because several square blocks probably get destroyed by Scrooge’s Adventures, Glomgold’s Schemes, Superhero Battles, whatever creation went horribly wrong for Gyro, etc at least once a week. So he’s taken it upon himself to offer up the spare room to whoever can rent it.. and to steal Scrooge’s chandelier which even when caught he still takes anyway. Scrooge.. you called the guy a god-damn moocher in the season premiere, despite the fact he lives there soley because YOU offered and because he’s you know, being responsible and staying by his boys so they have their father figure around. So yeah I feel he’s doing this partly out of spite as is the McDuck way. I mean if your going to call him a freeloader just for being a responsible parent, then he’s going to take it up a damn notch.

Scrooge proceeds to laugh off Louie wanting a million dollars and gives him a dime instead because of course he was. Seriously Louie there are two other billionaires in town who are FAR dumber and far more easily swindled. Just go get star up capital from them. Hell with Glomgold all you’d have to do is tell him it’d upset scrooge and he’d literally throw money at you. Or give you a shark full of money. He needs the shark back though. He’s family. 

Meanwhile Donald prepares for his new tenant and finds.. THE INCREDIBLE STORKULES! Who to his mounting horror as he realizes it, IS the new tenant. And who throws him into the sun. Cue credits. 

So after Donald somehow survives being thrown into the sun, Storkules explains why he’s here: Zeus responded to his son playing the lute a lot like any rational reasonable 

No of course he responded to the “crime” of “playing his instrument a lot” with sending a swarm of harpies on the town then blaming Storkules for it and casting him out. What’s most shocking is not the action, this is honestly him staying the course of being a fucking disgrace, but that Zeus somehow ISN’T the biggest asshole i’ve dealt with this week. No that honor is reserved as always for this bitch:

Keep in mind she manages to be this obnoxious in only TWO scenes. Also keep in mind I had to put up with Julie for a MUCH larger chunk of the previous two volumes I covered before volume 5 yesterday for my Scott Pilgrim Retrospective and she is ALWAYS like this and you now feel my pain. 

This does create a problem though: Zeus casts Storkules out until he’s a responsible adult.. and thus paints Storkules as the bad guy... in a situation where the only other person in the story sent a swarm of HARPIES down at him for simply playing his music too loud. It just dosen’t work as a catalyst: Storkules objectively did nothing wrong. The only person he annoyed was a person who clearly dosen’t love, respect or like his son in any way shape or form anyway and essentially assaulted him and a bunch of innocent people via harpie and then cast him out. Zeus is an abusive asshole and i’ts weird the narrative sides with HIM and not our well meaning doofus. Zeus being an asshole with harpies is not a bad catalyst for the episode, and the harpies being unleashed is used well.. it’s just not a good catalyst for THIS story to try and portray an abuser as in the right. And make no mistake Zeus is a domestic abuser: he had his son mind controlled to try and MURDER innocent people, something Storkules begged him not to do, sent a swarm of creatures after him for the crime of playing his music too loud and in his next episode manipulatives Storkules sad emotional state for personal gain. Why would you try and paint THIS jackass as in the right?

Speaking of painting this jackass in the right sadly.. this episode does not do my boy donald justice. In most episodes he’s pretty nuanced and i’ts fair enough he’d be frustrated by Storkules as a roomate. Storkules has little sense of personal space, breaks his stove thinking theirs hydra in it, makes a mess of the kitchen making them a meal, and in general clearly dosen’t know how to live with a roomate much less in modern society. He has valid concerns and the episode COULD have used it that way.. but he’s also horribly impatient with Storkules. He refuses to get the guy just hasn’t had to live in a modern society and dosen’t know HOW to function in it and instead of helping him just gets mad again and again and gets really pissed when it’s clear Storkules dosen’t have a job and didn’t consider paying rent. He’s not WRONG to want him to pay Rent, despite what ironically the musical Rent would try and have you believe, but he dosen’t have any patience with the guy. And stork isn’t nearly coming on as strong as he normally does. The worst he does is cook the guy lunch and bring his donald fan art with him. Which we don’t see but I am assuming is mostly naked. What i’m saying is for once that while still bombastic, Storkules isn’t trying to force a relationship/friendship on him and simply wants to learn t be an adult from his best friend.. and Donald isn’t bothering teaching him.

Asking for rent or for him not to destroy the stove is fine, but not explaining WHY he needs either of those things or why he needs boundaries, he makes a roomate list, isn’t helping the guy. And this would be fine... but the episode dosen’t call Donald out on it for no real reason. It feels like it’s setting up for a “you should learn to wokrk with someone instead of just screaming at them aseop” that never comes and like with Zeus takes his side because shutup. I’d also LIKE to say this is the only time the writers reduced one of the cast to a caracture of themselves.. but I can’t.  Several episodes in season 3 forgot Louie’s character development and another episode in season 2, The Duck Knight Returns!, somehow reduced both Scrooge and Dewey to parodies of themselves with Scrooge SOMEHOW, despite Della as stubborn as she is being in his care and by his side for decades and Movies bein ga huge business, not having seen a movie since the 1920′s and not knowing how they work and Dewey being reduced to just hyperactive moron. It isn’t as common as other shows like say Regular Show, The Loud House or, for the exact reason I lost intrest, Rick and Morty, but I still expect better, especially since they went into this season KNOWING Donald would be gone for half of it and this would likely be one of his only spotlight episodes. 

Back at the good part of the plot, Louie is having a company meeting aka already treating Huey and Webby like his employees. Webby of course is glad to sign on, if little help in actually coming up with a product while Huey just wants to nope out. And if your wondering why Dewey isn’t involved Louie outright says he’d make a bad employee and while Dewey rises from his bed to object.. he stops halfway to opening his mouth and concludes he has a point. Best gag of the episode. Louie being louie easily cons Huey into staying by making Webby his charts officer. 

So the three have a corporate retreat at Funso’s... granted they don’t have a product but Louie figures this might help. Huey.. still wants out of this and suggest since they already spent what they had on ski ball “Company over?”. It’s clear that Huey just sees this as another one of Louie’s short sighted schemes... and while he’s not ENITRELY wrong, Louie has genuine ambition.. he just has no earthly idea what he’s doing and is shooting way too high.. but for understandable reasons. 1) He’s 11 at this point. 11 year olds aren’t great at business strategy or reinging it in. 2) he wants to live up to what Scrooge said to prove he can be successful and really be worth something like his mom was. 

But sometimes fate throws you one and the harpies bust in. And while Louie wants to do nothing and hope they go away Huey and Webby spring into action.. as does Storkules, who had to leave but warns donald there’s Orzo in the slowcooker and to not open it “LEST THE PASTA FAIL TO ABSORB THE BROTH!” Which is just.... Chris’ best line dleivery the episode. He says it like he’s saying the title of an old Stan Lee and Jack Kirby comic, i’ts wonderful.

So our heroes defeat them and Louie steps in to charge for the service and quickly comes up with a company idea and name “Harp-B-Gone” (A Subsidary of Louie Inc). Louie hires Storkules on the spot. Storkules proudly tells Donald he has a job the next day and goes off to it. What follows is our heroes hilarously shooting a commerical with Storkules playing a baby to promote themselves so they can help who needs it. They just need to find out what they want.. and thanks to the JWG and the harpies stealing it find out they go after people’s most treasured posessions   Cue Ghostbusters-Style Montage

And this isn’t just me saying thing. The Rewriting History Entry (Which as a series weirdly stops around mid-season 2 and I don’t get why frank hasn’t gone back and finished it since) states they specifically based this whole operation on ghostbusters and the entire sequence of our heroes cleanin up the town reminds me of it. The highlight of it is a glomgold cameo where he’s kidnapped.. and refuses to pay so Louie just lets him go. And were this an innocent person who couldn’t afford it, i’d call him a monster.. but it’s glomgold. he brought this on himself.. and also sues himself for it. Wonder if he won. 

So with their stars rising, our heroes get booked on the hottest show in town: Dewey Dew-Night! I had honestly forgotten there was a Dewey Dew-Night segment in there, and delighted I get to talk about this recurring bit.  It’s one of the shows funniest runners and just perfectly FITS Dewey: of course the most egotistical and energetic of the kids would not only want to be a late hnight host but make up his own show. I also love the slow evolution of it: it started as something everyone clearly knew about but he stlill tried to keep hidden, slowly escalated to him allowing the rest of his siblings (Webby very much included) and the giant man who stalks his uncle in, and by later this season he’s putting the show online in the web shorts and gladly shooting it into space, with Season 3 having him spend the first half of let’s get dangerous making a documentary that includes an episode of the show featuring Darkwing. It’s a small thing sure, but it’s the little things like this that make the show special. 

The show does reveal a problem though as it turns out they’ve GOT all the harpies and while Storkules merely wanted to help, Louie points out they need more to keep a buisness going and naturally never bothered to ask Storkules just how many there were. They need SOME plan to get going. Webby submits a legitamte and great idea, training the harpies as she’s been trying to do in the background of the episode and aside from a hole in the floor they are starting to listen. But Huey is an ass about it and not only shoots it down saying let’s keep the dangerous creatures contained, even though A) he has no idea WHERE they’ve been kept so he can’t verify it’s safe, and since i’ts Donald’s Closet no no it’s not. and B)There’s no where he knows of to keep them. He isn’t aware of the other bin till next season. and C) it’s not ehtical to keep creatures locked up forever epsecially since while the harpies are dangerous they arent’ MALEVOLENT and are clearly acting on instinct. oh and for D) at least she has a plan to keep the company going instead of just wanting to end this and cash out. 

