#always love character driven arcs

[watcher0033]

Pash N.

Pash…n

PASSION

[conflictofthemind]

Take Me To Church-Gate

A few weeks back, I received a tip that Noah and Finn came into Atlanta for a couple of days to rehearse a scene alone together that never ended up being filmed. This was around the time of the convention that Finn ended up missing in early June (and we initially theorized was for the playground scenes).

I since received confirmation of not only this, but that the rehearsal in question was for a scene at the UD church set. The filming never went through because Noah got an eye infection / sty, so the shoot was rescheduled for early August. If you've seen me mentioning looking forward to August, this is what that was about.

The Eye Infection:

Let me link this post to begin with, barring the 'James' stuff who has proven to be false. I heard about the eye infection and my alarm bells rang immediately - I have a friend myself who wears contacts occasionally and whenever they get sties, they're always caused by the contacts. When has Noah worn contacts before in the show? When Will is being possessed by the mindflayer in Season 2.

The church is an interesting location, because it most definitely has to do with Henry as well. When the original countdown for TFS was being posted, there were images of a church - a location that may have been changed during development. The characters most likely go there as part of the continuing Henry investigation.

And we know Henry was exorcised at some point, but it failed. The sign going into the church is also a likely clue to this, referencing Mark 9:29 - a verse about a failed exorcism.

Conclusion for this part: Will very likely becomes possessed again while in this church. My source tells me they usually only do big rehearsals like this for scenes involving action, too.

My opinion is that Will was never fully exorcised either. I mean, he still has a clear connection to the mindflayer with all the tingles on his neck and the possible literal psychic connection he has to Vecna as well.

It's Byler, Too:

I suspect that Jamie has some part in the scene as well (given they scheduled it during his latest block on set), but the focus is on Will and Mike - being the only two other main characters on set at the time, and the only two rehearsing.

But going back to the church thing.... I wonder what kind of symbolism is created by bringing two gay characters who both have a lot of internalized shame into a location that is honestly the source of said shame? It's honestly not even symbolism. It might just be referenced in plain text. Looking back at that church sign:

"This kind cannot be driven out by anything but prayer"

"This kind" really evokes the dehumanising language used by homophobes to refer to gay people. And the driven out by prayer part, well that really evokes conversion 'therapy' practices of praying the gay away. So what if this is where Will and Mike finally admit their love for each other, and kiss. And what if that is actually what's able to drive the 'demon' away - gay love.

Especially during the Satanic Panic arc we are sure to see come full circle with the reckoning of the Hellfire Club in Season 5.

An arc which Mike is surely at the centre of as well, being not only a Hellfire Member in the past, but being family to the new disappeared child in town.

And it's not like Mike's love is what's been shown to us time and time again as the way to break Will out of his mindflayer trance. Oh, wait.

Consider it incredibly fanfic-y, but it's on the table now. An action scene at the church involving Byler where Noah is wearing contacts - Will becoming possessed just like Henry again and being made to fight Mike as not only part of the plan to get all of the Wheelers, but also as something that would break Will's spirit permanently. They're all alone with nobody to help save Mike. But the plan is thwarted through the power of love, and in a place that represents a lot of shame for gay men (especially in the 80s) - they finally come together. And it is love that frees Will from his trance. Whether through a confession or true love's kiss. It would be so dramatic and atmospheric.

Additional evidence:

Jopper's Season 4 reunion and kiss inside the Russian church, of which this would be a parallel.

The whole idea of "we kissed, as though nothing could fall. And the shame was on the other side" from David Bowie's Heroes - the shame being in the actual church from the rightside up, but they're alone together on the other side / in the Upside Down.

It is also very likely that this scene is from Episode 5 or 6. I've asked and nobody seems to know which episode it is from, but following the logic of Episode 4 being when the characters enter in groups into the Upside Down, and here Byler are all alone, it is definitely after some time has passed and groups have split further. They're definitely not having any kind of confession in the first half of the season, so this timing sounds positive.

Multiple rehearsals. Noah contacting his acting coach recently for advice. Them even having to cancel an entire shoot because of a sty indicates close-up shots for sure.

Anyway. I'd really love to see people's thoughts on this. I feel like there's even more I could get into in follow-up posts, especially if other people chime in with their thoughts. I have been buzzing about this scene for weeks now. I want to start another gate for old time's sake, so please use #churchgate if you want to make your own posts about this!

[iridescentoracle]

#i think it's also a little bit because our modern norms of long-distance communication mean the idea of friends Ceasing To Be In Contact #has become weird to us and associated with something having gone wrong #in the 60s it wasn't AS weird to be like 'i will always treasure our friendship but due to our respective lives we may never meet again' #now we not only need a traumatic reason for them to part ways (which agreed seems to be a written-by-fans thing) #we need an insurmountable barrier to keep them from ever being in contact again to justify actually leaving the show #ian and barbara knew they'd probably never see the doctor again! they accepted that and it was no one's fault! #but now there's all this Angst over the classic companions he 'didn't come back' for #and they can't allow that to be a thing with the new companions so they have to make it the Most Separation Ever #hashtag break the tardis navigation again #establish the doctor has no control over his travels it's so much SIMPLER (via incomingalbatross)

#this is another change that I’d attribute to the shift towards character-driven storytelling #s1 set a precedent where The core conflict of the show is between the companion’s ordinary life and their life with the dr #which. is better dramatically to resolve by making a Thing out of it and elaborating on Why they can’t go home or why they can’t stay #whatever Reason classic companions have to be traveling with the dr doesn’t tend to be a big deal #because classic didn’t have any long-term plotlines or character arcs the way nuwho does #(which isn’t Bad it’s just a different storytelling format) #basically. I’m not sure if Every modern companion leaving under Good Circumstances would work well under nuwho’s format #honestly I think the fact that all of chibnall’s companions left to their home time basically unchanged is one of the era’s biggest weaknesses #ESPECIALLY Graham and Ryan weren’t given the kind of character work that would allow a tragic/dramatic departure #they leave the tardis almost entirely unchanged from when they entered and that’s like. #I mean it’s FINE for a certain format and style of television #but dr who hasn’t done that since classic and just throwing it into nuwho doesn’t Work (via osgoodification)

No offense to modern Doctor Who but why does every companion stay in the TARDIS until some horrible life altering thing forces them to leave (death, trapped in a parallel universe, memories forcibly taken, etc.). I miss how in Classic Who most companions just said “Hey Doc, this has been fun but I think it’s time I went home” or “hey this planet is pretty cool, I think I’m going to stay here” and the Doctor was just like “okay cool, I’ll always remember you fondly, bye!”

[its-your-mind]

ALWAYS rotating TAZ: Balance around in my brain like microwave but ESPECIALLY with the announcement of The Suffering Game graphic novel

The dope thing they can do (and are doing) with the graphic novel series is sprinkle in moments of foreshadowing and hints to the reader about what REALLY might be going on here, which is so cool and I’m a huge fan of it, especially when you’re telling a story in this form.

But what is REALLY FUCKING TASTY about Balance as a story is that none of the motherfuckers telling it had any clue what they were doing when they started

Gerblins is dick jokes and not knowing how dice work and making fun of each other for voices. LICHRALLY the scene where Taako grabs the Umbrastaff is immediately proceeded by Clint trying different voices for Merle while Justin begs him to stop, as Taako. Merle gets launched across the room cuz he failed his save, and now Taako has an umbrella. The scene moves on.

