#and bringing that perspective as a viewer of the show

[mushroomsleepy]

going back and watching adventure time after so many years is a truly life changing experience.

[duckapus]

So this one might be a little too meta but...

The Hacker Arc. One of the Viewers noticed that the "Yiga Clan takes over Glitch Productions" segments of the IRL Arc were a little too well animated and acted, and realizes that the SMG4 characters, and possibly all characters, really are alive. They try for months to make the rest of the world see the truth, but without any tangible evidence they're written off as a crazy conspiracy theorist. So, desperate for proof, they hack into Luke's computer to "borrow" one of his characters.

They end up getting Tari, and put her into a copy of The Stanley Parable to wait for an interested party who are pretty much the only ones who've heard them out, and were the ones to provide them with the resources to codenap Tari in the first place. Unfortunately for both of them, said party is a shady organization who already knows about digital beings, and is far more interested in researching a live specimen for their own ends than revealing anything to anyone.

Meanwhile, everyone back in the Mushroom Kingdom and Glitch Productions is freaking out and desperately trying to figure out where Tari is and how to reach her.

[bookished]

HOW TO GIVE PERSONALITY TO A CHARACTER

Giving personality to a character is an essential part of character development in storytelling, whether you're writing a novel, screenplay, or creating a character for a role-playing game. Here are some steps and considerations to help you give personality to your character:

Understand Their Backstory:

Start by creating a detailed backstory for your character. Where were they born? What were their childhood experiences like? What significant events have shaped their life? Understanding their past can help you determine their motivations, fears, and desires.

2. Define Their Goals and Motivations:

Characters often become more interesting when they have clear goals and motivations. What does your character want? It could be something tangible like a job or a romantic relationship, or it could be an abstract desire like happiness or freedom.

3. Determine Their Strengths and Weaknesses:

No one is perfect, and characters should reflect this. Identify your character's strengths and weaknesses. This can include physical abilities, intellectual skills, and personality traits. Flaws can make characters relatable and three-dimensional.

4. Consider Their Personality Traits:

Think about your character's personality traits. Are they introverted or extroverted? Shy or outgoing? Kind or selfish? Create a list of traits that describe their character. You can use personality frameworks like the Myers-Briggs Type Indicator or the Big Five Personality Traits as a starting point.

5. Give Them Quirks and Habits:

Quirks and habits can make a character memorable. Do they have a specific way of speaking, a unique fashion style, or an unusual hobby? These details can help bring your character to life.

6. Explore Their Relationships:

Characters don't exist in isolation. Consider how your character interacts with others. What are their relationships like with family, friends, and enemies? These relationships can reveal a lot about their personality.

7. Show, Don't Tell:

Instead of explicitly telling the audience about your character's personality, show it through their actions, dialogue, and decisions. Let the reader or viewer infer their traits based on their behavior.

8. Create Internal Conflict:

Characters with internal conflicts are often more engaging. What inner struggles does your character face? These can be related to their goals, values, or past experiences.

9. Use Character Arcs:

Consider how your character will change or grow throughout the story. Character development is often about how a character evolves in response to the events and challenges they face.

10. Seek Inspiration:

Draw inspiration from real people, other fictional characters, or even historical figures. Study how people with similar traits and backgrounds behave to inform your character's actions and reactions.

11. Write Dialogue and Inner Monologues:

Writing dialogue and inner monologues from your character's perspective can help you get inside their head and understand their thought processes and emotions.

12. Consider the Setting:

The setting of your story can influence your character's personality. For example, a character who grows up in a war-torn environment may have a different personality than one raised in a peaceful, affluent society.

13. Revise and Refine:

Don't be afraid to revise and refine your character as you write and develop your story. Characters can evolve and change as the narrative unfolds.

Remember that well-developed characters are dynamic and multi-faceted. They should feel like real people with strengths, weaknesses, and complexities. As you write and develop your character, put yourself in their shoes and think about how they would react to various situations. This will help you create a compelling and believable personality for your character.

[nellasbookplanet]

In the wake of FCG' fate I've been thinking about death in ttrpgs, and how it kind of exists on three levels:

There’s the gameplay level, where it only makes sense for a combat-heavy, pc-based game to have a tool for resurrection because the characters are going to die a lot and players get attached to them and their plotlines.

Then there’s the narrative level, where you sort of need permanent death on occasion so as not to lose all tension and realism. On this level, sometimes the player will let their character remain dead because they find it more interesting despite there being options of resurrection, or maybe the dice simply won’t allow the resurrection to succeed.

Then, of course, there’s the in-universe level, which is the one that really twists my mind. This is a world where actual resurrection of the actual dead is entirely obtainable, often without any ill effects (I mean, they'll be traumatized, but unless you ask a necromancer to do the resurrection they won’t come back as a zombie or vampire or otherwise wrong). It’s so normal that many adventurers will have gone through it multiple times. Like, imagine actually living in a world where all that keeps you from getting a missing loved one back is the funds to buy a diamond and hire a cleric. As viewers we felt that of course Pike should bring Laudna, a complete stranger, back when asked, but how often does she get this question? How many parents have come and begged her to return their child to them? How many lovers lost but still within reach? When and how does she decide who she saves and who she doesn’t?

From this perspective, I feel like every other adventurer should have the motive/backstory of 'I lost a loved one and am working to obtain the level of power/wealth to get them back'. But of course this is a game, and resurrection is just a game mechanic meant to be practically useful.

Anyway. A story-based actual play kind of has to find a way to balance these three levels. From a narrative perspective letting FCG remain dead makes sense, respects their sacrifice, and ends their arc on a highlight. From a gameplay level it is possible to bring them back but a lot more complicated than a simple revivify. But on an in-universe level, when do you decide if you should let someone remain dead or not? Is the party selfish if they don’t choose to pursue his resurrection the way they did for Laudna? Do they even know, as characters, that it’s technically possible to save someone who's been blown to smithereens? Back in campaign 2, the moment the m9 gained access to higher level resurrection they went to get Molly back (and only failed because his body had been taken back by Lucien). At the end of c1, half the party were in denial about Vax and still looking for ways to save him, because they had always been able to before (and had the game continued longer it wouldn’t have surprised me had they found a way). Deanna was brought back decades after her death (and was kind of fucked up because of it). Bringing someone back could be saving them, showing them just how loved and appreciated they are. Or it could be saving you, forcing someone back from rest and peace into a world that's kept moving without them because you can’t handle the guilt of knowing you let them stay gone when you didn’t have to. How do you know? How would you ever know?

[accio-victuuri]

WANG YIBO spotted reading the 2023 China Film Golden Rooster Award Art Review during the 37th GRA nomination ceremony. i hope he got to the part where he was talking about his performance in hidden blade 🫶🏼

Wang Yibo successfully showed the character's dual identity and inner contradictions, making the character appear three-dimensional and real. When expressing the character's emotions, Wang Yibo showed a rich level of emotion. From the character's calmness and wit to the inner struggle and pain, he can convey them through subtle expressions and changes in his eyes, allowing the audience to feel the psychological changes of the character.

At the same time, Wang Yibo also demonstrated his super language ability, switching back and forth between Mandarin, Shanghainese, and Japanese with ease, which not only reflects his professionalism and professional norms as an actor, but also enhances the authenticity of the role. As a film and television actor, Wang Yibo has achieved the fusion of his true self and the role in the process of playing the role, combining his own emotions with the emotions of the role, and completing the whole process from experience to embodiment. In addition, during the filming process, Wang Yibo insisted on starting from the details, from micro-expression control to eye expression, and trying to do it to the extreme. It is this kind of professional attitude that has created the unforgettable Mr. Ye, who is both good and evil in "Hidden Blade", and has been widely recognized by the industry and outside.