Which Huey tries to.. but naturally Louie spent all their money on...

So their broke.. and Storkules has no rent money and feels like a failure despite having done NOTHING wrong. We do get a clever little nod to Disney’s hercules though “I”m not a hero, i’m a zero”. Webby rightfully glares at Louie who decides to fix it... by sneaking into Donald’s house that night to free the harpies. 

Though to the shows credit it’s a VERY bad idea, and Storkules coming in mid attempt and congradulating Louie when he lies about checking the door gets the kid to come clean. And it’s a nice character moment: He could still go through with it.. but it’s clear he realizes just HOW low he was about to sink to save his own skin and that as much as Storkules WANTS a paycheck and deserves one, it’s not worth hurting people to get it. Louie tries to justify after this.. but can’t. 

Unforutnately Donald took a lot of stupid pills this episode, yells about his no pets rule and frees them instead of you know, THINKING for five minutes.

So yeah NATURALLY Donald is an angry shit about it , refusing to actually TALK to Storkules about this or maybe admit this is partly HIS OWN FAULT. Yes their both at fault, Storkules shoudln’t of shoved a bunch of harpies in a closet. That’s a classic blunder. But Donald still opened it and isn’t called out on taking zero responsibility. Huey sees the fracas and just takes down their days without an accident placard, good stuff and he and webby arrive to help. Donald fights with Storkules and Storkules worries about loosing his friend.. lead to them going after the thing he values most aka donlad and hyjacking the house boat, though the kids manage to get aboard. 

As Storkules saves Donald, Louie realizes the most precious thing he has is  his merch and willingly gives it, and his buisness up to save everyone. It’s good character stuff and shows that despite his problems with greed, Louie IS a good kid and will do the right thing. It’s what seperates him from the Rouges Gallery the family faces: He has FLEXIBLE morals but he has morals when it comes down to it. So everyone tosses the stoff to help direct the hapries and make it home tying them up. Donald has a heart to heart with Storkules and agrees to help him find another place, but still considers him a friend and they hug. Awww.  One intresting thing I DID find out from rewriting history is they originally fully intended to have Storkules STAY on the houseboat. He was going to be a permenant member of the household, at least as far as Season 2 was concenred and plans were made for several episodes down the road: the whole bit with him in “The Golden Spear” was simply because he lived there, he was going to be the one Della met in the houseboat, obliviously guilting her about what she’d missed, and he was going to set off the kids subplot in “Whatever Happened to Donald Duck?”

This ended up not happneing for logistical reasons: Frank, and I swear this was the term he used, felt they already had the perfect Himbo in Launchpad and it was just too much HImbo energy for the two to coexist without one taking the others screen time or neither getting a lot. 

The next reason was having a god around simply broke the story: He cited the gilded man from “Nothing Can Stop Della Duck!” as a specific example. There were just too many hoops to jump to have him not break any story he should be around for.  Finally with Della being added to the cast soon there simply wasn’t room in the main cast. Della brought it up to 9, Storkules would make it 10, and as i’ve gone on about the show already had trouble ballancing it’s cast, something Frank admitted to. Adding him would both be too big a stiatus quo change and be one on top of the massive one of Della joining the cast. So he was dropped back to recurring and only showed up one more time. And while it was the right call I am dismayed he didn’t show up for the whatever happened to donald duck subplot and it does feel very weird he never adresses Donald being gone despite, at least for season 2, apparently living in Duckburg. Otherwise though as funny as this wouldv’e been.. yeah it was the right call. 

Scrooge returns... having been absent all episode because otherwise it wouldn’t work and easily saw Louie loosing it all coming.. but gives him a can of lemonade for his troubles and comforts the boy. The heart of htis arc and what makes it work at it’s best.. is these two. Scrooge GENUINELY wants to help Louie see his potetial successor in buisness: oh sure adventure wise he’s throughly covered.. but Webby, Dewey and Della all are more focused on the addventure part and that’s where their passion and talent lies, Huey’s better at science and given his close frinedship with fenton and how much that part of things seems to truly inspire him, i’ts what he was born for, and Donald just wants a regualar life and can’t manage his own life much less a company. 

Louie is the only one in his family whose the right fit to inhereit that part of his legacy and I feel that’s why he takes a special intrest in him and webby over the other two: While he loves all of them and will clearly again leave a piece of his fortune and empire to all of them, Webby is the most like him, as we later find out not coincidentally in the slightest, when it comes to adventuring and curosity and a love of exploration. But Louie is the most like him in other ways; He’s cynical, money driven and passionate. Scrooge simply wants him to be as good a person and buisnessperson as he can be and is trying to push him in the right direction. And does so here by pointing out that failure isn’t a huge problem..it happens, comes with the terriotiry and as we’ve seen with life and times, even with portions of it clearly not happening in this universe, he failed a LOT to get here. What matters is that he tries and tries to do it the right way. 

Scrooge also sympathizes as he was buying a lemonade company in cape suzette, giving Louie the can as a present... but laments there’s no cheap effective way to deliver the lemons. Louie notices the harpies going after the can after he throws it and Webby controlling them with it and muses that theyd idn’t think about what THEY wanted.. nad rightfully gets punched across the lawn by Webby, whose had to spend an entire episode having her surrogate brothers talk down to her and ignore her valid ideas. She dosen’t even open her eyes she just bops him one.

So we end with Scrooge having enlisted the hapries, Louie trying to take credit again and both realizing they might just steal the lemons instead of work for them. Ha ha ha their going to get so sued. 

Final Thoughts: This one was mediocre. It has some good points, Louies arc continues to fascenate me, Huey’s done with this shit attitude is hilarous, and Storkules is at his best in this episode: his crush on Donald is toned down from this..

To this

To the point I could see shipping them off this one if Storkules episode didn’t have him do eveyrthing short of .. well see above.  So it’s not WITHOUT merit: I love me a ghost busters style plot, there are great jokes and Chris Dimatopolis is a gem as always. Glad he’s getting work after this show on Invincible and hope he gets to play Darkwing again some day. But the Donald stuff and the fairly predictable plot drag this one down. I’ts fairly obvious they’ll run out of harpies, Louie will have spent the money and they’ll somehow get free. It’s not a terrible episode but it’s it’s sandwiched story wise between two straight up classics on both sides: the previous two episodes were even better than I remembered and the next two are incredibly good: Whateve Happened to Della Duck?! is one of their finest hours and The Outlaw Scrooge McDuck, while not making my best of list for the series as a whole is still one of my favorites for the season.  It’s just disapointing this one wasn’t nearly as good as I remmebered and it’s understandable why I forgot almost all of it, unlike the previous two episodes. Thankfully as I said better’s over the horizon.

NEXT TIME ON OF MOONS, MILLIONARES AND MOTHERS: I’m taking a break for a week. One of two weeklong breaks for the arc, the other being the first week of July where i’m on vacation anyway (Though i’ll be doing the episode I would’ve done for that week the week before to keep the pace up, so no worries),

 As for why, it’s my utmost honor to announce GOOF WEEK! Goof Week is a weeklong celebration of Goofy’s birthday. The idea came about because as I do for the big three, I intended to just do a shorts special. But Kev , the guy who made this very review possible, suggested doing the two part Goof Troop pilot. And since kev pays for a house of mouth episode a month anyway and thaks to you lovely people I hit my patreon stretch goal to review the goofy movie, I figured “why not make a week out of it. Hence Goof week. So next week we’ll have a review of the two part pilot for Goof Troop, the special Sports Goof, the House of Mouse episode Super Goof, your regularly schedule shorts spectacular, with The Goofy Movie for the grand finale! yaaahoooooieeee! 

When we come back i’ll be shuffling episodes around slightly so I can do the Della comics from the Ducktales Tie-In Comic before her debut and in time for Donald’s own theme week in June, i’ll be saving “Whatever Happened to Della Duck?” for the week after Donald Week. Instead next we get a fun wild west adventure as Scrooge tells a story of his outlaw days, his tension with goldie and his encounter with a certain robber baron as John D Rockerduck FINALLY makes his screen debut. Yee-Haw!

If you liked this review, subscribe and follow for more and consider joining my patroen, patreon.com/popculturebuffet. I have exclusive reviews, my most recent duck based one being an obscure carl barks story about wigs and the boys attempting to murder a guy with a blow gun, and your contribution helps me reach my goals and thus gets everyone, patreon or not, a bunch of neat new reviews. If you get me to 20 dollars a month, i’m currently at 15, EVERYONE will get a monthly darkwing duck reviews, reviews of the two remaning ducktales 87 mini series including the origin of GIZMOOOODDUUUUUCCCKKKK, and a review of the Danny Phantom movie The Ultimate Enemy. And with the month running out NOW’S the time to join. YOu’ll also get to pick one of the shorts for my Donald Duck birthday specail next month, so if you want to join in NOWS the time. But wether you can or you can’t, thank you for reading, i’ts been a pleasure. 

[shhhhsh]

About Tim’s New Story….

I just really hope they address Tim’s mental health. Like, DC just been ditching really good plot lines in favor of being “woke” or pandering. Just look at all the live action shows.

Now I’m not saying they can’t make Tim queer/bi/gay, but (as someone pointed out to me) Tim’s previous story writer was bi and he still chose to write Tim as straight & in a healthy romantic relationship with Stephanie Brown. I’ve seen several people who identify as queer/bi say that to have Tim go “ ooooh I’ve fooled myself into thinking I was straight, but now I’m freeeee” sends the message that Tim’s previous relationship failed b/c he was with a woman and not because of Tim’s poor mental and emotional health.