Griffin brought them up to the BOB, introduced them to the Director, and gave them memories of a war fought over nameless, lost, powerful but mysterious artifacts. The memory that Taako takes from it is the idea of soured cream (ya know, for his taco quest).

And then they’re off, on different adventures, making friends, saving lives, making more dick jokes, and Griffin is in the background, slowly building in the meta-plot, as all DMs do.

But this meta-plot was HUGE. It was ALL-CONSUMING. It completely changes everything we know about this world and these characters. It takes the moments of dick jokes, and arguments about character voices, and flirting with death, and adds a layer of tragedy and complexity that just wasn’t present the first time they told that story.

AND THAT’S WHY THIS STORY KICKS ASS. The vibe of the story changed as Tres Horny Boys grew closer and closer to remembering the lives they had lost, as Griffin upped the stakes, as people started dying. They still don’t know shit for most of The Suffering Game, but you absolutely could not have predicted the tone of that arc after just listening to Gerblins. It sounds like a completely different story. And so when the other shoe drops, when shit breaks bad, when it’s the end of the world… again, and they have to reclaim their Stolen Century…

It makes sense. The tone has shifted enough to accommodate that kind of change. The characters have grown (back) into themselves enough to make this work.

Because TAZ: Balance is a tragedy. But the tragedy happened before the podcast even started, and had been erased. So of course it started off with goofs and dildo jokes. Of course the three of them started being standoff-ish with each other and making light of every situation that should have had a lot more weight. They didn’t know what they had lost, and we, the audience, didn’t either. So it was easy to laugh and joke… until slowly, it wasn’t so much anymore.

Plenty of people have praised Griffin’s storytelling abilities, but I think the thing that was most impressive to me was how he took the disparate threads laid out behind the Boys on their adventures, and followed them backwards, into the story they had lost, and forwards, into the ending they earned. I fucking love that he settled on Istus as the deity to interact with them, because I don’t think there’s a better representation of the story Griffin was weaving behind the scenes of the arcs.

Story and Song wasn’t really an arc driven by dice rolls and role playing - but it wasn’t railroading either. Griffin took every story they had told, every happy ending they had fought for, and twined them around and through each other. The world was saved not because of a lucky nat 20 roll, but because every person they had helped through the story came out in force to fight beside them to save their world.

And so in the end, the Stolen Century was a tragedy. But The Adventure Zone: Balance was a story of hope, of family, of the power that just a few loveable doofuses can have when they move through the world, making friends and saving lives. So when the world was ending and they needed help, there were dozens of people waiting to hear the Story and the Song that would give them the push they needed to fight, and the hope they needed to win.

[thecheshirerat]

On TAZ-

Wow that sounds like I’m about to summarize some sort of discourse but I promise I’m not. I guess I’ll say that I really like this show and I will keep listening even if my worst fears come to pass, so keep that in mind!

For reference, I started listening near the end of Amnesty.

I’ve noticed, with the past few arcs- really since Ethersea- the narratives have just… not been fulfilling their promises, so to speak. They’ve been placing a lot of guns that don’t go off. What I mean by that is, the characters are great. Excellent, really. Lady Godwin? HELL YES. Emerich Dreadway? Fuck yeah! And so on! And the settings and premises have been epic- the goofiness and also horrifying nature of Engrave, the mad and thrilling world of Steeplechase- these things are COOL AS FUCK.

and then the actual narratives keep flopping?

And honestly, I notice it most in the endings, because you can really tell when an ending doesn’t land. You feel the sense of disappointment. But with vs. Dracula, for example, I could kinda see leading up to it that the ending couldn’t really BE anything special, because they lowkey didn’t set themselves up for it.

They spent the campaign fucking around in Engrave, finding clues and solving problems and not really experiencing any particularly meaningful character arcs or growth or, idk, forming relationships? So there wasn’t much to pay off, I’m not gonna lie!

Of course it doesn’t feel quite as dissatisfying when you’re in the thick of it, because they’re funny and the stuff is cool and- oh hey! Lady Godwin’s been turned into a werehorse against her will?? that’s got some real potential for a LOT of allegories and exploration of some fun character development! And then it’s kinda played as a joke. And then they do that again and again.

And they actually said that that was a move they made intentionally, in the TTAZZ. I’m not quoting them perfectly here, this is from memory, but I do remember them mentioning that they wanted lighthearted comedy without the burden of real life story stuff. And I get that, honestly, but… it’s not the choice I would’ve made. I do think you can keep a lighthearted tone while also, idk, forming relationships and wholesomely engaging with some amount of emotion. And sometimes going way too deep is funny as a tone shift!

But I digress. One thing that’s also popped out to me is the almost complete lack of any kind of romantic storyline or even references. This becomes obvious if you’re in a fandom because everyone is always dying to ship SOMEONE, and you can tell when people are really getting desperate. I don’t blame them for not wanting to roleplay romance with their family, and I do think stories lacking romance are COOL and SHOULD BE ENCOURAGED!

However if you can’t find ANYBODY to ship together… that may mean you just don’t have character bonds. The growing popularity of the PC polycule is interesting to me; I wonder if it’s partially because

a) none of the pcs have significant relationships outside of their party and

b) even within the party, there doesn’t seem to be much chemistry between any given pair of characters…? I hope I’m making my point well here- the PCs all seem equally close and have more or less the same relationship to all of their compatriots with little distinction, meaning, essentially, no shipping fodder that doesn’t involve just all of ‘em.

Either way, it makes me wonder if I can blame the “Graduation has too many NPCs!” critique. They really stopped giving the parties tag-along main NPCs after graduation, with the exception of maybe.. Urchin? Kodira? Shlabethany? Poppy? and even they get relatively little “screen” time. Steeplechase has great NPCs, I love them to death, but none of the PCs seem to ever have one on one conversations with NPCs or each other that do not explicitly focus on the plot. And I think that’s part of why the characters feel so underdeveloped despite having spent a lot of time with them- because in this character-driven genre, we get very little insight into their feelings or motivations or even their rudimentary backstories.

I started watching Fantasy High recently and it made me realize a couple things about TAZ.

1) Recently, TAZ has sooo few core NPCs, and it’s weird that the characters aren’t doing more one-on-one purely character based scenes. And that makes it really tough to develop them.

2) TAZ is- and I should have realized this before- one of many good dnd podcasts. They’re probably looking for a niche they can master.

And it sounds like they’re trying to get back to that old “Here there be Gerblins!” energy. They’ve referenced it so many times in recent TTAZZes- they wanted to be job-focused, allowing story stuff to happen organically, so they tried a more open world vibe with Ethersea. They wanted to be less afraid to kill stuff, so they tried playing criminals (and were still afraid to kill stuff). They wanted to be silly and light on character, as they tackled with taz vs dracula. Now they’re trying to bring in the silly cartoon vibe with Abnimals. I think they’re trying to make that family-friendly, funny and goofy show their niche. Something other actual plays can’t be better at them at.

And honestly it kinda makes me sad, that they keep trying to go back to Balance while ignoring everything they learned during it. Because I loved Dust. Because I loved Amnesty. Because I loved Ethersea. I loved these past arcs! But they keep doing their brilliant characters dirty for some reason!!! And i don’t know why!!!!