In his portrayal of a pure-hearted character in the ancient idol drama, brings a unique artistic perspective to fans and viewers of 'Hidden Blade'. For audiences unfamiliar with Wang Yibo's dramas, it is hard to believe that such a pure-hearted individual could be a 'villain.' His face carries an abundance of innocence, yet when you see his actions filled with murderous intent, you almost cannot believe your own eyes. This sense of doubt and curiosity compels you to continue watching the storyline, as the film captivates viewers.

source

[mysteryanimator]

Breaking down Castlevania Nocturne Season 01 - Episode 08 "Breakup Scene" shot by shot!

I've been chipping at this for a while and now I can put this out to the world. While this will be a lot more 'clear' and more put together than a lot of my previous writings (I am so sorry, I have looked at those past writings and I look like a madman, I was trying to hold back all of them and therefore it ended up super messy) however, it is still going to be a very casual document—as if a conversation!

To preface, these are just my thoughts, and by no means is the actual indicative end-all-be-all for these shots! These are just observations based on my special interest (and also I did ATAR for this, which in short I suppose is a specialization study ? I'm not sure how to describe it LOL) in media production and analysis, with a heavy passion for visual storytelling in film! It has been a while since I have written something like this so you may have to bear with me here.

I consider myself still an amateur, but shot choices matter, especially when you have only 8 episodes, a deadline, a budget, asset restrictions and so on. It all has to count. Everything matters.

As a side thing, while we can and very much should criticize media for being poor in writing, composition and so, yet, I've noticed people do tend to forget everything is 99% considered. Everything has its place and everything has intention. Passionate creatives care and there is more than "the curtain is blue just because". Like I can and will talk about how every Mizrak and Olrox scene is placed in green/earthy-colored environments (not here though LOL, this is not the time for it). The times when things slip under the radar and are put there just because are mostly due to executive meddling, budget restrictions, and deadlines.

Now that the introduction part is out of the way, let's start!

The establishing shot!

I think you’ll notice this in many many shows in general, but this is often used to establish a new scene. While some may think there’s nothing too special about it symbolic wise, Olrox is seen literally dragging Mizrak up the hill. Begging the question of why does Olrox shift out to his shadow form?

For a writing/story perspective, for the breakup to hit with those emotional beats, it has to be done face to face, ‘human’ to human. It cannot be done in shadow form because the dialogue and facial expressions that need to happen, it has slap you in the face. Like the crying scene. It also means when you deliberately cut out any expressions from the shots due to the camera framing, you get a more emotional reaction from the viewer. This is because you cannot see the emotions that they are clearly having. It is like the characters do not want to show us it or let us in.

Character's perspective, Olrox is given the chance for Mizrak to fight back and probably somewhat hoping that Mizrak would break out of his arms easily so he can prove to Mizrak he isn’t powerful enough. It's much like how he lets Richter live in episode 01. He often gives chances to people and it's probably going to come up again.

Olrox drags Mizrak into this scene, and we’re getting a mid shotttt, (I think technically cowboy shot, since we do get like waist and hands, though its because their height differences but I might be getting too pedantic with this).

This may not seem too special, but it’s a very nice way to show Mizrak struggling and just set the baseline for the action occurring since from the establishing shot we can’t tell too much because it's so far out. It also now brings the audience into the scene, we are now privy to their most private conversation. We can also see Olrox is literally holding him super easily he’s literally not even trying LOL. We can see the dynamic being established and how that dynamic will shift at the end. So we have established the new setting/characters in the first shot, and now we've established what this side story will be about in the second shot.

THE LOW ANGLE 🫣

Low angled shots are used to make a character appear powerful because the camera is looking up, therefore making the presence in the shot seem like a massive force. Olrox is supposed to be powerful. Yet, even though he’s taller, right behind Mizrak holding him back AND directly mentioned- he’s not in shot scene except for his hands. They are SUPER prominent in this shot, they’re practically in the middle of it and stand out because his hand is lit super differently from Mizrak’s face.

Olrox’s power is being used to hold back Mizrak.

Side note, I think this is just me, but this shot feels suffocating WHICH IS A GOOD THING. While there is some empty space around Mizrak, it's still extremely dark like Mizrak's clothes so it kind of blends in and makes this scene suffocating. It is as if we're being held back too.

This camera angle also makes Mizrak look very powerless and powerful at the same time which is I think is just really neat. With each established 'rule' for camera shots/angles, you can break them to subvert audience expectations. Mizrak is yelling and using all his power to convince Olrox to fight. Convince him that he can do it and fight Ezerbet.

Long shottttt, slightly different from an establishing shot since it punches in more closely.

“She’ll kill them!” And we can directly see the Abbey from here, being loomed over by the eclipse, which is really super nice. It’s telling us he’s practically going to watch them die if he stays where he is.

Also visually the 'weights' on the left and right of the screen can be argued that they are even, almost as if both choices are heavy and hold the same power over each other. The choice to go back and fight, or the choice to run.

Close up shot! Close-up shots allow for the audience to read a character's face, or if not their face, their action, to put extreme importance. The small details matter in a close-up and are the main focus.

This is soooo intentional, but we don’t get Mizrak’s initial reaction. IMO we don’t ever get it, we only get his response to Olrox, and I see reaction and response as two separate things. This is a super hard side view of both of them. It's not 3/4, it's not front- it is side profile, used to amp up the dramatics of the scenes. It's a nice contrast to how it's only one side of his face yet he's revealing an inner thought. As if maybe perhaps, there is more to this truth then he lets on, it is perhaps, maybe only one side, of his guarded truth.

Also, people may call this a corn plate moment but his eyes are open for one frame, and then when he tilts his head down, they're closed. Its a very small detail, but it's being used to set up for his crying scene later because this acts to 'reset' his face before we see it again.

This is Mizrak's response. We don’t get to see his face, but he BACKS DOWN, and I don't believe he does it because he think Olrox will release him if he does (which Olrox does anyway), but its also kind of his reaction.

This is a forced perspective shot, I think this is now a high angle. So the camera is looking down on the characters, making them powerless and vulnerable. Opposite to a low angle shot.

THIS IS CALL BACK TO THE BED SCENE. Olrox holds Mizrak from behind

A rehash of this scene from episode 04 but with 10x the angst.

Y'all are free to call me out on this section because my storyboarding experiences are small BUT i am just throwing in additional context.

Storyboarding scenes and shots is a collaborative process (as is the whole animation industry itself). These boards go through multiple iterations, which you namely you have to get it passed off from your storyboard director but also your fellow storyboard artists, your background artists and so on. While you dedicate yourself to this specific scene, you let previous parts of the story influence your work and vice versa, allowing for things to feel more connected and visually tell a story. This is the last moment we see this 'couple' in this show, and with such heavy scene that breaks these two apart, you are going to want to call back other times where they were close so it makes the separation that much more painful. In this case, it was chosen to have Olrox holding Mizrak as a callback. This then means this will be a common thing they will go back to and it will somehow reappear in season 2 and every season after that (pleasepleasepleaseplease season 3, maybe season 4 guys please). When it does reappear, it's going to be an alternate version that builds upon the last, and who knows, it may be way more subtle. It may be flipped. The way they act around each other when standing behind each other is very important. The way Olrox holds Mizrak is very important (and he doesn't just hold him by just sitting or using his hands, but also I can discuss that on a different scene breakdown if you guys want!)

I need to point this out super clearly. We do not see their faces this time around for that shot and that is intentional because then it forces up to think of what it is like. We have to infer from their previous interactions and what should come to mind is episode 04.