To go back to my previous statement; by him not writing Tim as bi tells me that he didn’t want or care for Tim to be bi, but instead saw Tim as, or preferred him to be, straight. The writer had free control to write Tim how ever he wanted and yet he chose to keep Tim straight. And he actually liked & wanted Tim/Steph. Again, I’m not saying Tim can’t be queer/bi, I’m just saying I find the motivations for this possible change very fishy. Almost as if the new writer is trying to get brownie points for pandering to a portion of the fans.

I think this way b/c in every other media where a character is revealed to be LGBTQ they just did it. They didn’t beat around the bush or do any queer coding/baiting. They either announced it, just made the character that way right out the gate, or just dropped the bomb w/out warning (as seen in Netflix’s Voltron, Amazon Prime’s Invincible, and Nickelodeon’s Legend of Korra respectfully).

DC currently has a bad habit changing things to be “woke” and bragging about it or shoving it in our faces. DC is becoming the “pick me girl” of superhero media. If you want to do it, just do it. Again I just get the “look at me, look at me” & “carrot on the stick” vibes from them now. If you truly feel in your heart to do something you would just do it without the need for recognition or to be so dramatic about it.

Now what I much rather see & think it’s a natural progression for Tim:

I personally believe that if Jason, Dick, & Damian can get a story that attempts to give them character development beyond romantic relationships (romance was more of a B-plot to the character driven A-plot anyway) I think they can give it to Tim as well.

I know that the Bat-Family all struggle with some form of mental health problems (most commonly paranoia and PTSD). However, I would like to point out that trauma is was what brought the others into the vigilante lifestyle, while Tim & Barbara became traumatized because of the vigilante lifestyle. Yet, Barbara was shown overcoming her trauma and using it as motivation to get better. Tim is yet to have this moment.

We all know that Tim struggles with depression, self-esteem, and suicidal tendencies. I mean heck, him becoming Red Robin only happens because of Tim’s degrading mental health. I hate to say it, but Tim is very psychologically broken and has been show to get so depressed that he can’t even get out of bed some times. To my knowledge, Tim is the only one in the Bat-Fam that struggles in his head with the idea of not being needed, useful, or forgotten when in reality that is furthest from the truth (Steph, Jason, & Damian also feel like the black sheep periodically, but that is because they have been presented with real evidence that would lead them to logically believe this. I.e being actually forgotten or dismissed for past mistakes despite great efforts to better themselves).

While yes, Dick did Tim dirty by replacing him without having a proper conversation first, the motivation was because he saw Tim as his equal and not Damian. He thought highly of Tim, but Tim couldn’t see that over his offense. Tim is so beat down by life that he see’s everything with negative lenses. Everyone came to check on Tim’s mental health but Tim took it as an insult instead.

And even though now Tim has reached some form of “peace” in his life, that only happens because the people he lost came back (Bruce, Conner, Bart, Cassie, etc). Tim never fully learned to handle grief, to handle his emotions, instead he represses them. Again in the Red Robin run, the main reason he doesn’t believe in any form of God is because he can’t logically justify the pain he has gone through. He is hurting and doesn’t know how to deal with that. In his original Robin run, when he tried talking someone out of committing suicide……the words and comfort he gave….that wasn’t something that was just inside Tim, this is something that was told to Tim. This is followed by him calling Dick to get the same pep-talk he just regurgitated to someone else.

In short: Tim is hurting. Deeply. And having been someone who’s emotional & mental sanity was pushed to the brink and attempted to jump off several times, I think it’s really sad that DC just ignores it. Now as someone who’s gotten the help they needed & now helps other people who struggle with the same issues as myself & Tim, I think that they’re going to say a lot of Tim’s problems come from him not being “aware” of his own sexuality, which is just sad.

In the story in question, Barbara talks about Tim not having a solid identity. People are more than their sexuality. People are capable of making future decisions for themselves without it hindering on their sexuality. If Tim was real, I would brake down his struggle as so:

Tim refuses to go to college and do something more with his life because he cannot see anything beyond his current circumstance. And the only reason why Tim cannot see anything beyond his circumstance is because he has no internal sense of purpose, identity, and acceptance beyond the cape & cowl. And when Tim finally found that in being Robin, Tim held onto it as a lifeline. There’s a reason why everyone says Tim is basically Bruce 2.0: it’s because he is Robin/Red Robin/Drake & Tim is the mask. At a young age, he did not grow up having these things instilled into him due to his parents neglecting him at a very important age in his development. Tim raised himself, and for a lack of better terms; an idiot cannot teach themselves to be smarter, an idiot becomes smarter by learning from the intelligent. A child can’t teach themselves to be an adult, they have to learn from others to grow & better themselves.

Now a parent doesn’t necessarily have to sit down and give a lesson about how to be an individual, but children learn how to live life by watching their parents. A good example of this is the rest of the Bat-Fam; they all grew up with some form of parental figures that taught them how to behave (for better or worse). Of course children have their own personalities, which is why two kids can go through the same type of trauma but come out differently, but it is a battle of nature vs nurture. Steph, Jason, Cass, & Damian grew up in abusive/unstable homes, while Dick, Barbara, & Bruce grew up in loving homes, but their personalities & character dictated how they responded to trauma. They took what life gave them and decided what to leave or take.

Tim had nothing to work with & is basically playing catch-up with the rest of his peers.

In a weird sense, Tim is like Zuko from The Last Airbender: only living to serve their father’s purpose. Anything outside of that they don’t know what to do. They’ve been trained to be something externally without been given a chance to figure out who they are internally.

Again you are not your sexuality, your sexuality does not determine who you are as a person. When a person struggles through life, it is due to the conditions of thier soul. Everything starts internally and shows it’s self externally.

I want to make that very clear because I am truly scared that in DC’s attempt to claim “clout” they are missing the bigger picture. Tim doesn’t have identity problems simply because he “doesn’t know” he likes boys, but because DC never gave him is own identity to begin with. Robin was never his own identity, Red Robin was never his, & Drake was his first attempt to make his own but he quickly gave it up so that he can be Robin once again. What is Tim going to do once Damian gets back? Is Damian going to get his own identity before Tim? Or is Tim just going to go back to one of his old identities?

I would like for Tim to personally move on from being a vigilante and rejoin civilian society for a while. Go to college, do something for himself and only for himself. Give Tim the self-discovery story, let him heal, and grown to be his own person. Besides you can never have a functional romantic relationship if you are not a functional individual. Self love > romantic love.

[ectonurites]

I don’t think it’s fair to reduce the way tim treated steph to ‘he treats her like a damsel bc he’s worried for her’ when he could be rlly condescending and treated her like she was incompetent a lot of the time. like..writers may frame that as him being worried for her but it’s sexism

I agree with you in general but I want to talk about this more (under the cut) because I don’t think those things need to be considered separate the way it feels like you’re implying. A huge part of the ‘treating her like a damsel in distress’ idea I was talking about is the ‘treating her like she’s incompetent/he knows more than her’ which itself is extremely condescending, and all of that is definitely rooted in sexism and I never meant to imply it wasn’t.

(Detective Comics (2016) #934)

To start I want to clarify that in the answer from last night that I used the ‘damsel’ terminology for (again I was specifically referencing the ‘damsel in distress’ trope/archetype, I guess that may not have been clear since I was just saying ‘damsel’) i was more broadly trying to refer to a common theme in his behavior among several of his canon relationships not just with Steph, because that’s how things often felt with Ariana, Tam, etc, and there are aspects of it at play with Steph among other things because their relationship was fleshed out more and very complicated. I’ve talked about some of this stuff with Tim’s relationships before here. 

Tim has struggled with treating his romantic partners as equals for several reasons I think but some big ones are def internalized sexism and ideas related to heteronormativity (The internalized heteronormativity stuff is something I’ve also talked about with him here a bit when discussing my views on his sexuality/his attraction to women) and with Steph I think you could also argue for a level of classism being involved too. However it can be tricky figuring out exactly how much of these things are ‘biases of the writers that they put into their works and it clearly also effects other characters aside from just him’ vs ‘we are intentionally writing the character to have these as traits’, ya know? Especially with a character who’s been written by so many different people which leads to inconsistency. 

In general though I feel like these internalized biases he definitely has to some extent just by being an upperclass and (in canon, even if we as fans chose to interpret him differently) cishet guy can contribute to what I was talking about with him feeling like he has to ‘protect’ partners ‘for their own good’. Heteronormative ideas about what ‘the guy’ is supposed to do plus some internalized sexism causing him to see himself as inherently more skilled/prepared for things can absolutely connect to him being overprotective and/or controlling. (I do think an aspect of those tendencies comes from his general sense of duty and need to protect people though, as that’s a huge motivator for him being a hero and he’s one of those people that just takes the weight of the world on his shoulders at times. But something like the way he sometimes seems incapable of accepting that someone like Steph can protect herself is definitely rooted in sexism)

And like, the stuff you’re talking about with him being condescending and treating Steph as incompetent is related to that in a lot of ways. He often doesn’t really see her as being cut out for hero life, mainly because Bruce didn’t approve of her as a hero at times due to a mix of fears about her becoming another Jason (in the era before Red Hood stuff happened though, I mean that as in her getting killed in action) and his own sexism. Bruce’s opinion is probably the most prominent justification from Tim’s perspective for why he feels he needs to protect her and tell her what to do early on in their knowing each other, but there’s definitely underlying sexism at play there from him as well because he just has the automatic mentality of ‘ah yes im the superhero guy and she is the inexperienced one who has no idea what she’s doing clearly this is my responsibility now’. 