You know that meme about people who ask questions in movies and then the person responds “Have you ever been to a movie before? You watch them and the information is revealed.” There have been so many times in TAZ recently where information has Not been revealed and if they keep doing it the audience will stop bothering to suspend their disbelief, because the trust just isn’t there.

What is Montrose’s deal? What on earth was Carmine Denton’s whole thing? Tell me more about Zoox’s feelings, about Devo’s past, about Amber’s future. Show me how Lady Godwin feels about the body horror that is her life- like, seriously! WHY DID WE HAVE TO COMPLETELY DISMISS THE OPPORTUNITY TO DISCUSS GENERATIONAL TRAUMA IN MUTT’S LIFE FOR A JOKE??

Do you remember in Steeplechase where the boys were getting medical attention or something- i don’t remember, but they were all in one room and only talking about The Plot. And Poppy literally banged on the door (speaking for both Justin and me, tbh) and was like “does anyone want to share any feeeeelings??” and they were like NOPE! and they moved on!!

like. cmon. you can’t just put a character like montrose out there and then leave them severely underdeveloped to the point that what would be interesting in proper context, with audience insight, becomes confusing and chaotic.

I just wish they would take their stories as seriously as we do.

It feels to me like they don’t believe in themselves, and it makes me sad. Maybe they didn’t get the response they wanted from Ethersea and so they’ve been trying to pivot, hoping to recapture whatever it was that earned them a loyal audience.

Again, I love them. They’re so funny and I’ll keep listening until the day they stop making this show, and when it happens I’ll cry.

But i KNOW they have more in them. Remember the “we’ll grow gills” monologue from Justin in the Prologues? Remember Travis’s SOLID acting with Devo? Or his awesome choice to give Lyndon/Beef a clearly delineated work/irl identity? His excellent narration and prose? Remember when Montrose described being lonely?! Remember all those moments where Shit Got Real and you cared??? The nanofather said some dope shit! dracula and victor and sweater dracula had such a wild dynamic! Clint’s acting in Dust 2- I can’t remember the characters name right now- was ASTOUNDING, I genuinely didn’t know he had that in him and it blew me away!

I’m not referencing Balance on purpose, both because the fandom is way to hung up on it and because I want to prove that you don’t even have to look at Balance, or even Post-Balance arcs, to see this kind of good cool stuff!

GAAAAAAAGHHHH!!! I want them to have fun. But also. We’re starving out here.

[absolutebl]

Top 10 Most Underrated BLs of the last 3 years

(mid year 2021 - end 2023)

This list will not include BLs that ended their run in 2024. I need some distance to know if something is actually underrated (We Are maybe?) or justifiably ignored.

1 I Cannot Reach You AKA Kimi ni wa Todokanai (Japan 2023 Netflix?)

This classic friends-to-lovers BL is everything Japan does best. Angsty. Emo. Aching. Driven by real thirst. Yamato is deeply in love with his childhood bestie, Kakeru, and has been for ages, increasingly unable to hide his ungainly damaging high school need. He wants Kakeru in every way possible and it oozes off of the screen. Kakeru is silly and a little simple, but not frenetic or overly camp about it. He is earnest, and genuinely wants to keep Yamato in his life, which means giving a romance (and gayness) a fair chance. We watch him realize his affection and what form it can take in a truly authentic way. This show was impossibly kind to both of its lead characters and I felt almost honored that I got to watch something so lovely and rare play out on my screen. Full review.

2 My Ride (Thai 2022 Gaga)

Thai BL grew up with this pulp (the first ever pulp to make my end of year top 10). It’s a truly lovely and special little show featuring the extremely rare pairing of sunshine/sunshine (AKA a cinnamon roll couple) plus mature explorations of relationships using one of the softest, sweetest, and most innocent friends to lovers vehicles. Kindly, overworked doctor meets broken-hearted motorcycle taxi rider in an “other side of the tracks” slow burn romance. The support cast is excellent, making for great friendship groups and family dynamics. With honest queer rep that adds to, but doesn’t impede, the story, and genuine conversation about the nature of class, wealth, and classism, not to mention communication, honesty, and respect for boundaries, you can’t go wrong with this show. In other news, I am a sucker for a single dimple. Full review.

3 Our Dining Table AKA Bokura no Shokutaku (Japan 2023 Gaga)

A lonely salaryman (+ talented cook) gets accidentally adopted by a college kid (and his little brother). I was always gonna love this show if they stuck to the original yaoi (which is very dear to my heart). And they did! Paralleling it almost exactly. It’s a quiet & cozy little parable of found family alleviating loneliness. Possibly too slow for some but definitely high up there for me as the best of what Japan can do with softness (like Restart After Come Back Home). It’s only flaw (if I dare say such a thing) is that it is not really “romantic.” Lovely & sweet but the romance beats are being used to build a family relationship, not just couple intimacy, but that's OK with me. This is a very safe show for anyone to watch.

4 About Youth (Taiwan 2022 Gaga)

A truly lovely little coming of age high school BL with a classic YA low drama but high angst and earnest depth. I didn’t even mind the singing, and that’s saying a lot. A weak seme/uke dynamic but tons of BL tropes (both rare in a high school setting but common for Taiwan) makes this one feel both sweet and colored by real world authenticity and grit. Full review.

5 Step By Step (Thai 2023 Gaga)

This was Thailand’s answer to The New Employee, and everything I loved about that show I loved about this one. This office romance between a stern boss and sweet subordinate felt more authentic to cubical work than previous Thai BLs of this ilk. That authenticity added tension to the narrative and its characters development (how novel). I also really enjoyed the charming side characters and the brothers' relationship to each other (although I could have done without that brother's side BL). Full review.

6 DNA Says Love You (Taiwan 2022 Gaga)

DNA deserves extra marks for an upbeat approach to a queer story arc that other shows have systemically mishandled with sadness (in the guise of realism). There is a twist, which I found predictable, but knowing what would happen didn't spoil this show. The leads are luminous and engaging, and it’s full of queer found family representation and an unexpected amount of domesticity, plus it’s Taiwan, so the kisses are great. The first few eps are rough going but have patience, it's worth it I promise! The second half is really special and life/love affirming - and the end is big-grin charming. Full review.

7 Unintentional Love Story (Korea 2023 iQIYI)

Of all the BLs on this list, this is probubly the MOST underrated. OMG the plot! Uke forced into a totally understandable betrayal, falling in love despite himself, put into a corner he can't get out of, the AGONY, the PAIN in those gorgeous eyes. Gah. Okay, so: A boy loses his job due to trumped-up corruption charges accidentally discovers his ex-boss's favorite artist, now a recluse. Evil manager offers him his job back, if he can convince the artist to rejoin society. Instead, they fall in love. I found the artist a bit stiff and reserved but Gongchan (maknae of B1A4) is a fucking GIFT - he carried this show (which I do not expect from the idol element). He was luminous with extraordinarily expressive eyes, just drown in the emoting abyss. The external conflict, social tension and pressure is complex and beautifully executed, plus Korea gave us legit side dishes (NOT a love triangle, hally-fucking-luya). Full review.

8 Dear Doctor I'm Coming for Your Soul (Thai 2022 iQIYI)

This is a romance between a doctor trying to save his patients and a reaper who is both his enemy and (eventual) lover (basically the genius premise of a gay Doom at Your Service). High concept looks good on you, Thailand. It’s lovely to see KarnNat back on screen together and they are still great, and Karn is just as painfully beautiful as ever. I enjoyed this one more than its ending deserved, and the best I can say is that it’s not strictly HEA but if you’re okay with Life: Love on the Line, you’ll be okay with this BL. It’s set up well, there’s no surprise unpleasantness like HIStory 3: The BL that shall not be named. Full review.