I would love to break down this at some point later (and how episode 04 and episode 06 make callbacks to each other, I've mentioned it before in a tweet somewhere I digress though). I'll briefly go through this now- this image is a (extreme) top-down close-up of their expressions, the perspective is pushed here. In episode 08, we get a top-down view where the perspective is also extremely pushed. This has to be a callback, there's no way that wasn't intentional.

This is what I imagined their faces to be when Mizrak stops resisting and drops his arms.

Now we see Mizrak’s face. Trade off is that we don’t see Olrox’s face. Like a reaction to a reaction. It’s to set up for the next shot to make us go “oh my god.”

THIS SHOT IS SO GOOD Y'ALL😭 (Also a close-up)

Olrox is not known to show any extreme emotions, only time he does was when he forced himself to bow to Ezerbet. So to the audience, this is really shocking because THATS TEARS RIGHT THERE.

The forehead creases are telling me he’s holding back really hard. He’s dead still beside the wind flowing. He’s using his power to hold back.

This is a front view too. Olrox is baring himself out. No 3/4, no side angle, front view. Also, the backdrop has the trees beginning to clear out behind him, which subtly alludes to us as an audience to realize how we're getting a slightly clearer picture of Olrox's headspace, of his views, and so on!

Which… is this a call back to when Olrox said “I’m not in love with you” (?) It is a front having shot but its cut closer and his eyes aren't glowing.

Which, I still have no idea what the glowing eyes mean. Unless there are no rules the glowing eyes follow by it besides what suits each scene the best thematically. I will point out that whenever it glows, its supposed to be intimidating, he's supposed to feel supernatural. When he's vulnerable, take for insistence when he talks about his past and talks gently about it, his eyes don't glow, he feels a lot more human in that scenario.

First of all, choice of shot is to mirror Olrox’s shot. Ok that out of the way.

WE GET THIS LINE??? I remember first watching it my jaw dropped because I couldn’t believe he said this.

He gets called an animal. Wild. Insane.

That’s a set up. It has to be there’s NO WAY IY ISN’T. WE’RE GETTING A CALL BACK TO THIS IN SEASON 2. SEASON 3, pls I’d do anything for a s3. Idk when we're getting a call back to this because Mizrak just backhanded him so hard and that language is so specific, especially since we’ve already gotten Ezerbet going “Gods should know where her dragons are”, you know, treating Olrox like a pet. Like an ANIMAL.

I am going to go on the slightest of side tangents- Mizrak has parallels to Drolta, they're both "guard dogs" for their leader. The Abott simply has to put out his hand when Mizrak is growling (it is subtitled as him growling and barking its kinda crazy) for him to stop. The animal line seems so out of nowhere and it is supposed to feel like that but we've had this bread trail from the very start.

Ok going back to the scene at hand. Mizrak ??? Where’s your normal religious quips ??? Why did you use that line ??? What do you know about losing your soul and being animal-like??? Suspicious 🤨 because there are countless bible verses about, bravery, losing your soul, literally self-sacrifice.

Though I will bring up, the idea of having a soul has been brought up before.

Mizrak recognizes Olrox had a soul before. He recognized Olrox used to live. I think Olrox was a lot more... 'puncher' and 'fiery' beforehand, before his previous lover died. I mean, if he wasn't more 'alive' before, why would he turn his previous lover into a vampire. Mizrak said that so it would hurt and to call him out.

(Though I feel like, religion has been thrown out the window for Mizrak, cant wait to see how Mizrak deals with it s2 LOLOLOL)

Ok now talking abt these two long shots together (the irony writes itself)

The placement of the characters is so important to feel that void and it makes the scene feel so much more empty, which is why it also has to be a long shot. It’s like, they’re supposed to fill in that gap, but they’re not. A general note is that shuffling characters off-center makes the scene feel unbalanced. The center line, the abbey, and the eclipse are already established and Mizrak is running off center. For Olrox's shot, there's a clearing to his right.

To Mizrak, Olrox should’ve run alongside him. There’s space for him

To Olrox, Mizrak should’ve stayed back. There’s space for him.

Now I'm done. My final notes is that this whole breakup scene is a massive setup for something for the next season (if not this season, just for something big later on), and my red strings are tying it to that animal line and holding if that makes sense? Everything in episode 8 IS a setting up for bigger things for season 2. We will get callbacks. (I say will, that is a very strong conviction LOL).

Also to wrap up, shot choices matter heavily. You need to connect with the audience immediately. A picture says 1000 words. Something as simple as maybe someone in a diner eating a burger, and its a close up of them talking may seem not that special but it changes a lot just by having a character in the middle or the left of the screen, especially in the greater scheme of a full scene.

Think of that one quote from Prince of Egypt where the priest says "A single thread in a tapestry though its color brightly shines can never see its purpose in the pattern of the grand design." Basically that LOL.

If I have time, I may go and do their other scenes (or even scenes of other characters)! They all build upon each other really nicely and despite their scenes being about 1-3 minutes long. They really pack in a lot of details. Their lives before directly affect what's happening at that very moment on screen and you can see it heavily influences how they interact with the world and each other!

[maybe-boys-do-love]

SOTUS Review: Engineering the Bridge To BL

I'm not exactly a sucker for teen dramas. Miss me with Gossip Girl and Pretty Little Liars. Even less soapy shows like The OC or Dawson's Creek that I checked out because of their critical status in the genre were not shows that I felt compelled to finish after watching a few episodes. However, teen dramas were a rare space in media where queer characters were allowed to exist as secondary or tertiary characters, so in my young gayhood I searched amongst less popular shows for gay storylines like in Canada's Degrassi. I binge-watched Australia's Dance Acadamy until they killed off the gay character and sought out lists about groundbreaking shows from before my time like My So-Called Life.

The latter is not simply exceptional for its gay representation but for aiming higher than its teen soap peers for realist complexity in its characters. Later, shows like Freaks and Geeks and the UK's Skins would take up that torch, then Friday Night Lights, which had the genius to bring in the institution of American football culture in the South of the the US to ground its commentary on American racial and economic politics. Norway's Skam arrived in 2015 using the "Russ Bus" tradition for similar purposes--and used the strength of its writing to depict a globally celebrated queer story the same year as SOTUS. These elevated coming-of-age teen dramas I count among my favorite series ever in any genre.

I bring up all this TV history because I found no review yet that adequately conveys SOTUS's equivalent storytelling goals and prowess, nor do they fully indicate that SOTUS is one of the most compelling BLs to this day. Historically important, they read, but mediocre production values, primarily for straight women and homophobic, with a hazing setting that might be triggering for viewers, all implying its a relic of a less enlightened time in BL history that later shows will improve upon. While I'd recommend reading them to learn more about the history of the series that I'm less interested in covering here, these are not exactly rave reviews. What a surprise to begin the series and witness right out of the gate precision, complexity, and depth to its queer depictions that's equal to any Thai BL that followed in its groundbreaking wake.

The series manages to engineer (wah wah) bridges to blend the naturalistic elements of those other elevated teen drama precedents with the tropes and styles that populated Thai BL novels (like the pink milk from 2Moons2) and will define Thai BL series in the years to come. In Thailand, the series Love Sick came first in its BL focus, but, as lovely as Love Sick is, it sprawls across flatter characters in its focus and fails to celebrate the breadth of queerness in some harmful ways. On the other hand, SOTUS, in pacing, casting, characterization, and theme development, links BL to a plot-driven Western style and decidedly queer perspective. There's a reason it was the show to begin the more intense global interest in BL series.

Below the cut, you'll find my review about the qualities that made SOTUS so outstanding to me.