However I do think his reasoning for this way of thinking shifted later, and by the end of the Robin comic where they have that rooftop fight in #182 he’s seeing her as unfit for the life because of more specific things aside from just ‘sexism and Batman said so’. Like uhhhh the entire last arc of Robin (once FabNic took over the comic so #176-the end), with her going behind his back and nearly getting him killed, etc. Like, he still has no right to try to control her and the way he went about communicating his point to her was wrong and likely influenced once again by internalized sexism (he even admits later that the way he phrased things was ‘mean-spirited’ once he’d cooled off a bit), but there are some pretty clear reasons by that point as to why he’s saying he thinks she shouldn’t be a hero anymore. Again, doesn’t make him right, but I see that scene float around without proper context pretty frequently which definitely misrepresents the situation. You could definitely start to talk about sexism in FabNic’s writing here though and how he literally made all this shit be Steph’s fault basically as soon as she got officially brought back (literally Tim finds out she’s alive again in Robin #174 and by #176 she’s already doing things behind his back it’s ridiculous)

But anyways, the point in all that is that sexism is absolutely a factor in him thinking she’s someone he needs to worry about/protect and him treating her like she’s incompetent and incapable of doing so herself, and that those things are related. In general the combination of all that is what I meant about treating the girls he’s been with as ‘damsels in distress he’s worried about’, if that makes sense. By using the phrasing I did I wasn’t trying to reduce it to being something less than or different from that. I was more just talking about the way the behavior exhibits itself rather than taking a deep dive into where the behavior comes from.

Also side tangent but briefly circling back to part of what I said earlier, I really do think that bringing up the ‘biases of writers’ aspect is important in these conversations, because when a writer is sexist as fuck and thinks certain things are normal those ideas will bleed into their writing through the characters, and like it doesn’t mean we should necessarily just ignore what they wrote because it’s stuff that still happened but like, it should be acknowledged as such. In general there has been so much misogyny/sexism in the handling of Steph, I feel like that’s a pretty commonly understood thing. I mean hell even aside from more recent discussion about it all, you can also look around online and see the kinds of reactions there were to her treatment in War Games and the follow up stuff when it was still new, the end section on Steph in this 2005 (so before the ‘Steph is alive’ retcon) discussion of misogyny in the batbooks for example. And while yes we should hold Tim as a character responsible for his specific actions with her, we should also remember how people in charge at DC decided Steph was “toxic” for years and wouldn’t let her show up anywhere because they just wanted her gone, how they made her Robin to create more interest in her as a character before killing her off, etc etc. 

[oscopelabs]

Christopher Nolan: The Man Who Wasn’t There by Daniel Carlson

1.

So, we’ll start with the fact that all movies are make-believe. It’s a bunch of actors on a set, wearing costumes and standing with props picked out by hordes of people you’ll never see, under the guidance of a director, saying things that have been written down for them while doing their best to say these things so that it sounds like they’re just now thinking of them. We all know this—saying it feels incredibly stupid, like pointing out that water is wet—but it’s still worth noting. There is, for example, no such person as Luke Skywalker. Never has been, never will be. He was invented by a baby boomer from Modesto. He is not real.

And we know this, and that’s part of the fun. We know that Luke Skywalker isn’t real but is being portrayed by an actor (another boomer from the Bay Area, come to think of it), and that none of the things we’re seeing are real. But we give ourselves over to the collective fiction for the greater experience of becoming involved in a story. This is one of the most amazing things that we do as humans. We know—deep down, in our bones, without-a-doubt know—that the thing we’re watching is fiction, but we enter a state of suspended reality where we imagine the story to be real, and we allow ourselves to be moved by it. We’ve been doing this since we developed language. The people telling these stories know this and bring the same level of commitment and imagination and assurance that we do as viewers, too. The storyteller knows that the story isn’t real, but for lack of a better way to get a handle on it, it feels real. So, to continue with the example, we’re excited when Luke Skywalker blows up the Death Star because he helped the good guys win. For us viewers, in this state of mutually reinforced agreement, that “happened.” It’s not real, but it’s “real”—that is, it’s real within the established boundaries of the invented world that we’ve all agreed to sit and look at for a couple of hours. Every viewer knows this, and every filmmaker acts on it, too. Except:

Christopher Nolan does not do this.

2.

There’s no one single owner or maker of any movie, and anyone who tells you different has their hand in your pocket. But there’s an argument to be made that when somebody both writes and directs the movie, it’s a bit easier to locate a sense of personhood in the final product. (This is all really rough math, too, and should not be used in court.) Christopher Nolan has directed 11 films to date, and while his style can be found in all of them, his self is more present in the ones where he had a hand in the shaping of the story—and crucially, not just that, but in the construction of the fictional world. Take away the superhero trilogy, the remake of a Norwegian thriller, the adaptation of a novel, and the historical drama, and Nolan’s directed five films that can reasonably be attributed to his own creative universe: Following (1998), Memento (2000), Inception (2010), Interstellar (2014), and Tenet (2020). These movies all involve themes that Nolan seems to enjoy working with no matter the source material, including identity, memory, and how easily reality can be called into question when two people refuse to concede that they had very different experiences of the same event. Basically, he makes movies about how perception shapes existence. How he does this, though, is unlike pretty much everybody else.

Take Inception. After a decade spent going from hotshot new talent to household name (thanks to directing the two highest-grossing Batman movies ever made, as well as the first superhero movie to earn an Oscar for acting), he had the credit line to make something big and flashy that was also weird and personal. So we got an action movie that, when first announced in the Hollywood trades, was described as being set within “the architecture of the mind.” Although this at first seemed to be a phrase that only a publicist could love, it turned out to be the best way to describe the film. This is a film, after all, about a group of elite agents who use special technology to enter someone’s subconscious dream-state and then manipulate that person’s memories and emotions. The second half of the film sees team leader Dom Cobb (Leonardo DiCaprio) and the rest of the squad actually descend through multiple nested subconsciouses to achieve their goal, even as they’re chased every step of the way by representations of Mal (Marion Cotillard), Dom’s late wife, who committed suicide after spending too much time in another’s subconscious and lost the ability to discern whether she was really alive or still in the dream-world.

I say “representations” because that’s what they are: Mal is long dead, but Dom still feels enormous guilt over his complicity in her actions, and that guilt shows up looking like Mal, whose villainous actions (the representation’s actions, that is) are just more signs of Dom not being able to come to grips with his own past. It’s his own brain making these things up and attacking itself, and it chases his entire crew down three successive layers of dream worlds. You get caught up in the movie’s world as a viewer, and you go along because Nolan is pretty good at making exciting movies that feel like theme-park rides. You accept that Dom and everybody else refer to Mal as Mal and not, say, Dom. Dom even addresses her (“her”) when her projection shows up, speaking to her as if she’s a separate being with her own will and desires and not a puppet that he’s pretending not to know he’s controlling. It’s only later that you realize that the movie is in some ways just a big-budget rendition of what it would look like to really, really want to avoid therapy.

Which is what makes Nolan different from other filmmakers:

None of this is actually happening.

Again, yes, it’s happening in the sense that we see things on screen—explosions, chases, a fight scene in a rotating hallway that’s still some of the best practical-effects work in modern action movies—but within the universe of the film, none of what’s going on is taking place in the real world. It’s all unfolding in the subconsciouses of Dom’s teammates. In the movie’s real world, they’re all asleep on a luxury jet. They’re “doing” things that have an outcome on the plot, but Nolan sets more than half the movie inside dreams. It’s a movie about reality where we spend less time in reality than in fantasy. Half the movie is pretend.

For Nolan, filmmaking is about using a dazzling array of techniques to create a visual spectacle that distracts the viewer from the fact that the real and true story is happening somewhere else: in the fringes we can’t quite see, in the things we forget to remember, or even in the realm of pure speculation.

3.

Memento arrived like (and with) a gunshot. It seemed to come out of nowhere and leave people struggling to describe it, and they usually wound up saying something like “it goes backward, but also forward at the same time, except some parts are actually really backward, like in reverse, so it’s maybe a circle?” Written by Christopher Nolan from an idea originally shared with him by his brother, Jonathan (who eventually turned it into a very different short story titled “Memento Mori”), the film follows a man named Leonard (Guy Pearce) who has anterograde amnesia and can’t form new memories, so every few minutes he sort of just resets and has to figure out where he is, what he’s doing there, and so on. He’s on the hunt for the man who attacked him and his wife, leaving his wife dead and Leonard in his present condition, which you can imagine does not make the gathering and synthesis of clues easy.

What’s more, Nolan puts the viewer in Leonard’s shoes by breaking the film’s linear timeline into two halves—call them A and B—and then alternating between them, with the added disorientation coming from the fact that one of those timeline halves plays out backward, with each successive scene showing what happened before the one you previously saw. So, if you numbered all the scenes in each timeline in chronological order, they’d look something like this when arranged in the final film: Scene A1, Scene B22, Scene A2, Scene B21, Scene A3, Scene B20, etc. You get why it messed with people’s heads.

As a result, we spend most of the movie pretty confused, just like Leonard, whose suppositions about what might or might not take place next begin to substitute for our own understanding of the film. It’s not until the end that we find out the shoe already dropped, and that Leonard killed the original attacker some time ago and has since been led on a series of goose chases by his cop friend, Teddy (Joe Pantoliano), who’s planting fake clues to get Leonard to take out other criminals. In other words, we realize that the story we thought was happening was pretend, and the real story was happening all around us, in the margins, memories, and imaginations of the characters. The most honest moment in the movie is the scene where Leonard hires a sex worker to wait several minutes in the bathroom while he gets in bed, then make a noise with the door to wake him, at which point his amnesia has kicked in again and he briefly thinks that the noise is being made by his wife. He’s wrong, of course, but this is the only time in the movie that we actually know he’s wrong. It’s the only time we truly know what’s real and what isn’t.