9 Destiny Seeker (Thai 2023 WeTV)

A darn near perfect pulp featuring 3 likable grumpy/sunshine pairings with uncomplicated iterations of enemies to lovers. At least one half of each does a decent amount of pining and there’s good chemistry, classic tropes, and excellent communication rep. It’s fun and full of linguistic jokes. Sublimely cheesy but a good rainy day offering with tons of rewatch potential. (Also WAR PEANUTS!) Full review.

10 Make a Wish (Thai 2023 grey)

A doctor who can see the dead strikes a bargain with a wish-granting irreverent tree angel - naturally they fall in love (from Sammon: Manner of Death & Triage). Stars Fluke Natouch opposite not Ohm, but who cares because Fluke has chemistry with everybody. Once again the Thai afterlife is incredibly bureaucratic but I enjoyed the premise and the unfolding of the story (it’s not predictable but still satisfying and with nice little twist). I like that the doctor is just gay AF - fag hag bestie and made of swagger. The cast is excellent but the comedic stylings are a bit overblown and tonally off. It has sad parts and did make me cry but is ultimately happy with a great sex scene, good smiley kisses, and all the agency.

10 others I rarely see anyone talk about:

Triage - Many would put this at the top of the list, but I don't find it very rewatchable and that weighs a lot in my assessments. Still it is GOOD and very underrated. BL does Groundhog Day featuring a doctor stuck in a time loop who must save a poor little rich boy from death by seducing the stuffing out of him, then PLOT TWIST, poor little rich boy must do the same for doctor! Unfortunately… stuffing keeps leaking. I thought the plot was engaging if a little redundant and occasionally exhausting. The pairs were all well done, low heat but with decent chemistry and the support characters were likable (or unlikeable, as required). My reason it's not in the top 10? If anything, the romance arc detracted and distracted from the main plot, but that doesn't stop this from being a genuinely good show it's just time loop is not a trope I personally enjoy. Review here.

See You After Quarantine? - This under appreciated gem is Taiwan’s answer to Gameboys and is just as charmg and adorable yet still as quintessentially Taiwanese as one might hope. It features a Japanese love interest and the cutest most confused disaster gay. Slow burn because the two have almost no actual screen time together and yet manage some truly amazing chemistry. Honestly how does Taiwan do it?

The Tasty Florida - I don't know, maybe it's Speed nostalgia, but I love this one, classic Korean BL with all those strengths and flaws... but The Prettiest.

You Make Me Dance - it's Korea but somehow they got this one, maybe by featuring mature characters and a real world crisis? Also they both ve hot.

Blueming - at the time it got a lot of attention but it seems to have faded into obscurity under the shod of The 8th Sense and Love of Love's Sack. This was a precurser to both and well worth a watch if you like it when Korea gets a little gritty.

Love Stage!! (Thai version) - I liked this IP alerady more than most. But this is the best of the 4 adaptations, and the first full Thai version of Japanese IP. It's both charming and notable in the industry. Hard to find and that's why it gets so little creddit but I think it's well worth the effort to track down.

Oh! Boarding House - I think most who watched this din't jive with it because it's an ensamble piece witha wicked love traingle. But I really enjoyed it. It felt like the move Kdrama BL that Korea has given us and I like me some Kdramas.

What Zabb Man! - one of the better BLs to come out of Star Hunter in the last few years. I like this pair a lot more than most, and the sides are wicked great. This is probably one of my favorite food themed BLs, actually.

2 Moons The Ambassador - possibly the lowest scoring BL to appear on this list but I just really like the leads. Nothing else is good, but they are kinda awkwardly fantastic. I also like how gay af the seme is.

Stay By My Side - This show was an interesting take on the "ghost boyfriend" trope. About a boy who is tormented by hearing the dead, except when he is around one other boy - desperation+proximity = love. Despite a strong initial premise it ended up mostly being enjoyable for sappy domesticity but nothing more. Still, I always give extra credit for the diabetes-inducing sugar content and rewatch capacity.

Requested by the lovely @l1xyz

FYI: I judge “underrated” on the strength of what I see people talk about (or more precisely not talk about) on social media, MDL reviews, and YouTube watch numbers (when available, as compared to comparable shows from the same country). 

Because of this, statistically, there will always be quite a few BLs that are difficult to get hold of.

Here's my pulls of the Top Underrated BLs prior to 2021. Considering the amount of content generated over the last few years, the pool to draw from is likely about the same.

My Top 10 Most Underrated BLs prior to 2021

Seven Days

Restart after Come Back Home

Wish You

Nobleman Ryu’s Wedding

He’s Coming to Me

Oxygen

My Day

Most Peaceful Place

HIStory 2: Right or Wrong

HIStory: Obsessed

I'd throw Great Men Academy in there, but I always dither over whether it actually is a BL.

[literaryvein-reblogs]

Writing Notes: Subplots

Subplot - a side story that runs parallel to the main plot.

It has a secondary strand of characters and events that can infuse important information into the main storyline.

Also known as a minor story, a subplot creates a richer, more complex narrative arc in novel writing and other storytelling mediums.

When crafting a narrative, a writer’s job is to create a compelling story.

One way to do that is through subplots—secondary storylines found in novels, plays, television shows, and movies.

In creative writing, a subplot can reveal more about secondary characters, create plot twists, and add another dimension to a story.

Most importantly, a good subplot raises the stakes for a main character.

An Example: Romeo and Juliet

William Shakespeare weaves several subplots throughout this tragic love story.

The backstory of the long-running feud between rival families, the Capulets and Montagues, creates the central conflict in the play—two young lovers from warring families desperate to find a way to be together.

The subplots involving the warring families create dramatic plot points that escalate the tension, like when Romeo’s best friend Mercutio is killed by Juliet’s cousin Tybalt.

4 Types of Subplots

When coming up with writing ideas to enhance your main plot, think of using one or more subplots. These could include any of the following:

Mirror subplot: A smaller-scale conflict mirrors the main character’s in order to teach them a valuable lesson or illuminate how to resolve the conflict.

Contrasting subplot: A secondary character faces similar circumstances and dilemmas as the main character but makes different decisions with the opposite outcome.

Complicating subplot: A secondary character makes matters worse for the main character.

Romantic subplot: The main character has a love interest, and this relationship complicates the main plot.

6 Tips for Writing Better Subplots

When you’re writing a book, always brainstorm the best subplot ideas that can deepen the tension and make your main character’s scenario more complex.

Try these tips when you craft your next narrative:

Ensure that your subplots play second fiddle.

A subplot exists to support your main storyline but should never overpower it.

Subplots should end before the main plot.

The exception to this rule is a romantic subplot, which often concludes in the final scene.

Give your subplots a narrative arc.

Subplots are stories, too.

Create a narrative framework for each, though on a smaller scale than your main plot.

Use this technique to tell a supporting character’s story that affects the protagonist’s actions.

You might even incorporate flashbacks as a subplot, mirroring a character’s journey with something that happened in their earlier days, like high school.

Write character-driven subplots.

Just like your main story, characters should drive the action in a subplot.