SOTUS initially struck me with the tightness of its dialogues and cuts, especially compared to many other Thai BLs that I've seen, which have a bawdy theatrical spaciousness in their tempo, more in line with broad comedy or soap opera, telenovela, and Thai lakorn. Not so in SOTUS. It gives time enough for its actors to emote but orients toward storytelling precision. Plot-forward Thai BL comparables I've seen so far might be Not Me or Moonlight Chicken. Unlike those series, SOTUS won't be any cinematography nerd's dream, clearly limited by its budget in this matter, but it works hard to keep the limits of a small budget from distracting. The cheaply licensed scoring music, for example, is surprisingly effective, its repeated pulsing dread adding to the momentum ignited by the SOTUS initiation of the freshman at Thai universities.

Senior year of high school, I selected universities for application based on my fear of hazing. No fraternities near campus for me. The gendered organization and reputation for homophobic cruelty were existential threats to me as a closeted teenager. For many gay men, including myself, frat houses and initiation ceremonies were also sites of homoerotic fantasy. Thus is the duality of gay experience.

The Thai hazing context differs from the US (no gender segregation, for example), but the series mines the same psychological tension between danger and eroticism with its controversial use of the real-life SOTUS hazing induction system--the abbreviation stands for Seniority, Order, Tradition, Unity, and Spirit--to ground its queer romance. The actual implementation of it at Thai universities has more issues than the show depicts and, while the series' hazing is a form of bullying that can trigger some, the mildness of the abuse depicted ought to be stated, especially when compared to American ideas about hazing abuse and queer media's depictions of homophobic violence. SOTUS portrays shouted verbal instructions and physical endurance trials as the means of degradation, with no physical violence and reprimands with consequences when its believed seniors have disrespected their charges or put them at risk.

Rather than a critique of the SOTUS system itself, the system provides the organizational hub for the series' broader societal commentary, and itts treatment elevates the show to the likes of Friday Night Lights or Skam. Jane Austen's Pride & Prejudice title was taken from a line in Fanny Bruney's Cecilia about the two faults being both the cause of miseries and the reason for their termination. The series treats the SOTUS system and everything else within in the same manner: with complexity rather than binary keep-it-or-leave-it moralism. The S.O.T.U.S. values parallel the confines of a deeply imperfect society that when seen as strictly authoritarian pass down rules and pain from the elder generation to the the next. However, when viewed and practiced as the series encourages by the end of its story through a more nuanced understanding of the Asian filial philosophies at play, the values of seniority, order, tradition, unity, and spirit also invite compassion and affinity flowing in both directions across the generations.

The slowly emerging slight but significant age-gap romance between righteous freshman Kongpob and head 'hazer' Arthit is the central device for this exploration, but every element and scene, from the side couples to the food orders, develop our sense as viewers of the social order that the show wants to address. And the scenes move like well-lubricated assembly-line machinery toward their final purpose. It's obsession-inducing.

Despite the machinery of SOTUS's pacing, it delicately fashions its character and an environment gently permeated by homophobia and misogyny. Celebratory moments occurred to highlight themes without drawing attention to themselves, heterosexual coupling and marriages, for example, or a classmate coming out. Slurs surfaced casually, too, and old-fashioned masculinities were performed not as major plot points, spectacles of violence, or lessons for characters to immediately learn from, but to illustrate how inherited ignorance and constraints bear down almost invisibly on the characters. No one was demonized or ostracized for their ignorance, not because the writers view their actions positively but because they view their ignorance as a product of systematic failings, failings each generation can and will attempt to improve upon as they inherit the reigns. No one generation will make it all perfectly right. They are only human.

You can feel that humanity in the way the characters are written. All of the characters are distinguishable and interesting. They're written well and performed with heart. We have actual girls just chilling and being friends in a BL series, which was historically novel. Ingenues and horny girls and shy lesbians. The guys are recognizable guys, which is another feature Thai BL does exceptionally well. There are some dorks, some bros. The best friend in the freshman group is shy with strangers but open with his friends and fierce on the basketball court. I've known people like these. They are characters that are broad enough to recognize from a distance (or less screen time) but not simple stereotypes.

Then, on top of this you have the casual trans, gay, and nonbinary inclusion of bit parts and side characters that, to this day, only Thailand is doing in its shows to this extent. Its just impressive to see that their BL industry started off from the get-go at this level. But in SOTUS its not simply casual inclusion, either. These characters, unlike comparable characters in Love Sick, delineate moments of queer kindness that blur the understood hierarchical order of the initiation system and the heteronormative order holding our romantic leads back. In subtle ways they offer queer guidance and a model to Kong on his journey.

Then there's Kongpob and Arthit at the queer center of it all. Ugh! These two characters! These two performances! In Singto's watery sphynx-like eyes, in Krist's clinched jaw, in the electrified space between their bodies that the characters must restrain themselves against crossing, these are the heights of longing the romance genre can reach at its peak. There's an inner pain in these characters. That pain is old-school romance and its old-school queer pain.

I've read complaints about the physical intimacy in this show that I realize after watching the series are ignoring the characterizations of repression and inexperience that impact every interaction between Art and Kong, even their kisses. They aren't on the het timeline, instead having their first kiss and relationship in college, which is why SOTUS aligns with the teen drama genre so well despite its university setting. The greenness of their physical affection (we see it grow more competent and comfortable as the show progresses), however, belies an emotional chemistry that's intense, erotic, and intimate. Many more explicit BL scenes feel tame compared to Arthit grabbing Kong's shirt in rage or whispering in his ear in front of a waiting taxi.

I'm looking forward to SOTUS S and its Our Skyy episode to see more about KongArt's partnership, because their characters resist the seme/uke categorization of the BL genre they emerge from (which are also basically the stereotypes of top and bottom that gay men placed on themselves lol). Their ages and behaviors are reversed from the expected, first off. Kong, the younger, pursues, making him technically the seme and Arthit the uke, character definitions that also indicate sexual preferences of top and bottom. This wasn't unheard of in BL texts from what I've read, but less typical. Then there's the matter of Arthit being the one who initiates physical affection, partly due to Kong's regard for his challenges with internalized homophobia. Apparently, even the pronouns used between the pair are an intimate negotiation rather than an accepted order, returning us to the more complex ways the S.O.T.U.S. acronym can be enacted.

Plus, Kong's played by Singto with impressive power and confidence that's still soft-spoken, slippery, sibilant. To my trained eyes, its a character with mannerism and speech that are legibly gay. Not so legible that all his peers will notice, but he's clockable for queer eyes and worrisome for those afraid of deviation from the norm. For me, this is Thailand's biggest BL breakthrough (and its persisted down this path*) because, for many in the LGBT+ community, challenges begin well before anything to do with sexual attraction.

Gender deviance is the key issue. I was teased by a classmate at 8, well before I had a sexuality, that when I walk I move my hips like a f*gg*t. Don't worry. He wasn't totally wrong. I have a killer strut and I own it now. His antagonism wasn't about who I liked; it was my swish, my non-masculine behaviors. The hatred of gender deviance (and its misogynistic reasoning) is the underlying bogeyman for much of homophobia. Even plenty of men who are perfectly happy to have sex with men, at least where I live in the US, take issue with effeminacy. (Try finding the most overt lesbians on tv outside of OITNB, too!) That applies to audiovisual media, too. Unless comedic, consumers have tended to be more excited about queerness when the bodies and expressions appear in-line with gender expectations. The power of Thai BL and Singto's performance of Kong is how it opened space in the market and audience's minds to take queer affects seriously in young adult romance.