Yet you can’t talk about Memento without talking about Following, Nolan’s first feature. Although the film’s production was so extremely low-budget you’d think they were lying—the cast and crew all had day jobs and could only film on the weekends, so the thing took a year to make—Nolan’s willingness to dwell completely in a make-believe world that the viewer never knows about is already evident. It’s about a bored young writer who starts following strangers through the city for kicks, only for one of those strangers to catch him in the act and confront him. The stranger introduces himself as Cobb—I kindly submit here that it is not a coincidence that this is also Leonardo DiCaprio’s character’s name in Inception, but you already knew that—and reveals himself to be a burglar, spooked by the tail but willing to take on an apprentice. Cobb trains the writer to be a burglar, only for the situation to ultimately wind up implicating the writer himself in a complex blackmail plot. You see, the writer didn’t latch onto Cobb in a crowd; Cobb lured him in. The whole movie has been Cobb’s story all along, with the writer as a patsy who doesn’t understand the truth until the final frame. None of what we saw mattered, and everything that actually happened happened off-screen just before or just after we came in on a given scene. It’s like realizing the movie you’re watching turned out to be just deleted scenes from something else. You can’t say Nolan didn’t show his hand from the start.

4.

That same general concept—that the movie we’re watching is actually the knock-on effect of a movie we’ll only glimpse, or maybe never even see—underpins Nolan’s latest movies, Interstellar and Tenet, too. Interstellar has some concepts that are iffy even for Nolan (it makes total sense for someone to do something for another out of love, but somewhat less sense that that love somehow reshapes the physical universe), but it’s still a big, bold approach to exploring how time and perception shape our actions. As the film follows its core group of astronauts while they search for potentially habitable new worlds, they encounter strange visions and experiences that turn out to be their handiwork from the future reflected back at them. Sure, it raises the paradoxical question of whether they had a first mission before this that failed, so now their future selves are intervening to make the second one (which feels like the first one to the astronauts the whole time) successful, and all sorts of other stuff that your sophomore-year roommate would like to talk with you about in great detail. But so much of what we see isn’t the stuff that happens, or that winds up being important. There’s the great scene where the astronauts land on a planet near a black hole, which is wreaking havoc on how time passes on the planet. A minor disaster delays their departure for the main ship still in orbit, but when the landing team returns, they find that more than 20 years have “passed” since they left, with the one remaining team member on the ship having spent more than two decades waiting for them to return. It’s a moment of genuine horror, and it underscores the fact that what we thought was the one true reality was just the perspective of a handful of characters we happened to follow for a few minutes. There were whole things happening that changed the plot and story and direction of everything that would follow, and we never saw them; we didn’t even know we’d missed them.

Tenet is, of course, the latest and most recursive exploration yet of Nolan’s obsession with showing us a story that turns out to be mostly fake. It is almost perversely hard to even begin to explain the film (Google “Tenet timeline infographic” and have fun). One way to think about it is to imagine if the two timeline halves from Memento somehow existed at the same time, with people moving both forward and backward through time while inhabiting the same location. Basically, some scientists figured out how to “invert” the basic entropy of objects, so that they exist backward: you hold out your hand and the ball on the ground leaps up into it, because you’ve dropped it in the future, so now you can pick it up, etc. … Look, it doesn’t get easier to understand.

The upshot is, though, that we spend the film following the Protagonist (that’s his name), a CIA agent played by John David Washington, as he’s tasked with tracking down the source of the inverted stuff to figure out what’s unfolding in the future and why it’s suddenly started to make itself known in the present. He gets marginally closer to understanding the truth by the end of the film, but because this is a Nolan film that is maybe more expressly about the nature of reality than anything he’s ever done, his journey doesn’t so much take him forward as it does in a large circle. Because, and stop me if you’ve heard this, the true story of Tenet is taking place outside the Protagonist’s actions and knowledge, alongside him but invisible, often steered by people who themselves are moving “backward” through time and thus have already met the Protagonist in the future and are old friends with him by the time he meets them in his youth. Even more brain-liquefying, some of these people have been working under the orders of the Protagonist himself—the future version, that is—because his past self has already achieved the victories that allowed him to send the future people backward through time to meet his younger self so they’d achieve the victories that allow him to etc., etc., etc.

With Tenet, Nolan didn’t just make a movie that challenged perception, like Memento, or that dwelt in fiction, like Inception. He made a movie that can only be understood (to whatever degree true understanding is possible) by rewatching the movie itself, over and over, as the multiple timelines and harrowingly complex bits of cause and effect come into some kind of focus. The whole movie itself isn’t happening, in a sense, but is just the ramifications of something else, the echoes of a shout whose origin we’re straining to pinpoint. It both is and isn’t.

5.

Christopher Nolan is a talented director of action-driven suspense thrillers. He’s canny at controlling the audience’s emotions, and he knows how to put on a dazzling show. Plus he’s fantastic at picking when to deploy non-computer-generated effects for maximum impact. But you could say that about a lot of other directors, too. What sets Nolan apart from the rest, and what makes him a director to keep watching and returning to, is the teasing way his movies wind up being just deceptive enough to fool you into thinking that you know what’s going on, then just harsh enough to disabuse you of that notion. Looking at what seems to drive him, I don’t think Tenet is his best movie-movie, but it’s his most-Nolan movie. It’s almost a culmination of his continuing efforts to tell stories where what you see and what actually happens are two different things. It’s not that he makes puzzles to solve. There is no solving these movies. Rather, it’s that he sculpts these delicate artifacts that only let you see two dimensions at a time, never all three, no matter how you twist your head. Craning back and forth, you can almost see the whole thing, but not quite. Some part of it will always have to exist in your memory. And that’s where Christopher Nolan likes to be.

[ultrahpfan5blog]

Retrospective Review: Dalton and Brosnan Bond Era

So finally I am at the era of Bond films that I know a bit more of. I had not seen The Living Daylights or License to Kill in their entirety before, but I had seen all 4 Brosnan movies. He was the Bond I knew first before I saw Casino Royale. But I was looking forward to seeing Dalton's Bond movies because I had heard they were more serious and grounded.

For me, the both the Dalton films are really solid Bond movies. They are a refreshing break from what the Roger Moore had become towards the end. Not to mention, Dalton actually looks like he's in the type of shape and age to be a secret agent, running from country to country. The Living Daylights is good. There is immediately a more grounded story of espionage. But the better Dalton movie imo is License to Kill. Which is the revenge movie that we never got after Tracy Bond's death. License to Kill is really good. There is less romantic entanglement because Bond is more focused on what he wants to accomplish. And there is a slightly unhinged edge to him. Plus, you can tell that the movie is going into some darker stuff compared to previous Bond movies.

When it comes to the Brosnan era, I have a bit of a bias since he was the first Bond I ever saw. I genuinely like 3 out of the 4 Brosnan movies. GoldenEye is arguably one of my favorite Bond movies. It is fast paced, it has a good villain, it moves away from the stereotypical cold war era Bond plot, the Bond girls are good, and the action is splendid. Its the best of the Brosnan era. Given its made by Martin Cambell who also made Casino Royale, it doesn't surprise me. I know people aren't necessarily big fans of Tomorrow Never Dies and The World is Not Enough, but I like both. Tomorrow Never Dies is really fast paced. There are some really solid action sequences, including a big bike chase which is quite fun. I actually liked the news mogul as villain idea. Its maybe more relevant now with the idea of 'fake news'. The World is Not Enough is more classical Bond. Its a more personal plot because M and Bond are more intricately involved with some of the players. Bond also has more of edge and is harsher in this movie which is actually pretty cool to watch. There is also a really disturbing element with the relationship between Renard and Elektra King which is also interesting. Die Another Day is unbelievably dumb for sure. To be fair, its fun in a dumb way but it goes into full blown science fiction with the whole idea of DNA being changed and a Korean man becoming a white british guy. Then there is the whole beam of sun villain plot. It is incredibly cartoonish. Its also the most effects heavy of the Bond movies and the effects have not aged well at all. The Brosnan era is one full of really cringey double entendres from Bond. In every movie, there are at least 4-5 and everyone of them is just so cringeworthy now but it seems that the writers were so proud of themselves when they wrote those lines.

The Bond girls across all these eras were a mixed bag to be sure. Kara Milovy, the Cellist from The Living Daylights is a bit on the dimmer side for sure. But there is some humor there because you see Dalton's Bond get really frustrated with her at times. Pam Bouvier is a pretty good Bond Girl because she is actually quite important to the story and plays an active role in rescuing Bond. Lupe is also not bad. In the Brosnan era, Natalya was pretty good. The romance between her and Bond wasn't really necessary and could have been taken out, but she is at least a competent person who is not dependent on Bond doing everything. We also get maybe the hottest side villain of all time in Famke Janssen's Xenia Onnatopp. I loved how sexually charged and batshit crazy she was. I had a crush on Teri Hatcher in the 90's when she was Lois so I always love seeing her even though she's there just to be killed off in TND. Michelle Yeoh was a badass even then. So she was cool. TWINE has the first Bond girl who is the main villain. I loved Sophie Marceu in that role of Elektra King because you are not sure how much to feel sorry for her in how her mind was warped by her trauma and how much to be a bit disgusted by her. Denise Richards on the other hand is perhaps the most hilarious piece of miscastings in a movie that I have seen. She is so completely wrong for the role that its almost entertaining to watch how bad she is. I would love to hear the casting director try and justify her casting for the role in any way other than to say that she is hot. Rosamund Pike and Halley Berry are probably the biggest names out of all the Bond girls. They have done much bigger and better things since but in Die Another Day, they are basically just there to fight each other and be bedded by Bond.