Create foils that can highlight qualities in your main character.

These characters will either help or hinder the protagonist in the story.

Try a new POV.

Your subplot might provide information that your main character is unaware of.

If your main plot is told in first person, try changing the point of view in the subplot to third person.

Figure out how to connect the subplot and the main plot.

There are numerous ways to use subplots.

A parallel subplot runs throughout the entirety of the story, showing different sides of the same plot.

This builds suspense as the reader waits for the two plots to collide (think The Fugitive).

You can also write small, isolated subplots.

Briefly introduce a character who drops in early on, then revisit their journey near the end of the story to shed light on the deeper meaning of your main plot.

Ramp up the tension with a subplot.

Propel your main story with information revealed in your side stories.

Subplots are a strong medium for foreshadowing events, so use them to drop hints and clues.

Source ⚜ Writing Notes & References

[54625]

What I want out of a QSMP season two.

(Some of these points may be a little divisive - it's just my personal opinion. Content creators will be referred to as players for conciseness. QSMP as it has been for the past year, for the sake of this post, will be referred to as "season 1".)

1. TAKE A FUCKING BREAK.

I do not want to see the QSMP coming back in less than two months at the very, very least. Five or six months to a year is ideal, in my opinion.

This is for a few reasons. Firstly, the obvious; I want Quackity Studios to take the necessary time to make 100% sure that everyone who has worked, does work, or will work for them is compensated. Not just this, but I want the communication among the studio to become streamlined and consistent, for the purpose of maintaining the quality of the SMP, the quality of life of the employees, and entirely avoiding a repeat of the previous situation. Any less will be unacceptable, and prove that all people in charge, including and especially Quackity himself, have not learned their lesson.

Secondly, I am very sure that a lot of players will lack or have completely lost their motivation for the QSMP, due to the nature of the last few months of season 1. I am sure that those who had a lot of lore written up and had to scrap it or cut it short are probably still quite sore about it, and may not have the energy to pick the QSMP story back up. This is especially true if they had already given their characters a canon ending and don't want to overshadow it. When creating a new SMP, or a new season of an SMP, you first and foremost need player motivation to be high. Waiting several months would ensure that the wound of player lore being ruined would have mostly healed over by the start of season 2.

Thirdly, viewer engagement will always be an important thing to take into consideration when creating an SMP that will be televised. The large majority of QSMP fans are completely burned out from watching. Leaving a large gap between seasons 1 and 2 would let fans, who have had an exhausting last few months, recover and reset. It will also allow hype and anticipation to build up when things eventually start being teased and announced again. Fans have a lot of disdain for this project at the present moment, and waiting for a while between seasons will not only let fans know that serious action is being taken behind the scenes, but also will let the sour attitude a lot of fans have right now wear off over time.

2. RESET. FOR REAL THIS TIME.

Probably my most controversial take on this topic will be; I fully believe that if a QSMP season 2 is to occur, it should be a completely new server. By completely new I naturally mean a new map, but also ZERO LORE CONTINUATION. I know this is a hot take, but I personally believe QSMP season 2 is a perfect chance for a completely fresh start, and a fresh start cannot happen if it still takes place in the same universe.

We all know that season 1's lore was overwhelming, slightly confusing, and at the end of the day, completely disjointed. We all fell in love with the terrifying Federation and Codes, yes, we all loved the basis of the story; a group of people from different countries get stranded on a "perfect" paradise island controlled by a governmental body that won't let them leave, and have to work together; but at the end of the day, the lore of season 1 became messy. Very messy. Instead of trying again and again to salvage it, the best option is probably to just start again.

Put the same players in a different map, give them a completely different premise, and let the lore unfold anew. Which leads into my next point.

3. PLAYER DRIVEN LORE.

Let the players develop the story. If a player has an overarching storyline they are unfolding themselves, prioritise letting them do so. All of the best lore in season 1 was player created, and player enacted; Cellbit's regret arc, the happy pills, Cellbit's murdering Fed workers arc, literally everything Fit ever did, Roier's lore, ect ect ect. Server admins should only intervene in player's lore when directly asked, and big changes to the server's status quo should only occur when there is no active lore to be interrupted, everyone agrees it should happen, and it would actively drive engagement up, rather than down.

The best case scenario for a QSMP season 2, in my opinion, is for the server admins and Quackity to come up with an exciting and engaging premise for a brand new universe with brand new characters, to place the players in an interesting themed map, and just let them loose. Let the lore build naturally, and see what comes of it.

IN CONCLUSION.

I vehemently disagree with people who believe the QSMP should not have a season 2. The QSMP is a brilliant idea, and its noble goals shine through all of the incredible friendships and memories it, and only it, made. There is no other server like QSMP.

The act of uniting people from all over the world has been proven to be an extremely important and worthwhile goal. I, genuinely, admire Quackity for his passion in this, and for understanding that this thing should not be easily given up on or let go. Drastic changes need to occur, but the QSMP is bigger than just a Minecraft server; it represents so much unity, community, and love.

It is worth saving.

I hope, desperately and for the sake of everyone involved, past future and present, that the QSMP can come back better and stronger than ever, continuing to further its goals; to tell amazing stories, to forge impossible friendships, to spark joy and laughter, and to bring people together no matter the barriers keeping them apart.

Thank you for reading.

[luniise-kel]

thinking about how cool and awesome moon stone cassandra couldve been if she wasnt given the world’s worst villain motivation

dropping my whole au / rewrote of season 3 below

uh preface is im sleepy and its almost midnight, so like sorry if some parts dont make sense or whatever

uhh basically, instead of cass trying to like reach her destiny or whatever as like her Main motivation and the only reason to why she Evil and Malicious ive changed it so its more mixed in with her desire to protect rapunzel. i think moonstone cass is cool and i like the idea of her but i really just think her execution was poor mostly because it wasn’t built up as much as it shouldve been.

rewrote cass’s character slightly just so there more empathize on her idolization of her mother, and so when she learns the truth of why mother gothel left her, the knee jerk reaction to blame raps makes a little more sense.

Anyways, Season 3 cass deals with a lot of her issues, i think on the journey to get the moonstone something something happens and cassandra is told that if rapunzel comes in contact with the moonstone she will Implode. Like die. Return to being the sundrop. and cass is like oh fuck, shit, balls, I need to Protect her from Dying. So out of her intense Need to protect Rapunzel she yoinks the moonstone, and (still slightly pissed at raps for stealing her mom but not really she’s just trying to figure out her emotions + rapunzel needs to get away away from this rock) she goes into Evil mode.

Her villain arc is partly fueled by her anger at her own situation, always in second place. her desire to feel love and cherished and important rather than being the 2nd option. However, it is also fueled by her need to provide safety to her friends ,, even if it’s not the smartest choice. Moonstone Cass devotes her entire identify to being the cliche villain, so no one feels bad if like the solution to destroying the moonstone is killing her. she knows that logically the Zhan Tiri is manipulating her but 1. she idgaf and 2. she needs to learn how to control the moonstone’s power so she doesnt hurt her friends.