It's no surprise, then, that Kong forges friendships with the characters who are overtly LGBT during the series. The associations made between Kong and the fullness of the LGBT spectrum provides a more complex context for the show's choice to include him expressing the BL trope of 'only gay for you.' While it's a harmful concept broadly, the show seems to be using it subversively. How much more regressive it would've felt coming from Arthit! With Kong and all of his queer associations, it plays as the words of a gay romantic. With the diversity of coming-outs and identity-naming we now have in BL, Kong's moon-eyed statement made on the night his boyfriend comes out for him holds less of a harmful influence on the whole.

Context is just as important to the oft-critiqued scene where Kong says that he'll make Arthit his wife. Based on what I'd read and how impactful and problematic people felt it was, I thought the statement had been a romantic declaration late in the series. Imagine my surprise when it occurred in the first episode as an attempt by Kong to disrupt the patriarchal power of the seniors. Rather than illustrating the show's belief about gay relationships being the same as straight relationships, the scene points to the patriarchal assumptions the series intends by its end to disrupt. The exchange gets reenacted when the freshman decide to act it out at the faculty beach outing for everyone. The seniors interrupt, and the freshman fear they're about to be punished for disrespecting their elders only to find out they're being invited to finally celebrate their inclusion into the faculty. It's denied fruition as a tool to dis-empower and a true testament of Art and Kong's relationship.

It's at the beach where the freshman are given their gears, one of the many examples of how the series used symbols with significantly more depth than the copy-cats that tried to make bank by using the exact same motifs later. The proceeding BL engineers owe not a debt but an apology to SOTUS. The engineering faculty fit perfectly with the show's questions about systems and how individuals fit into them. We have these gears, which could simply be cogs in a machine that forces you to fit in and lose your humanity, but SOTUS envisions the gear as a heart, something unique, attempting to find its place and fit its grooves within a greater purpose. Its a symbol of authentic belonging.

The pink drink, which could've simply served--and has served in other series since--to be a symbol of pink gay girly tastes, is more fully used to emphasize Arthit's stubborn desire for familiarity, his inexperience (in trying other drinks), and a certain childishness in his preference for sweetness, a childishness that humanizes him to his freshman paramor. A trade even occurs with the drink, shifting all these meanings onto Kongpob as he begins to face his own prideful assumptions about his own righteousness.

Beyond all the English teacher symbolism and queer value, though, SOTUS is just the kind of well-told romance that will make you swoon. Despite a low budget and simple plot, its performances, editing, and most of all its script mesmerize. People shouldn't watch it as a history lesson. Its too entertaining to be relegated to that. Labeling it as simply historically important doesn't do it justice.

SOTUS stands tall among teen dramas, a literary work in a genre that doesn't require those heights; SOTUS stands tall among queer media peers, paving new lanes for queer storytelling and performances to walk down; and SOTUS stands tall among its BL peers. Clearly many of the greats in Thai BL, like 1000 Stars, Bad Buddy, and Until We Meet Again, aim to evoke their predecessor, more out of love and awe than an apology (as has been suggested by others). The ways they differ seem to be additions and diversification of queer narratives rather than a critique. SOTUS is simply one of those Great Stories. It inspires binging, revisits, investigations, and, most importantly, the biggest feels. Watch it now if you haven't. Watch it again if you have. Its not a piece of history. Its the kind of story that doesn't get old.

*Thank goodness for LITBC bringing Korea some overtly gay characters. Japan's got a few options--KENJI!--but not enough for my liking yet. I haven't seen enough of the other country's output to make a judgment.

Tagging @dropthedemiurge for being the biggest supporter of my new-found SOTUS obsession and @respectthepetty for the petty watch that got me over my lack of motivation to watch this series! Petty was half-joking but also so right about the kink undertones to this relationship!!!

There are certainly more versed BL history experts so feel free to let me know about any mistakes I made with my history! I'm just a broad and casual tv history and queer fiction and history fan tryna share my new-found BL joy.

[apoloadonisandnarcissus]

Galadriel x Sauron: One Royal Couple to Rule Them All

Many fellow fans don’t understand why Galadriel would ever join Sauron, of her own free will, in his plan of world domination.

To me, this due to two things:

Whitewashing of Galadriel’s character and refusing to see how much she craves absolute power. There are so many bad takes about her character, it’s hard to address them all in here. I’ll just say she’s not the “Virgin Mary” of Tolkien lore; she’s not a “fairytale princess”, nor a “damsel in distress”;

Misunderstanding of Sauron’s plans. Even if you aren’t familiar with Tolkien lore nor have read the books, “Rings of Power” already explained what Sauron’s goals are, and what he wishes to accomplish.

Sauron’s Masterplan

Let’s start with Sauron’s masterplan. What does he want?

But today, a new age begins. Under me. Your new master. Sauron. And with a new age, I bring a new vision. A path to unconditional conquest. For I seek a new kind of power. Not of the flesh, but over flesh. A power of the unseen world. One we shall use to enslave the peoples of Middle-earth to our very will. Many Orcs will die. But out of the chaos, we will forge a new and perfect order. No longer will we be hunted as the demons who broke Middle-earth, but rather worshipped as the saviors who finally healed it. By bringing its peoples together, to rule them all as one!

From a perspective of Tolkien lore, this speech was a bit over the top, even for Sauron himself. But I understand why the show writers went with this, it’s meant to illustrate that Sauron is evil, and a tyrannical dictator.

Sauron doesn’t see himself as a villain; he thinks he’s the hero, here. Because he’s a demigod and one of the Ainur; he helped shape the world the seeks to dominate. He looks at the ruins of Middle-earth and how the Valar aren’t doing anything to help. He’s the only deity who’s willing to do anything about it. And so, he steps in and makes it his personal mission to rebuild Middle-earth (“heal it”).

He would never call himself “Sauron”, either, because that’s the name the Elves created to mock his own (“Mairon”). And it means “the abhorrent” instead of “the admirable”. He would call himself Tar-Mairon, “King excellent”. But, again, the show had to go with this otherwise casual viewers wouldn’t know who this character is.

This is Adar spelling Sauron’s plan to Galadriel in 2x08. When I first watched this scene I must confess I was confused and thought this could be one of Sauron’s deceptions, actually.

This is Sauron’s masterplan and the reason why he created the “rings of power” (the “power of the Unseen world”) in the first place. But this brings another interesting question; perhaps Adar himself was on board with Sauron’s masterplan of healing Middle-earth until he saw his methods.

Adar, in 1x06, told Galadriel a bit about Sauron's plan, as well, when he reveals to have killed him:

After Morgoth's defeat, the one you call Sauron… Devoted himself to healing Middle-earth, bringing its ruined lands together in perfect order. He sought to craft a power not of the flesh… But over flesh. A power of the Unseen World. He bid as many as he could to follow him far north. But try as he might… Something was missing. A shadow of dark knowledge that kept itself hidden, even from him. No matter how much blood he spilt in its pursuit. For my part… I sacrificed enough of my children for his aspirations. I split him open. I killed Sauron.

Repentant Mairon, himself, already told this to Galadriel in 1x08:

When Morgoth was defeated, it was as if a great, clenched fist had released its grasp from my neck. And in the stillness of that first sunrise, at last, I felt the light of The One again. And I knew if ever I was to be forgiven... That I had to heal everything that I had helped ruin.

Mairon wish to “heal” Middle-earth comes from his own desire to escape Morgoth’s bounds. That’s the reason behind the “heal yourself” quote from 2x08. Mairon wants to kill “Sauron”, as well, and erase every trace of his former master from the world.

But he can’t, nor can he escape his bounds to Morgoth, because, like Tolkien wrote, they are too strong (“Rings of Power” suggested there might have been some blood oath/binding involved) and he falls back into evil. And this is why he gets so triggered when Celebrimbor calls him "shadow of Morgoth", and he snaps, and kills him in a rage fit:

But Sauron regrets this in the next minute, and he cries. Because this is not him, this chaotic destruction is not who he is. He’s a control freak, a mastermind, always planning and scheming, he’s patient, and organized to the point of obsession. These are Morgoth’s bounds and corruption of him reaching the surface. And when he looks up all he sees is Morgoth.