The villains are similarly a mixed bag. In The Living Daylights, the villains are nothing much to speak of. License to Kill has some good villains because Sanchez has some menace to him as does a young Benicio Del Toro as Dario. I think Sean Bean is one of the best Bond villains. Jonathan Pryce seemed to be having a ball in Tomorrow Never Dies. And I already mentioned that Marceu was damn good as Elektra. Renard is more the physical villain in TWINE but he feels more like a henchman for Elektra by the end. Gustav Graves is just completely ridiculous an a villain that just can't be taken seriously. He also wears a power rangers looking suit by the end of the movie which doesn't help.

One of the big plusses of the Brosnan era is the inspired casting of Judi Dench as M. She was so good that they kept her in the rebooted Craig era, despite a possibility of confusing the audience. M in the past was just a figure who gave Bond the mission and occasionally told him off. Judi Dench brings a personality and a weight to the character. She has a combative relationship with Bond but you still see that they share mutual respect, especially when you see where she admits that he's the best agent she has in TWINE. After the Roger Moore era, there was a refreshing in some cast such as Moneypenny which changed to Caroline Bliss under Dalton, and then to Samantha Bond under Brosnan. We also got the introduction to John Cleese as the new Q in the last two Brosnan films, taking over from Desmond Llewelyn. Robbie Coltraine has an entertaining supporting role in GoldenEye and TWINE. The Dalton era also saw the last use of Felix Leiter until the Craig era.

When it comes to the Bonds themselves, I think Dalton is extremely underrated. I think he is a precursor in spirit to Craig's Bond. I love the darker edge to his Bond. He gets angry and frustrated. It humanizes his Bond so we see he's not a superhero. He doesn't have the suaveness and charisma of a Moore or Connery but he has the physicality for it. He sells the action scenes far more than Moore did. He is really good in License to Kill which played to Dalton's strengths as an actor. Brosnan's portrayal split the difference between Moore and Dalton. He feels very much like a mixture of the two. He has the suaveness and charm to feel like the womanizing Bond, but he also brings out moments of anger and harshness. Even in the goofiness of Die Another Day, you always feel that Brosnan is giving it his all. I really like him particularly in GoldenEye and TWINE. I do feel both Dalton and Brosnan are underrated as Bond because they were both very good.

Anyways, now only the 4 Craig films, coupled wit No Time to Die. Not sure if I should do a restrospective on the 4 Craig Bond films and then do a separate one for No Time to Die or just include them all together to do a Craig era review since those films are so interlinked.

[lady-charinette]

Adrien Agreste =/= Sociopath - About Adrien Salt

I've seen a lot of posts going around about Adrien being a sociopath or the other (harasser, abuser...etc.)

What I find most of those posts lacking is looking at the big picture, or just zeroing in on certain moments of the show and even disregarding the context of those selected moments to unfairly rule judgement on a child (in canon) no less.

Definition of sociopath: A sociopath is a term used to describe someone who has antisocial personality disorder (ASPD). People with ASPD can’t understand others’ feelings. They’ll often break rules or make impulsive decisions without feeling guilty for the harm they cause.

People with ASPD may also use “mind games” to control friends, family members, co-workers, and even strangers. They may also be perceived as charismatic or charming.

We have to analyze the context and the surroundings Adrien is in.

Family, social life, relationships (platonic and romantic), personality, age, environment...etc.

Family:

We know Adrien has a father who is controlling, preferring to micro-manage every aspect of his son's life to continue to have a semblance of control at all times. We assume (heavily implied in the show), that his mother was kind, warm and emotional (whether that emotional is the "out-there" kind her twin sister has, it remains to be seen.)

According to a snippet from "Simon Says", Adrien also has "Quite a temper, you remind me of someone" according to Gabriel's own words, we can assume the "someone" is Emilie, Gabriel says this when Chat Noir refused to follow his orders and told him to basically "get off his high horse". In this context, anyone who defies Gabriel in such a way would either be branded as "disobedient" or to "have quite a temper".

According to Adrien himself in "Adrien's Double Life" (from Miraculous Secrets) he describes being Chat Noir as "...I can finally do whatever I want to do, say whatever comes to mind." He doesnt feel as restricted and controlled since that's the one aspect of his life his father has no knowledge of.

Social life:

Adrien has had no or very little interaction with peers.

Evidence: Chloe being his childhood friend. Felix commenting on Chloe's appearance in the video she sent for Adrien's birthday, saying "Chloe. Just as annoying as usual." suggests he knows her from before, maybe even as early on as their childhood days.

This makes Felix and Chloe the only kids, of spoiled and rich background, with whom Adrien interacted.

Felix is shown to be good at manipulating people and keeping up appearances (potentially connected to insecurities within the family? Not confirmed), Chloe is openly mean and bullies others (with underlying insecurities also connected to her parents).

The only positive adult (if Gorilla isn't as involved and Nathalie had been solely Gabriel's secretary and not Adrien's caretaker since there was Emilie) in Adrien's life would be his mother, who also fell into a coma during Adrien's formative years (and still during a time where he's figuring himself and his emotions out: puberty), leaving him with his father.

Moving on, even if the writer's sometimes may not always successfully show Adrien being awkward in social interactions, it doesnt mean they dont exist.

This interaction between him and Marinette, asking for her autograph, very formal in his question, awkward in posture:

He's picked up on some speech patterns from his frequent interactions with Nino ("dude", "Hey man." "Totally dude.") showing he's, like many people, mimicking his friend's behavior and speech to grow more favorably in their eyes.

The same pattern can be observed with Gabriel and Adrien: Adrien adopts his father's formal speech whenever talking to him, since that appeases him.

Adrien has had very limited friendly interactions with his peers, romantic interactions are basically non-existent. The scenes where Adrien is being chased by his fans, who obsessively adore him, cant be linked to Adrien experiencing healthy romantic contact (Lila doesn't count since she only uses Adrien to further her goals). Marinette doesn't count since Adrien's isn't even aware of her romantic feelings for him. (Again, difficulties picking up social cues due to only ever being homeschooled > limited social contact with peers)

So no, in my humble opinion, Adrien sometimes doesn't understand other people's feelings not because he's a sociopath, but because he's an awkward kid with very little experience about making friends and having healthy relationships with them.

Relationships:

Let's be direct here: Gabriel is an abusive as*hole.

If the writer's wanted to show Gabriel struggling or having remorse for his actions being Hawkmoth and putting his son through danger, well... They blew it. "Gorizilla" was a 5 second reaction of Hawkmoth showing concern after letting Adrien fall from a skyscraper. Applause. After that? Not much.

Nathalie: Adrien likes, she takes care of him, his schedule, was the one to convince Gabriel to let him attend public school. There are moments in the show where she softens up towards Adrien, but always carries that air of professionalism on her to (possibly, assumption) not grow too close. Gorilla is...Gorilla, but at least the man tries with his nonverbal support and affectionate grunts. Lol.

Gabriel: He loves his father. It's his parent, after all. However, Adrien's reactions to him are vastly different than to how he reacts when thinking of his mother. He shows signs of fear (tensing up, growing obedient...etc.), he excuses his father's excessive controlling tendencies to just be "he's just worried about me", "that's the way he always was", "father cares and protects me". Adrien shows to be frequently disappointed with Gabriel, one of the first scenes being that Gabriel couldn't attend parent's day at school, Adrien was talking on the phone alone in the school hallway. He was genuinely surprised by the blue scarf his father gifted him (not knowing it was Marinette), since all he used to get were pens (again, not even from Gabriel, but Nathalie). This is my assumption but: Adrien has previously begged his father to go outside more or attend public school, but this time it worked only because Nathalie managed to convince him.

Friends from school: Nino is his best friend, Adrien seems to be good friends with Alya too, basically everyone in class, with varying degrees of closeness. Chloe is a childhood friend whom Adrien is fond of but also grows exasperated with and corrects her behavior if she's too harsh.

Marinette: likes and respects her, but can't read her well or at least when he thinks he's got her figured out, she claims the opposite. Marinette has been sending mixed signals, on one hand even making Adrien believe (and fear) they weren't friends. "Chat Blanc" contrary to popular belief, showed that Adrien is delighted at the prospect of Marinette being Ladybug (he'd severe doubts when Chloe or anyone else was brought up as a possible option).

Kagami: likes her, respects her, admires her fencing skills, learned to have fun hanging out with her and playing as kids usually do since she also has a controlling parent and they both know some ways/tricks around their boundaries to sneak off and meet their friends. Adrien and Kagami have similarities in that respect, Gabriel pushing Adrien to be a model, Mrs. Tsurugi pushing Kagami to be a master fencer.

Lila: At first defended her, was friendly towards her since she was a new student from overseas he sympathized because surely it would be lonely? The new girl would need a friend who supported her through all this things that were new for him too. However, as soon as he caught wind of Lila's schemes, he changes his tune. He feels uncomfortable around her overstepping his boundaries, expresses anger when Lila accused Marinette of crimes she didn't commit and even makes a deal with her to not bother Marinette again (but use him instead, doing photoshoots together...etc.) to keep her safe.

Age:

A 14-15 year old, having lost his mother, the only positive, healthy relationship in his life. Surrounded by a controlling father, not much free time, many extracurricular activities and being a superhero alongside Ladybug.

Some of the signs of being a sociopath include: Breaking rules and being impulsive.... Didn't Ladybug do those too?