Tbh boiled now, it’s just cass isnt obsessive with mother gothel and mother gothel leaving her to kidnap a baby because it made like no sense for her character. like instead, moonstone cass grabbles with her identify and place in the world, who she is outside of rapunzel. Also she wants to learn more about her past, yknow, who mother gothel was and is she Worth getting upset over. spoiler she figures out that no, her bio mom sucks booty

Anyways, throughout my version of season 3, cass is trying to figure out a way to destroy the moonstone. She visits Rapunzel often too and pretends to be evil just so she can check in. She angry at her mom but not so much on rapunzel, maybe a little bit but probably more to with simply trying to crave out her identify outside of rapunzel. Same general plot beats happen in s3, but shes more grief driven than anger driven i suppose.

Theres probably a lot i forgot to like, reformulate in this especially w s3 bc i havent had the time to rewatch it and collect my thoughts that well. But, uh, hope u enjoyed. might yap more about my personal gripes with the show and how i think it shouldve been written.

also to add on i suppose, at the end of the series she gets exiled from corona officially, but lowkey comes back to hang out and after like a year every1 is like yeah okay i guess.

[writingquestionsanswered]

This is probably silly, but how do I figure out a ending for my story?

Figuring Out an Ending

Not silly at all! :)

To figure out your ending, you need to:

1 - Understand your story's conflict. Stories are driven by either an external conflict, an internal conflict, or a combination of both. An external conflict is a problem in the protagonist's world that must be resolved. An internal conflict is a problem in the character's self that must be solved.

2 - Understand story structure. Basic story structure looks like this:

The exposition is where you set up your character's "normal world." The inciting incident is the moment where your character is confronted by the problem within themselves or their world and must make a decision about how to solve the problem (goal). The rising action is their struggle to solve the problem by overcoming the obstacles thrown at them by the antagonistic force--usually the force that caused their problem in the first place. The climax is where they face off against the antagonistic force once and for all. The falling action is the dust settling post-climax, and the denouement shows where everything ends up.

3 - Understand what's going to change. Stories are ultimately journeys of transformation, whether it's the protagonist who changes or the world around them--or both. In stories that are fully or partly character-driven (internal conflict), there's usually a character change arc, meaning the character changes as a result of the events of the story. In stories that are fully plot-driven (external conflict) there's often a static arc, meaning that the character's world or people around them change as a result of the story. And in stories that are both character-driven and plot-driven, you can have both.

4. Having a good understanding of #1 through #3 will give you a general understanding of what your ending needs to be. To figure out the specifics, remember the ending of your story should accomplish the following:

-- Provide a snapshot of your character’s life after all the changes brought on by the events that unfolded because of the inciting incident.

-- Let us know where the supporting characters ended up, if that’s not already apparent.

-- Illustrate how your character has changed, or how they’ve helped someone else change or changed their environment.

-- Mirror the opening in some way so that the reader is reminded of where things were at the beginning versus where they are at the end.

You may find that your ending doesn't come fully to mind until you write through the first draft. It may happen organically, or you may have to tease it out. Either way, having everything worked out ahead of time can help you get there.

Happy writing!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[rawliverandgoronspice]

I think what particularly annoys me with the "zelda was always gameplay before story" is that... it's not true? At least I don't think it's true in the way people mean it.

Zelda games were always kind of integrating story based on the standards of the time. When game stories were in game pamphlets, Zelda's stories was in the pamphlets. ALTTP tried to tell a pretty complicated stories with the limitations of the time. OoT was actively trying to tell an epic, cinematic tale packed with ambiance and expand what 3D could offer that 2D games struggled with. Majora's Mask is deeply character-driven in many, many ways. Wind Waker and Twilight Princess are both pretty concerned about their stories, down to the point that some people were bored by TP's cutscenes in particular. Skyward Sword, from what little I have played it, is very very invested in its characters and their journey (and 2D Zeldas have Link's Awakening, Minish Cap... None of them are visual novels, but they are concerned with emotional journeys, character arcs, mysteries about their own world...)

What is true is that the narrative wraps around the mechanics, and not the other way around. The mechanics drive themes, aesthetics, emotional beats and character journeys; and that's great. The world is a puzzle, and the world is delightfully absurd when it needs to be, full of heart when it calls for it, dark and oppressive when it suits the player experience.

That does not mean the games aren't invested in their stories. Even BotW has a pretty complicated story to tell about an entire world rather than one specific tale or legend --all of it at the service of the gameplay, which is exploration and mastery of your environment.

So. Yes, none of the Zelda games are million-words long visual novels that care deeply about consistency and nuance; but stories don't need consistency or deep lore to be meaningful and serve an emotional journey. Again: gameplay is story. The two cannot be so easily parsed from each other.

And Zelda as a franchise obviously care deeply about story, characters and setting (and still does right now --otherwise there wouldn't be a movie), even if it doesn't try to imitate prestige narrative-driven games, which is great and part of why I love this series so much. Doesn't mean it couldn't have done better in the past, it obviously could have, but I feel like pretending that nobody ever cared about story or character is just... false? It's a huge disservice to the devs too. Some of them obviously cared immensely.

The "gameplay above story", at least in the extent to which it is paraded today to defend TotK, mostly, is a really recent development. And I think it's one that deserves to receive some pushback.

[between-two-fandoms]

I am absolutely not staring at my ceiling thinking about how damn happy and soft buck looked on that coffee date. And how Tommy almost always waits for Buck to initiate contact first before getting closer. And how Buck looks like the weight of the world is lifted off his shoulders. And how Tommy looks at Buck like he wants to cherish him how he deserves. And how Buck melts whenever Tommy says Evan, and that they're probably maybe going to use his first name as a way for Buck to reclaim his own identity and settle into this new, post-lightning strike, person he's becoming. Even if it's scary at first. I love character-driven arcs so much. I can't wait.

[yurimother]

'I'm in Love with the Villainess' Anime - Episode 1 Review

An astounding and hilarious first outing for the series with the power to revolutionize Yuri

We are finally here, the long-awaited and much anticipated first episode of Platinum Vision’s I’m in Love with the Villainess anime aired on Tokyo MX and is streaming everywhere outside of Asia with a plethora of dubbing options, including English, on day one on Crunchyroll.

The first outing covers most of the events of the light novel’s first chapter, or the first three chapters of the manga, at a rapid but steady and not overwhelming pace. At this rate, the anime should be able to cover much of the series’ first arc, or the first two out of five books, in a single cour. Perhaps a bit less, depending on which of the story’s various adventures it elects to include. This is an exciting possibility, to be sure, as the story is a character-driven, socially mindful, and expertly written and, despite its fantasy setting, an exceptionally relevant tale of romance, socio-economic inequality, and of course, queerness.

While the first arc of Villainess is a triumph, it would be a shame not to see at least some of the developments from the extra chapters that lead into the second story, like (spoilers for the end of volume 2) Rae and Claire’s wedding and their adopted twin daughters May and Aleah. If we are lucky, perhaps they will appear in the final episode or, dare to dream, a second season (end of spoilers).

Now, onto the show itself. For those who, for whatever reason, have not read Inori’s masterpiece, I’m in Love with the Villainess follows Rae Taylor. A salary worker who dies and is reincarnated as the protagonist of her favorite otome game, Revolution. However, Rae has no interest in any of the game world’s three eligible royal bachelors and has eyes only for the game villainess Claire François. Armed with exceptionally magical ability, Rae sets out determined to secure a happy ending for her beloved Claire against the coming revolution and perhaps win her heart in the process.