Sauron’s masterplan is the unite everyone on Middle-earth; all kingdoms and all races (Elves, Dwarves and Men) to live together in peace and harmony. No more wars, no more suffering, no more pain; only a world of beauty, order and perfection. The qualities he was created to have by Eru himself, and his contributions during the Ainulindalë, when he helped shaped the world alongside the Valar and the other Maiar. This is why he tells Celebrimbor this, in 2x07: I see the end, Celebrimbor. So clearly. I have seen it from the moment I awoke.

The problem here isn’t his masterplan per say: this is not an evil plan by any means. But he was corrupted by Morgoth, and his ways are also corrupted. This is how he self-deceives himself. Mairon’s love for order becomes a obsession with domination; and Sauron knows he has to become a tyrant and to enslave everyone to his will, in order to create his perfect world.

To him, the end justifies the means, and he’s willing to use chaos and destruction (Morgoth) to achieve his masterplan. And this is perfectly embodied in this quote from him, in 2x01: “out of the chaos, we will forge a new and perfect order”.

Where does Galadriel fits in all of this?

He thinks she’s the missing piece. Sauron believes her “light” will keep him in check, and somehow control his bounds to Morgoth. But as I’ve discussed before in this post, her “light” isn’t really hers, it’s the light of the Two Trees of Valinor, and it shines on every Elf that was born during the Years of the Trees, in Valinor.

It’s Galadriel’s beauty that blinds Sauron. And why is that? Because she’s the physical form, the materialization, of everything he was designed to love by Eru himself. I already talked about this in this post. This tells us their attraction is not only spiritual (the “they are higher beings” nonsense), but also physical (sexual).

The reason why Mairon was attracted to her in the first place was because Galadriel, unconsciously, reminded him of Morgoth. Galadriel and Morgoth share the same chaotic energy; the same arrogance, greed and lust for power. This is yet another one of the ways Mairon self-deceives himself; he thinks Galadriel would allow him to escape Morgoth’s bounds, but it's the other way around. On a unconscious level, he’s always seeking his former master. And that's why he wants to serve her, and to bind himself to her.

And we, the audience already saw him pitching this desire to Galadriel herself, in 1x08:

Sauron: This is it. You bind me to the light. And I bind you to power. Together, we can save this Middle-earth. Galadriel: Save? Or rule? Sauron: I see no difference.

And this blood binding is exactly what he does in 2x08, using Morgoth’s crown; the dark magic artifact that’s already infused with his own blood because Adar used it to destroy his previous physical form.

This is a silent conversation happening between them, through their new bound. And Sauron probably showed her many things, namely: the connection they shared in Season 1 was true and real because he “felt it, too” (and not a deception on his part like Galadriel believed); his proposal was honest (he would, indeed, make her the Queen of Middle-earth), and his entire masterplan.

But Sauron is not only an expert on deceiving others, but himself, too (like Celebrimbor told him, in 2x07). Meaning, in his mind, Galadriel as the “Queen of queens” would be a good thing. Except it wouldn’t. She would be far worse than him, with the power he would provide her with.

Which leads me to the next point:

Galadriel Lust for Ultimate Power

To understand this, we need to go back to the source: Tolkien. What does he says about Galadriel?

[Galadriel] had no peace within. Pride still moved [her] when, at the end of the Elder Days, the final overthrow of Morgoth, she refused the pardon of the Valar for all who had fought against him, and remained on Middle-earth. Unfinished Tales [of Númenor and Middle-earth]

A penitent: in her youth [Galadriel] a leader in the rebellion against the Valar (the angelic guardians). At the end of the First Age she proudly refused forgiveness or permission to return [to Valinor]. She was pardoned because of her resistance to the final and overwhelming temptation to take the [One] Ring for herself. Tolkien, Letter 320

Galadriel, in Tolkien lore, is a “penitent”, a “repentant sinner”, because she turned her back on literal heaven (Valinor) due to her pride and her greed for power (wanting a kingdom of her own), and for this she was banished by the Valar: Tolkien work is infused with Christian doctrine whenever people chose to ignore or not, it’s still there. And this is true in “Rings of Power”, too, only her desire for power is connected with her desire for Sauron, in the show.  

Now, to understand her connection with Sauron, and want she truly wants, we need to look at “The Mirror of Galadriel” chapter in “Fellowship of the Ring”, the first book of “The Lord of the Rings” trilogy. Overall, the scene with the Mirror is somewhat similar to the Peter Jackson adaptation, only Sam is also there in the book version, and he wants to see Elf magic.

This takes place thousands of years after the “Rings of Power” timeline, and Sauron has been defeated, at least, 5,000 years ago. 

The last night before the Fellowship departs Lothlórien, Galadriel offers Frodo and Sam the opportunity to look into her Mirror, and they accept.

With water from the stream Galadriel filled the basin to the brim, and breathed on it, and when the water was still again she spoke. “Here is the Mirror of Galadriel,” she said. “I have brought you here so you may look in it, if you will.” The air was very still, and the dell was dark, and the Elf-lady beside him was tall and pale. “What shall we look for, and what shall we see?” asked Frodo, filled with awe. “Many things I can command the Mirror to reveal,” she answered. “But the Mirror will also show things unbidden, and those are often stranger and more profitable than things which we wish to behold. What you will see, if you leave the Mirror free to work, I cannot tell. For it shows things that were, and things that are, and things that yet may be. But which it is that he sees, even the wisest cannot always tell. Do you wish to look?” [...] "Remember that the Mirror shows many things, and not all have yet come to pass. Some never come to be, unless those that behold the visions turn aside from their path to prevent them. The Mirror is dangerous as a guide of deeds.”

Sam sees the “Scouring of the Shire” (which was cut from the Peter Jackson adaptation). Frodo sees several visions, and the last one is the Eye of Sauron itself.

“Do not touch the water!” said the Lady Galadriel softly. The vision faded, and Frodo found that he was looking at the cool stars twinkling in the silver basin. He stepped back shaking all over and looked at the Lady. “I know what it was that you last saw,” she said; “for that is also in my mind. Do not be afraid! But do not think that only by singing amid the trees, nor even by the slender arrows of elven-bows, is this land of Lothlorien maintained and defended against its Enemy. I say to you, Frodo, that even as I speak to you, I perceive the Dark Lord and know his mind, or all of his mind that concerns the Elves. And he gropes ever to see me and my thought. But still the door is closed!”

Galadriel then reveals to Frodo that she’s the ring-bearer of Nenya, one of the Three Elven rings of power. And is with the help of its power, she protects the realm of Lórien. However, Nenya is not the only magic at work here, and I think the ring works as an amplifier of Galadriel’s power (like the Mirror itself), and not as the actual “source”. And the protective spell around Lothlórien is something similar to Girdle of Melian, not only because of Nenya's presence, otherwise Galadriel wouldn’t be able to leave her kingdom, ever.

Praising Galadriel as “wise and fearless and fair,” Frodo offers to give the One Ring to her: “I will give you the One Ring, if you ask for it. It is too great a matter for me.”

This is the when Galadriel’s trial begins; she had the intention of test Frodo, and now she’s the one being tested.