Breaking the rules: (since LB and Marinette are the same) stealing phones, sneaking into places where she shouldn't, using the miraculous for personal gain (latest example: getting Kagami away from Adrien), giving Adrien the snake miraculous due to personal preference instead of drawing logical conclusions. Sneaked into the Agreste mansion.

Impulsiveness: Marinette's daily fantasies (sharing a future life with Adrien and their hamster-who-must-not-be-named), when Lila's "precious family heirloom necklace" was "stolen", Marinette was quick to include her classmates in the list of potential perpetrators for it (without ill intent, but still..)

You know who the real potential sociopath in the show is?

Gabriel

Some of you might include Lila too (since she fits all the criteria for being a sociopath), but the key difference is: Lila is still just a kid.

We don't know much about her family life. Just that her mother is busy with work, we don't know where her father is, who her friends were/if she even had them. She might be lying and manipulating people to follow her own agenda, but she thrives in attention, when people notice and praise her. In some aspects, that could've been Adrien. With one neglectful parent, a missing parent, no friends (prior to going to school)...etc. There is also a lot we don't know about her.

[immaturityofthomasastruc]

(Accidental 150 Follower Special) IOTA's Top 10 Worst Episodes of Miraculous Ladybug (Part 1)

If you saw one of my earlier posts, an anon asked what my favorite and least favorite episodes of Miraculous Ladybug were. So, I decided to make a little list explaining the best and worst this show has to offer.

A few quick ground rules here. I'm not going to list any episodes I had previously talked about in some of my other posts. This includes “Kung Food”, “Animaestro”, “Syren”, “Reflekdoll”, “Chameleon”, and most of the episodes relating to Chloe's “damnation arc” that Astruc planned since he first created the character (“Despair Bear”, “Queen Wasp”, “Malediktator” and “Battle of the Miraculous”). Also, I'm not counting the specials, mainly because aren't listed as episodes, and because I don't want to talk about them.

Other than that, anything goes, so let's get things started with the worst list.

These are the Top 10 Worst Episodes of Miraculous Ladybug (in my personal opinion because your opinion is also valid)

#10: Stormy Weather 2

“Stormy Weather” was the very first episode of the show, and it really made a good impression on new viewers. So naturally, when it was announced that Stormy Weather would return, fans were excited. Then when the episode aired, Hawkmoth gave her even more powers, including the power to create a volcano big enough to potentially knock the planet out of orbit when it erupts. So Ladybug and Cat Noir have no choice but to stop the villain once again.

What does this plot lead to?

Yep, this episode is nothing more than a clip show. I understand that clip shows and bottle episodes are a necessary evil, but why would you set up something this awesome with a fan-favorite Akuma like Stormy Weather, and then not even bother to show it?

This episode is yet another attempt at showing that the show totally has character development. The whole reason Aurore is Akumatized into Stormy Weather again is because Chloe says that people can't change because Astruc (who was one of the four people writing this episode) is determined to make you hate this teenage girl more than the main villain of the show.

So of course, everyone spends most of the episode talking about how much they've changed, which is represented through clips of past episodes that do a horrible job at actually conveying any development.

According to Marinette, Adrien has “become a friend she can talk to about anything, except when it comes to her feelings for him”. Ah yes, you can tell they're friends by the fact that they barely hang out together, much less share a conversation because the writers are going to drag out the whole “Marinette stammering in front of Adrien” until they get tired of it. So basically, never.

All Alya and Nino talk about is how Ladybug helped them become a couple, and become superheroes, even though neither of those are actually related to character development. Though that is a fitting metaphor for the way both of their personalities have basically devolved to “the couple”.

Chloe talks about how nicer she's gotten, while footage of her doing awful things is played. I wonder who wrote that part in...

Even Ladybug and Cat Noir talk about how much they've grown and how stronger they've gotten, as opposed to focusing on STOPPING ANOTHER ICE AGE FROM HAPPENING. How can Hawkmoth even think this will get him the Miraculous? Yeah, sure I guess he can get them from the frozen corpses of our heroes, but what then? He still doomed humanity, and I don't think he can reverse the damage like Ladybug.

Towards the end, the clip show becomes slightly interesting, as Adrien mentions an unsigned card he got for Valentine's Day in “Dark Cupid”, and how similar the handwriting looks to Marinette's.

Does this lead to Adrien figuring out Marinette has feelings for him? Is the sky bright red? Both of these questions have the same answer.

Yeah, out of nowhere, Adrien just mentions Luka, who wasn't mentioned at all in this episode, and immediately thinks Marinette is in love with him. And that's how the episode ends.

I put this at the bottom of the list because I don't think it's completely fair to judge clip shows, but even some clip shows at least try to put in some effort and justify the clips, like what The Legend of Korra and some seasons of Power Rangers did. And the fact that the whole point of the episode is a poor excuse to claim that there's character development in the show only makes it even more infuriating.

Oh my God, this is only Number 10...

#9: Oblivio

While I already talked about “Cat Blanc”, this episode shares a similar theme as that episode: Giving viewers what they've wanted for three seasons, Marinette and Adrien finally learning each other's identity and starting a romantic relationship... only for the reset button to be once again slammed, making the entire episode pointless.

The only difference is that unlike in “Cat Blanc”, where there was an actual love confession that made sense, here, Marinette and Adrien find out the other's identity when they get their memories wiped by the Akuma of the week, Oblivio.

From then on, it's just fanservice. Instead of actually developing the relationship between Marinette and Adrien, the writers just decide to cram an entire episode worth of Adrienette content into a single episode just to tide fans over. Marinette and Adrien seriously fall in love despite only knowing each other for like, an hour at most. And the fact that the writers undo all the romantic progress of the episode makes it come across as pointless.

But the ending is what really cements this episode's spot on the list. As soon as Oblivio is defeated, Alya takes a picture of Ladybug and Cat Noir kissing without their consent and then rubs it in Ladybug's face.

Even though Ladybug doesn't know the circumstances (she has no memory of the events of the episode), this was still an invasion of her privacy, and she looks horrified by the picture that Alya is obviously going to post on her blog.

And of course, Cat Noir is more than happy to see it, ignoring how Ladybug feels and claims that they'd make a great couple. Because everyone knows good couples are formed by someone gaslighting the other into going out with them.

But wait, it gets better! In the next scene, we learn that Alya and Nino were akumatized into Oblivio... because they were caught in an embarrassing situation by their peers.

Alya: Remember when we visited Montparnasse Tower? Well, we went and hid to play Super Penguino, but Ms. Bustier caught us, and...

Nino: And you guys made fun of us for playing that game, saying it wasn't our age and all.

Alya: We were totally embarrassed at getting caught.

This was my thought process when I first heard Alya and Nino's explanation.

How can Alya claim to take a compromising picture of Ladybug, ignore how she feels, and not realize the similarity from when she and Nino were akumatized? This is what completely killed Alya for me in canon. This was the point where I couldn't care less if Marinette was friends with her or not. Sure, there are still fanfics, but those actually portray her with some kind of conscious. So to summarize, Fanon Alya is awesome, but I hope Canon Alya's 4G plan runs out.

This episode is just forgettable, but the ending made things worse. Apart from, I guess the action scenes and some funny jokes, this episode has no redeeming qualities. Like, literally the best thing to come from this episode was @miraculouscontent​‘s LadyBugOut AU, as it actually addressed the hypocrisy of Alya's character, among other problematic aspects of the show.

#8: Oni-Chan

Just a heads up, most of the episodes on this list are from Season 3. Just want to give you an idea of what to expect.

This episode is about Lila tricking Adrien into helping with her homework, when she is only doing it to get closer to Adrien. Marinette tries to spy on the two and stop Lila from hurting Adrien... even though she knows Adrien is aware that Lila is a liar, and is visibly uncomfortable around her.

And because the episode spends so much time on Marinette following Adrien and Lila, the buildup to Kagami getting akumatized is incredibly rushed. Seriously, she gets a single line of dialogue before she gets akumatized, and the motive is ridiculous too. Lila sends a picture of her forcing a kiss on Adrien, and Kagami immediately bursts into tears at the sight of it.

But wait, it gets better! When Kagami is akumatized into Oni-Chan (the writers know that's a term used for males in Japan, right?), she turns into a psycho hellbent on killing Lila because “Adrien doesn't deserve her”. Most of her dialogue is her saying how much she loves Adrien, making her come across as, for lack of a better word, a yandere.

This episode just destroys Kagami's character, making her as unlikable as Katie Killjoy in the process. If it wasn't for “Ikari Gozen” actually treating her like a human being (obviously Astruc's planned character development from the beginning), I'd completely hate her.

It also shows how much of an evil genius Lila is, as she has the brilliant idea to convince Oni-Chan to kill the only person capable of saving her from the Akuma's wrath. And this somehow gives Hawkmoth the idea to forge an alliance with Lila. It's also another reason why I believe in Darwinism.

This episode is low on the list because it does have a few redeeming qualities, like Lila facing consequences for lying, however brief they may be, and it has a great character moment with Adrien realizing on his own how terrible Lila really is, a far cry from what he was like in “Chameleon”.

Other than that, it's pretty bad, and still deserves a spot on this list.

#7: Antibug

HA! I said MOST of the episodes involving Chloe's “Damnation Arc” wouldn't be on this list, but not ALL OF THEM, so this one counts! Take that, convoluted rules I made up for some reason!

What was I talking about again? Oh right, “Antibug”. Oh crap, “Antibug”...

This is one of of several episodes in Miraculous Ladybug that really should have been a two-parter. It tries to be daring and includes two Akumas in one episode, but both of them are poorly executed.