Now, the opening of I’m in Love with the Villainess is the series' weakest moment in all mediums, which, considering episode one’s outstanding quality, only highlights just how superb the Yuri masterpiece is as a whole. Even with its need to establish the setting, characters, and premise of the series, the premiere managed to be an excellent introduction and set the bar high with lots of laughs, entertainment, and service between our two leads.

I watched the Japanese audio, and Yu Serizawa and Karin Nanami are fantastic in these roles, with Serizawa playing up Rae’s teasing adoration and borderline masochism at full blast, and Nanami explicitly giving voice to Claire’s arrogance and frustration. She even manages to deliver a perfect Ojou-style laugh to seal the character’s elite status and lean into the show’s use of otome tropes. And having the leads sing the excellent opening and ending themes is just icing on the cake.

Speaking of tropes, while Ironi’s original work is a genre-defying masterpiece that broke the Yuri mold, it is never afraid to play with the genre’s iconography and its otome game setting. Every other scene had another allusion, including to the book’s cover. As always, I am likely overeager to see connections, however intentional they may be, but the academy’s halls harken to otome staples, the bells and strings of the first scene's soundtrack conjured blistering memories of Strawberry Panic (perhaps a sacrilegious comparison to make but I digress), and even an areal shot of the campus was another check mark on my “Scenic Yuri” theory.

Now, as mentioned, I’m in Love with the Villainess has to establish the groundwork here, and narratively, these are the weakest moments, often direct exposition, with a few exceptions like Rae’s conversation with her roommate Mash about maintaining Claire’s attention. The narration is at least accompanied by relevant and creative, if perhaps limited, animation. But to their credit, these moments are succinct, existing only as long as they have to in order to provide the necessary information and get out of the way for what matters most: the characters.

Rae and Claire are front and center from the very get-go, and there is little time wasted in showcasing Rae’s intense bottom energy or establishing Claire’s elitism and bewildered anger towards Rae’s excitement in the face of Claire’s carefully calculated cruelty. It is a montage of silly and fun competitions between the two that had me laughing and smiling all the way through, as the Yuri was present in full force, and gives glimpses at the mutual obsession the women have for each other that will soon blossom into a wonderful romance.

These early story beats have a light tone and focus on the bullying, teasing, and rivalry between Rae and Claire, a dynamic that previously and understandably made a subset of readers somewhat uncomfortable. However, assuming the anime unfolds in a similar manner to the manga and light novels, the narrative will explore meatier, heavier subject matter and a far deeper lesbian romance, all without losing its sense of fun and adventure. The next episode or two will be incredibly telling - as the source material is perhaps the most profound and forthright depictions of LGBTQ identity in Yuri, and that all starts with a pivotal conversation that, if it is included, will be coming up shortly.

Overall, I am incredibly excited for this series. The first episode is everything I had hoped for out of an adaptation of one of my favorite works of all time, save the animation, which is average at best. While there is a lot more to see, and we will have to wait to know if I’m in Love with the Villainess lives up to its incredible potential and source material, I am extremely hopeful. We have one of the funniest, most thoughtful, and queerest works of Yuri transformed into a stunning anime project unlike anything that has come before and offers the chance at not just a new Yuri “gateway” but to continue the work of its source material in revolutionizing the genre.

Ratings: Story – 8 Characters – 10 Art – 5 LGBTQ – We shall see… Sexual Content – 3 Final – 8

I'm in Love with the Villainess is streaming on Crunchyroll with English sub/dub.

Review made possible by Avery Riehl and the rest of the YuriMother Patrons. Support YuriMother on Patreon for early access, exclusive article, and more: patreon.com/yurimother

[moongothic]

So I rewatched the entirety of the Baroque Works saga for the first time in quite a few years, and before that I did also finaly watch MelonTeee's video essay about the East Blue Saga. And naturally I am now plagued with some Thoughts™

So in her essay (which you should go and watch if you haven't already, let's be real) MelonTeee discussed how one of East Blue's key themes was people's treasures, be it items, dreams and most importantly other people, and the way people are willing to sacrifice their lives or their own dreams to protect those who are dear to them. Rewatching Baroque Works Saga, the key, long running themes I picked up on were that of

Trust and betrayal (Laboon at the time being under the impression that his friends had betrayed him and left him to rot at Reverse Mountain; Whiskey Peak is all about backstabbing people; Little Garden was about Dorry and Broggy's friendship being too strong for either party to believe the other had betrayed them; Croc's trust issues in Alabasta being his ultimate downfall)

Friendship and unbreakable bonds (Laboon's new bonds with Luffy and co; Dorry and Broggy again; the comparison between Chopper trying to say goodbye to Luffy and co only to be denied vs Vivi's farewell)

What makes a country, a good ruler and if/when is overthrowing a ruler justified (Drum and Alabasta explore these together)

And perhaps most importantly, protecting that what is important to you. And that one in particular I feel like is the Alabasta arc's main theme on its own, as it comes up over and over again.

The Rebel Army wants to protect their country from their "corrupt king" by overthrowing him; the King wants to protect his people from needless bloodshed and tries to avoid combat; Vivi wants to protect her people but also her friends and can't find the strenght to beg them for help lest they get hurt on her behalf; Luffy wants to protect his friends and Vivi so they don't get killed by the likes of Crocodile. Protecting those you love is an important theme in this arc, it is the arc's very heart as the conflict is was born out of that love. And that's why it's so interesting to me how Crocodile's motif seems to be being a protector, a guardian. And I'm not just talking about the "Croc is based on Sobek the Egyptian crocodile headed protector god" and "Guardian of Alabasta"- if that was all then I'm not sure I'd even go as far as to call it a "motif" for him, but it comes back to haunt us again in Marineford with the ever legendary

And that is just... curious. Because Crocodile as we know him is just Some Asshole with no weaknesses and nothing he cares about except for his own ambition. So being a protector being his motif, of all fucking people, is really interesting. Like, One Piece doesn't really do shallow villians, there's always a reason to why a character has become the way they have and why they're doing what they're doing.

Kaidou was raised in an environment where one justified the reason for their existence through strenght and combat alone.

Doflamingo hates the world and wants it to just fucking burn because he never let go of the entitlement of being a World Noble.

Lucci was brainwashed into becoming a warrior for absolute justice since he was a small child.

Arlong watched his people suffer from the oppression of humans first hand and that hatred consumed his heart.

Wapol was a spoiled nepobaby manchild who thought he should be allowed to do whatever the fuck he wanted because he's King.

Why the fuck is Crocodile the way he is. Why does he want to create a utopia, a military nation powerful enough to rival the WG itself. What has driven him to to strive for that goal. Why is being a protector his motif.

East Blue explored the things you are willing to do and the lenghts you're willing to go for your "treasure", the ones you love and care about. And Alabasta is about protecting them; even if not called that explicitly, Alabasta is about protecting your treasure. On one hand, having the man with no treasure, nothing and no one he wants to protect, as the primary antagonist of the arc that about protecting your loved ones is a great juxtaposition. Like there is an argument to be made that the reason Crocodile lost is because he had nothing to lose, while everyone else in the arc had everything to lose in this conflict and thus couldn't afford it, as they'd be left with nothing. And, looking at Alabasta on its own, as a standalone arc, that does work. But when you look at One Piece as a whole, when you look at everything that came before and after, I can't help but to feel that can't be the case, can it? Surely Crocodile has something he did want to protect after all?

[dragonlands]

There's so much negativity around Izzy's death so I wanted to address some of the points I keep seeing thrown around.