Galadriel laughed with a sudden clear laugh. “Wise the Lady Galadriel may be,” she said, “yet here she has met her match in courtesy. Gently are you revenged for my testing of your heart at our first meeting. You begin to see with a keen eye. I do not deny that my heart has greatly desired to ask what you offer. For many long years I had pondered what I might do, should the Great Ring come into my hands, and behold! It was brought within my grasp. The evil that was devised long ago works on in many ways, whether Sauron himself stands or falls. Would that not have been a noble deed to set to the credit of his Ring, if I had taken it by force or fear from my guest?

“And now at last it comes. You will give me the Ring freely! In place of the Dark Lord you will set up a Queen. And I shall not be dark, but beautiful and terrible as the Morning and the Night! Fair as the Sea and the Sun and the Snow upon the Mountain! Dreadful as the Storm and the Lightning! Stronger than the foundations of the earth. All shall love me and despair! She lifted up her hand and from the ring that she wore there issued a great light that illumined her alone and left all else dark. She stood before Frodo seeming now tall beyond measurement, and beautiful beyond enduring, terrible and worshipful.

Then she let her hand fall, and the light faded, and suddenly she laughed again, and lo! She was shrunken: a slender elf-woman, clad in simple white, whose gentle voice was soft and sad. “I pass the test,” she says, “I will diminish, and go into the West, and remain Galadriel.”

They stood for a long while in silence. At length the Lady spoke again. “Let us return!” she said. “In the morning you must depart, for now we have chosen, and the tides of fate are flowing.”

Let's go back to Galadriel’s “dark form”; both adaptations are similar and true to Tolkien’s words:

Sauron: Fair as the sea and the Sun. Stronger than the foundations of the earth [...] Not dark. Not with you at my side.

In place of a Dark Lord you shall have a Queen. Not dark but beautiful and terrible as the dawn. Treacherous as the sea. Stronger than the foundations of the earth.

The detail that makes all the difference: Sauron proposal was to make her “a” queen, she’s the one who added him to the deal. They both agreed in placing crowns in each other’s heads.

And she wanted to take Sauron's offer, she craved what he offered her; as she confessed to Celebrimbor, in 2x07:

What prevented her from accepting in 1x08 wasn’t the “tyrant” bit, but believing him to be deceiving her, and his proposal being a mere illusion, and not honest. Because he's "the great deceiver" after all.

This is Galadriel’s true heart's desire. She craves this; ultimate power, and to be worshipped by everyone. That’s the reason why Sauron offered her this, in the first place, and why the One ring will give her the same temptation thousands of years later. Sauron has many glorious titles (“Lord of the Earth”; “Ruler of Middle-earth"; “God-king”, “King of Men”, “King of Kings”), and Galadriel wants them all for herself (“In place of the Dark Lord you will set up a Queen”).

Sauron's offer will haunt her for thousands of years, because that’s what she truly wants, she's *that* power hungry, folks. For that D, too. And, in 2x08, what we saw was the beginning of Sauron’s grouping of Galadriel's mind, for centuries into the future, too:

[liveinfarbe]

The show runners about Adar…

Bringing the hurt that was this statement here

Great that from a viewer perspective the show runners felt the devastation of his loss, because they loved the character, they loved what he had with Galadriel built over two seasons, they loved the performances - but killed him off nonetheless.

It’s interesting what I think happened here: they had a character that started off on an intriguing premise coupled with a mesmerizing performance. Then as his expiration date neared there were decisions made to keep him longer in the narrative which means there were rewrites of the story. Simon Tolkien being a voice of reason here. And as they were doing so they delved deeper into his potential, and I’d argue they did that rather well, and suddenly this character became the magnetic focus of the narrative, hardly a supporting arc but front and center. There wasn’t enough time to let him breathe or kill him off satisfyingly (if that is possible). And surely Amazon had a word in that as well. They tried to make a clean sweep to get rid of the potential derailment of their vision. I suppose Adar’s demise was always meant to create a blank slate and put the Orc problem back into the box. Yet at the end of this season it felt extra egregious, because he had far outgrown his intended scope, from a viewer’s perspective.

Thing is, Adar was the best in a line of great original characters. He was soaring as a Tolkenian character and appealing to modern sensibilities. He felt relevant. And yet again coupled with an outstanding performance, where character and actor and make-up work created the most mesmerizing synergy. Adar was alive even when he was just sitting there chewing grumpily.

If it was not intentional by the show runners, it still feels like a failure, and frankly cowardly to not own up to it. But what can be done but grieve his loss now. The show is poorer for it.

[nerdflayer]

This is my opinion on why I believe the GA doesn’t see Byler.

Before I begin, I just want to say I’ve been a Byler fan since Season 1. Season 2 cemented my feelings about them. Season 3 crushed my soul. And season 4 at first watch made me feel pessimistic but eventually optimistic. As a gay boy myself I can’t help but see the whole show through Will eyes (he is me) and can’t help but fall in love with Mike. I mean he did so much for Will in the beginning, how could you not love Mike for that.

The relationship between the boys really does take a turn for the worse coming off S2 into S3 because Mikes character kind of does a 180 in terms of Bylers relationship.

Anyway. Talking about S4, we see A LOT of the CA plot line from Wills perspective. And I think this is key to people not seeing Byler. Wills feelings are made very clear. He’s depressed, traumatized, he doesn’t fit in, he is well aware of his homosexuality which brings stress and suffering and the tremendous disappointment that he has in Mikes character, yet he can’t help but love regardless. With that said, Wills POV is bleak, and coming off the back of S3 it’s easier and, I would say necessary, for his character to believe that Mike doesn’t love him. The pain of letting yourself believe they do love you only to be rejected, is very hurtful. And I don’t think that boy can handle more pain so it’s safer for him to deny the hope. Will even says “I’m not going to fall in love.”

Mikes actions also play into this. Will does not see Mikes love for him. He can’t hug him, is dismissive, he argues and blames Will at Rink O Mania, he wrote to El but didn’t seam to call Will, makes the whole trip about El, isn’t attentive to Will at all, and even when Mike apologizes for obsessing over El- every one of their conversations is still about her. Again this is Wills POV. I will say Mike does give him hints and mix messages for romantics feelings but like I said, how is Will suppose to trust? Is Will just reading into the flirting because he wants it so badly? It needs to be direct otherwise Will and the GA won’t see it or believe it.

Obviously there are a lot of hints for Byler, and I believe 100% it will happen. I’m choosing to trust the hope even though Will isn’t able to.

My point is I think Wills painful POV cannot be underestimated even if straight viewers dont like Will you can’t deny how powerful it is. Will literally helped Mike say I love you to El because he doesn’t have hope for himself. I think straight viewers use his hopeless as evidence for why Mike and El will end up together. It’s interesting that you hate Will but Will plays a role in convincing you of Milevens endgame. What they don’t understand, other than all the Byler evidence, is that Will is wrong! Mike does have romantic feelings for him and Mike will get there! Because Mike doesn’t need to find himself he needs to return to the person he’s always been. He showed us who he is and it’s the person he was in S1 & S2 and we see it when he’s with Will!

[the-quiet-youve-been-longing-for]

Okay time for another small (I hope) analysis on IWTV, mainly the way it's written and its place on current television. I'll try my best to format this so it's not ramblings all over, I promise.

IWTV and plot points

I watched a good amount of television in my time, and one thing I noticed here is the fact that it doesn't hold your hand. It doesn't tell you "hey, this thing x is important, now we will tell again why x is important, now here see x being used, the important thing we talked about so far, did you remember, audience?".

Let's take as an example the "don't drink the blood of the living" thing. It's said to a young Louis (telling also to the audience in the 2nd episode how vampirism in this setting works) and then every time it's brought up it's indirectly (Lestat spitting out the sick man's blood, we see Claudia buying Laudanum and we know what it will be used for, but they don't tell us "Hey, Claudia is planning to poison someone so that Lestat drinks it, because remember audience, dead blood kills them"). Sometimes not only it doesn't hold your hand, but shoves you in a different direction, especially in S2. It contradicts himself, backtracks and then it's up to you to spot it.