An invisibly entity starts harassing Chloe, so Ladybug and Cat Noir start an investigation. It turns out to be Chloe's lackey Sabrina, who was akumatized after a falling out between the two. Well, I say “falling out” lightly, because what actually happened was that Chloe and Sabrina were cosplaying as Ladybug and Cat Noir, Chloe pretended to be the real deal while crashing an interview with Jagged Stone before Sabrina accidentally blew her cover, causing Chloe to be humiliated on TV and end her “friendship” with Sabrina.

Ladybug learns this from Chloe's butler, while Chloe never mentions the incident. So when Ladybug and Cat Noir engage the Akuma, Ladybug ignores Chloe's advice on where the corrupted object, naturally not trusting her judgment. And this is portrayed as a bad thing.

This episode is the start of a long-running trend in Miraculous Ladybug: Marinette needing to learn a lesson, while Adrien/Cat Noir is the one to help teach that lesson.

Chloe did nothing to help, only made things worse, and lied about why Sabrina got akumatized. It's kind of obvious why Ladybug wouldn't trust her word. The whole point of The Boy Who Cried Wolf wasn't to trust the liar after all.

But if that was all the episode did, it wouldn't be on the list, because now, the narrative wants to make the audience feel bad for Chloe before she gets akumatized into Antibug... who is just a lazy palette swap because new character models are expensive.

This part of the episode isn't nearly as bad as the first half, but like “Oni-Chan”, Chloe's akumatization is incredibly rushed, and we don't really get a chance to sympathize with her before she goes full Antibug.

Even Antibug herself isn't that interesting of a villain. The whole idea of an evil doppelganger is that they're a perfect match for the hero, but we only see Ladybug and Antibug fight for a few seconds, while Cat Noir does most of the fighting with her while Marinette's Kwami recharges. I like that Ladybug and Cat Noir show their teamwork to defeat Antibug, but I feel it would have been more interesting to see Ladybug and Antibug duke it out before Cat Noir helps turn the tide.

Again, this episode really needed to be a two-parter to better expand on the story presented here, because it had a really interesting premise. I'd personally read the version of “Antibug” in @justanotherpersonsuniverse​‘s “The Adventures of Panthera Noire” (an AU fanfic where shy girl Juleka gets the Cat Miraculous instead of Adrien). Not only does it have two separate chapters for Vanisher and Antibug, it also does a good job of setting Chloe on an actual redemption arc, unlike Astruc's “damnation arc”.

#6: The Puppeteer 2

As much as I've ragged on Adrien/Cat Noir in some of my other posts (and will continue to do so in this list), that doesn't mean I think Marinette has problems too, and this episode is a prime example.

Marinette and Adrien go to a wax statue museum with their friends (and Manon), but because of a poor choice of words by Nino, Adrien thinks that Marinette hates him. So he does something that everyone loves, practical jokes.

Adrien seriously thinks that pranking Marinette will improve her opinion of him. Even the prank is ridiculous, pretending to be a wax statue to make her laugh. And it leads to... Oh God... This is easily the contender for one of the worst moments in the entire show. Marinette goes up to the statue and... gets close to it. Yes, we, the audience know that this isn't a statue, but putting that aside, just look at what Marinette does to the “statue” (AUTHOR’S NOTE: I made a gif from the episode, but it wouldn’t go through, so I recommend you check out the episode and watch the statue scene for yourself if you don’t value your sanity). Even Adrien, as dense as he can be, is a little unsettled by what Marinette does.

If the scene was about Marinette talking about her feelings for Adrien, I'd be more lenient on it, but this? This is just uncomfortable to watch.

Even the dialogue makes Marinette sound incredibly creepy.

Marinette: Wow... it looks so... real. The wax is nearly as hot as skin. It even smells exactly like him...! Oh, beautiful statue of Adrien, your wax is so soft! Your yak hair is silky. Your eyes are so green. Oh, shall I be a statue, too! Everything would be so much easier. Why haven't we been molded together in the plaster of destiny? Marble to marble, wax lips against wax lips, entwined for eternity...

I think Gilbert Gottfried said it best.

This scene alone put this episode on the list, and the Akuma doesn't make it better. I really liked “The Puppeteer”, and I thought her ability to control past Akuma victims was incredibly fun to watch. And when she returns to take control of the wax statues of past Akumas they... don't use their powers (with the exception), and serve as cannon fodder for Ladybug and Cat Noir to plow through, making the return of the villain very underwhelming.

Even the end where Adrien tells Marinette that he is in love with someone and only sees her as a friend. This should devastate Marinette, but in the next scene, thanks to some fortune cookie nonsense from Tikki, she's still unsure about her relationship with Adrien, and that's how the episode ends. Seriously. Because just need to keep the status quo consistent, right? It's not like Marinette doubting her crush on Adrien and worrying that she's just wasted her time would have been interesting to see, right? Play that happy ending theme already!

Of all the episodes on this list, this is the one I was dreading talking about the most because of some of the moments here. And yet, there are still episodes that are worse than this one...

Here’s Part 2

[wh33zy]

1, 18, 20 for writer asks ❤

Thank you so much for the ask, Mother Vera!!

1. Current projects and how it's going? So, I've got a few going on right now. Maybe it because of my natural organized chaos but I have, like, seven or eight different google doc tabs open of WIPs right now. I'm currently working on the next chapter of The Neighbors, which has been an expression of me cradling Egoist in my hands and whispering "I can fix you". The next chapter is still following the very sweet mundaneness of the story, but with a bit more action as Akihiko actually gets to meet Nowaki for the first time and it's adorable! The other tab I have open is GayGTA, be gay do crimes btw, and I'm still figuring out the next chapter from the one I recently posted so the one I'm currently writing is the gang actually going to rob Kuma Jewelry despite all of their dysfunction so far lol. I also have The Wolves, Teeth Bared open and have decided that I kinda hate how I wrote the next chapter so I'm reworking that. Other than those, I have a couple tabs open of an original story I've been working on because we need more LESBIANS and BI GALS. I also have a tab for a story for a ship (SanUso- One Piece) that I haven't written for in a while and it's a request from someone so I'm trying to do my best. The last tab is for one of my number 1 ships (Barnaby/Kotetsu - Tiger & Bunny) where I'm basically writing Kotetsu this huge backstory where he, still working as a superhero for Sternbild (which is just futuristic, jazzpunk New York), finds himself to be the next heir for an organized crime syndicate. So yeah! That's basically what I've got going on.

18. Do any of my stories have abandoned alternate versions? YES, actually. For FEUD, I had mainly the beginning a large parts of the middle super planned out, and that was mainly because FEUD was extremely inspired by the show FEUD: Bette and Joan (really amazing show about the very REAL rivalry between extremely famous old Hollywood actresses Bette Davis and Joan Crawford who are played by Susan Sarandon and Jessica Lange) (I'm a Bette Davis Stan btw). So for FEUD, I never really intended for Natsuko to be in it nor did I intend for Misaki and Akihiko to get married or have such a romantic focus, I figured I'd leave the focus mainly on Akihiko and Ijuuin because that's what I was writing about. I also planned for more uncomfortable scenes with Ijuuin and Misaki but figured that I had enough already. I also wrote a little about Akihiko and Ijuuin deciding to work against Isaka for a change, like actually becoming allies where it would get to a point that their relationship would be a threat to Marukawa Publishing (making Ijuuin have to considering finding a way to get them to be enemies again), but I ultimately scrapped it upon realizing where my FEUD was heading.

As for The Neighbors, I haven't completely scrapped it but I thought about adding a scene where Hiroki does something that comes off as kinda shitty and now he and Nowaki have to patch things up. Still not sure if I want to add it because The Neighbors is practice to dare to be boring, I MIGHT because I'M A GLUTTON FOR DRAMA.

For GayGTA, I had written out several scenes that are supposed to directly lead to Egoist making up, but I didn't know where to put them so I deleted them and am now working on a different avenue for that.

These are all the alts from my stories that I can think of off the top of my head!

20. Tell us about the meta in your writing? I definitely have a lot of the same themes and essence in a lot of my stories which all come back to what makes a healthy relationship and how to build that. I used to hate, like vehemently hate romance and couples, so a part of delving into healthy romantic relationships is not just a form of escapism but also because I didn't grow up around that kind of thing, at all. Not even my grandparents on both sides could provide a view into what makes a healthy relationship. So, there's a bit of fascination I have with great communication and the feeling that you love someone so much that you'd do anything for them, as well as being considerate towards the other person. But at the same time, I also really like the drama that comes along with romantic relationships because I think that's where a lot of the entertainment value comes from. What's really shocked me is how much a lot of people tend to really like how I not only write the characters but also how I'm able to really convey the relationships between them very well which is always a shock to my system because I've never been in a relationship before. I've had crushes, sure, but have never embarked on anything having to do with romance in the slightest.

I think another running theme in my work is how I like to really show what's going on in the characters' heads. Like, I'll sprinkle in their thoughts in the paragraphs or near their dialogue but I tend to not make their thoughts their own quotations if that makes sense? Because I HATE that. Like, I really don't like reading italicized font in between quotation marks to show the characters thoughts. I find it just a little lazy. To me, I'd rather that be shown through actions or, like I do, specific phrases here and there. In my head, it's like, yes you're a storyteller, you have to tell the story, but don't spoon feed it to me. Let me infer a little! Let me draw that conclusion on my own! This is something that I'm also trying to really put in my writing because I have a good amount of spots where I could just "show don't tell" you know?

Anyway, sorry for the WALL OF TEXT I REALIZE! But thanks again for the ask!