"Izzy's death was pointless"

No, he just had his big speech about how basically they can kill him but they cannot kill the movement. That is a clear paraller to a lot of real life protestors of unjustice. He died protecting the community, he died so the community could go on.

"Izzy's death made his healing pointless"

No it didn't. Healing is always good, feeling happiness and belonging are ALWAYS worth it. We never know how long we've got, doesn't mean we gotta stop trying to be better or happier. His healing was still real. It still mattered.

"Izzy's character arc was left unfinished, it's bad writing"

Oh my god. If you open any writing guide about how to write impactful deaths, and the first thing that comes up is to leave some part of their arc unfinished. And his arc did go through quite a beautiful line, sure there could've been more but his story didn't end like, mid arc. As a writer, of course you want to make the audience sad when a character dies. It's good storytelling. Good stories are supposed to make us feel.

"Izzy died on the arms of his abuser"

Where the hell did this idea come from? Ed and Izzy have been in a toxic codependent relationship way before this show started. You could argue that Izzy was Ed's abuser, but that is not the argument I want to make here. Yes, we saw Ed driven to madness shoot Izzy on screen, but we know Izzy's the one that forced him to be Blackbeart when he didn't want it anymore. There's turmoil all around them. But the final moment is them finally meeting as people, not as components of Blackbeard.

"Izzy's death was unnecessarily awful"

His death was sad, yes, but it was quite beautiful as far as deaths go. He was surrounded by family who cared for him. He was loved, and accepted as he is. He knew his legacy will be carried on.

"They killed off the only character that showed us healing is never too late"

Did we watch the same show? That begins with then unhappy 40+ year old Stede deciding it's finally time to reach for his dreams? Where we see Blackbeard slowly gaining back his humanity? Where Black Pete starts off as toxically masculine dude but ends up in a soft gay marriage? Where most of the crew wanted to mutiny but then they realized being soft is good, actually. Jim's whole purpose in life being revenge but them learning to let that go and instead concentrate on love and fun and family. And so on. Izzy's arc is beautiful, but he's not the only person healing who thought it was too late already.

"Izzy's death was bury your gays trope"

No, what, no. In a pirate show where everyobody is queer some queer people will die. Bury your gays is about only having one or few queer characters and killing them off while the straights get their happily ever afters. This is so far from that.

Also, I want people to be aware of the phenomenon, where creators of diverse shows are subjected to more critism than those of non diverse shows. If this intrests you, Sarah Z on Youtube made a great video on it called Double standards and diverse media. Our flag means death has given us so much, queer love story with a happily ever after, finding community, nonbinary character. And the creators have always been so kind to fans, so let's show them tht kindness back. Because critizicing this one aspect can easily turn to seeming like the whole story is just unwanted. That stories like Ed and Stede's aren't worth telling. And I'm so aftraid that will happen, when just now for the first time in years we are finally getting queer stories.

Also, I understand people are sad. I am sad too - Izzy was an amazing character and his death was sad but that's just. Good writing. You can grieve, but trying to turn it into a moral or dramaturgy issue is just not a good look. And attacking the creators of this wonderful show is just horrible.

Remember - this fandom is a safe space ship 🏴‍☠️🏳️‍🌈

[hotdaemondtargaryen]

TOM GLYNN-CARNEY PHOTOGRAPHED BY MATTHEW LEIFHEIT FOR VULTURE MAGAZINE.

TALKING ABOUT HIS CHARACTER ARC IN S2.

Aegon is confident, politically savvy, and even affectionate with his children from sister-wife Helaena (Phia Saban).

“Showing that he has the potential to love was interesting to me. I wanted to investigate that.”

Glynn-Carney, who read the book after a season one conversation with Condal and Sapochnik about Aegon's overall arc, praises the development for its shock factor and the attention it gives to Saban, who says it is "sensational in all its forms."

There’s something about Aegon in his eyes when he admits: “I’d probably go a little more graphic about the gore. I could have done with, ‘Oh, I can’t look at that!’ The sadist in me needed it.”

TALKING ABOUT MUSIC.

The playlist he made for Aegon (he makes one for all his characters) helps get him in the right mercurial mind-set, he tells me at Rough Trade.

It includes some contemplative classical and punk rock like the Undertones, Stiff Little Fingers, and the Sex Pistols.

“Ironically,” he says with a smile. “fuck-the-patriarchy, fuck-the-monarchy stuff.”

In his own life, Glynn-Carney makes “lyrically driven, quite folky” music, citing Tame Impala, Bon Iver, and, of course, Garvey as influences.

He grabs a copy of Jeff Buckley’s Grace because he’s worn down his current edition from listening to it so much. He treats Chet Baker’s 1959 album Chet gently, like a holy object, when he tells me he’d love to play the cool jazz musician in a biopic one day.

“There she is,” he says, as if greeting an old friend, when he sees Patti Smith’s Radio Ethiopia.

“Anyone who says they don’t like music, you can’t trust them. Bodies under the floorboards, isn’t it?” he says.

OLIVIA COOKE TALKING ABOUT TOM GLYNN-CARNEY'S ACTING STYLE.

His acting style is instinctual, a function of his theater training that feels particularly well suited to Aegon’s own impulsiveness.

When filming their first scene on the show together, Glynn-Carney encouraged Cooke to actually slap him in the face:

“The first go, I did it really haphazardly. I only caught his chin with my fingertips, because I was too nervous. And he was like, ‘No, Olivia, just, like, really go for it. Just really go for it.’

“I went for it, and the ringing sound that came from the slap reverberated all through the Red Keep. Tears are springing to his eyes and his chin is wobbling.”

SPOILERS!! S2.

OLIVIA COOKE TALKING ABOUT A SCENE OF AEGON AND ALICENT IN S2.

In a scene they share in season two during which Aegon grieves the loss of a relative:

“He was throwing himself around the room in just the throes of despair. It sort of took me out of the scene a bit. I was like, Bloody hell, Tom’s doing well.”

ABOUT THE PERSONALITY OF KING AEGON II.

“massively bipolar.”

That emotional volatility, fueled by shame, guilt, and an obsessive need to prove himself, becomes a major driver of this season’s increasing bloodshed and brutality.

“Aegon wants to be loved and feared at the same time. But I think it’s a dangerous cycle.”

“We’re not going to get to the core of what’s going on. We’re just going to go round and round and round and round and round until everything burns and everyone’s dead."

ABOUT HIS SCENES WITH RHYS IFANS IN S2.

One of his favorite days on set this season reminded him of the live energy of performing onstage.

They were shooting episode two, when Aegon challenges his grandfather Otto’s decisions and remains steely and resolute in response to Otto’s insults:

“I’ve always wanted to do a play with Rhys, and that felt like the closest thing I’ll get to it for a while.”

“It was an empty set, a big room, like a stage. We were allowed complete free rein of the space.”

TALKING ABOUT HIS FAMILY.

He came from a creatively inclined family: His paternal grandparents were an opera singer and a choirmaster, and his mother sewed all the costumes for his sister’s ballroom and Latin dance competitions.

They were supportive of his acting dreams, he says, but urged a plan B — a suggestion he rejected:

“I remember being so precocious and being like, ‘If I have a plan B, I’m preemptively failing it.’ My mom probably thought, Little dickhead.”

“I always had my eyes on the prize, and sometimes you’ve just got to be like that, haven’t you?.”