For example, attentive viewers may have noticed that Sam was in 2 places at once in the trial, one episode before the actual reveal. It isn't a gotcha they came up with in the finale to give more gravitas to the revelation. When they tell us Lestat mass manipulated the audience, it makes sense for the storyline too because we already saw him do that with the soldiers, we have a previous example to refer to, Armand never used that particular power.

In a time where we see so many social media adopt the "short videos" gimmick, like reels and shorts etc, having a piece of media that references back in this way is super refreshing.

2. Character complexity

Complex characters are the backbone of this show. It's easy to place a character in a box and leave them there. You see it with the stereotype of the villain, the best friend, the hero. Some tv shows may have the character shift into a different box, but it's almost never permanent (think of the times where a hero gets corrupted by the Evil Power, but then reverts back to their hero status after Defeating the Evil Power because they remembered the Power of Friendship).

We have Louis, well meaning vampire who is capable of horrible deeds when pushed to the brink. Lestat, who feels so much to the point it hurts the people around him. Armand, whose trauma and fear bring out the need to control, but at the same time he needs to do that without actually controlling. They are all these things at the same time, and it's impossible to see them in a black and white perspective.

3. Details

A line almost always has its parallels to another line in the show, gazes always mean something, props are detailed and shown (I made a post looking at Daniel's notes in 2x05, which were shown for a second only, but you can also think about Claudia's diaries, all handwritten, or the astonishing amount of folders that were in Daniels computer from the Talamasca. That is all prop work done to be shown for a few seconds at most).

4. Analysis

This is more of a fandom thing than the show itself, but I was suprised by the amount of deep analysis that people here on Tumblr did (but also on other social media). Long essays on the meaning of a scene, or on the many many topics the show brings to light (the fallacy of memory, the impact of trauma, the meaning of free will and agency).

Similarly lots of people said that the show brought them back the urge to start creating, whether it's gifs, video essays, edits, fanart, fics, what have you. I started going back to Tumblr after years (last time I was here was during S4 of Sherlock).

And I feel like this is only possible if you give your audience something to work with, something to talk about and to dissect, rather than simple "entertainment".

5. Final thoughts

Of course, this isn't to say IWTV is error free, all perfect, without flaws. Nor is it the only one that has had this amount of labor and impact. But it's still miles ahead from most media we have available at the moment in my opinion, and I really hope its success brings other showrunners or directors to want to try and dare, to trust in their audience, to avoid shortcuts and to pour love in their creation.

If you got this far, I just want to thank you for taking the time to read my ramblings again! Have a cute Louis as a reward, and see you next time :)

[lover-of-mine]

I just had a thought regarding the “Tim should punish Buddie fans” of it all. Because at the end of the day it’s a TV show, the thing they care most about is ratings. Tim has admitted that the show got worse and ratings got worse when he stopped writing Buddie scenes (something I’m sure ABC is very aware of). So it honestly shouldn’t matter if some Buddie fans are annoying - we represent the majority opinion, which affects the ratings. Yeah they may lose some of the gained viewers from the BT stans if they breakup but it’s nothing on the viewers they’ll lose if they force Eddie into another straight relationship and separate Buck and Eddie for separate endgames.

Okay, pure speculation here, but the show is a business as much as it is a story and a show has to deal with stuff a book or a movie don't. Since the story is not contained, they need to adapt to the circumstances in which it is airing. We know for a fact that fox was against Buck being bi and that gives us the chance to infer that they were against the buddie thing as a whole. We know this was supposed to happen during s4, we know s5 separates Buck and Eddie physically since Eddie leaves the station, so that reduces their screentime without major problems because while we were getting less casual buddie since they weren't working together, we got a lot of quality buddie during Eddie's breakdown. They continued to reduce the Buck and Eddie of it all during 6a. No one was happy about it. We were NOT happy that we were missing out on their dynamic except for a few moments that were thrown in. That so created a problem that they overcorrect that in 6b. We all knew the lightning was coming but the promo had a lot of Eddie's reaction to it, we even got a bts video of Ryan running up the ladder, the do more was the teaser scene we got, when we got recovery and mixed feelings, with recovery giving us some quality buddie, and mixed feelings giving us a lot of buddie overall. Obviously, the threat of cancellation made them shift things around, we know there were reshoots, we know they tried to wrap things up in case that was the final season, and that made them drop the ball with buddie for a second there after the cemetery, but they fixed that during s7, because there was a LOT of buddie, especially considering it was reduced season. Abc has a lot of good queer rep, they seem to like their glaad awards nominations. We obviously have no idea of why fox was blocking biBuck, and again, pure speculation, but I am willing to bet you that the buddie of it all was part of the conversation while the buy was being negotiated or at least while they were discussing the plans to integrate 911 to abc once the buy was finalized. The abc people have an outside perspective on buddie, the same way we do, and buddie is a compelling dynamic that can be a gold mine if they play their cards right. If, I, a random person on the internet with a blog and hyperfixation and nothing to gain from it, can reach the conclusion that getting buddie together can bring them a shit load of exposure, I guarantee you that someone there reached that conclusion too. I believe they sat down with the team and asked "what's the deal with Buck and Eddie? Is there a plan?" and they reached some conclusion to finally get them there because they took Ryan out of pr jail and continuously put Oliver and Ryan together leading up to the season and the Buck and Eddie talk did not stop once Buck being bi was canonically confirmed.

Logistically, if the plan was to simply make Buck bi and not make the Buck and Eddie a thing, obviously, Eddie wouldn't be involved with Buck's bi arc the way he is in the story, but they would also not involve Ryan in the promotion with Oliver like that. It's 2024, no one wants queerbaiting allegations thrown at them. We lived through the mcu, and teen wolf, and supernatural, and no one wants to be that guy. They have a compelling dynamic that's been drawing people in for years, and they could've gone the whole show with both of them being perceived as straight in universe, keep doing what they were doing, leave us in the will they/won't they, and keep our part of the audience forever because we would keep coming back waiting to see them together. Personally, I think Buck being bi was a trial run in many ways from the business side of it. Buck is extremely well liked by the audience, he is a fan favorite, so people are a lot more lenient with his shit than other characters, that means that if Buck being bi was poorly received by the general audience, they could backtrack him out of it a lot easier and just introduce another pretty girl and not go there. Male bisexual rep is also not all that common, it's usually the pretty girl best friend that you later find out had a girlfriend in college who may or may not be in love with the female lead, so it stands on its own in the conversation. And, well, Buck being bi was extremely well received. Ship war aside, there is a significant part of the new influx of people who are just as invested in the Buck and Eddie of it all even with another male love interest in the mix. And there was a huge influx of people. Somewhere in the 911 team, someone is making predictions and they are aware that Eddie being queer will have the same type of reaction. Eddie might not be as popular as Buck on his own, but with the added fact that queer Eddie means buddie is coming, they get the same boom that biBuck had. They also became the first media to do this. No superhell, no complicated feelings for a car, no going back to the past. Just a compelling relationship between two male characters that's been drawing people in since the beginning that changed into something romantic and requited. They would be the first to take the popular m/m ship that drives the internet crazy and make it happen. I know of a lot of traumatized destiel or sterek or stucky or whatever else who are waiting for Eddie to be confirmed queer to start watching the show with the whole 911 already had queer rep, Buck being bi is no guarantee they'll follow through, I don't wanna be disappointed again. Which is fair, but it is a second wave of people that could come into the show. Buck and Eddie are unheard of rep. It's a 6+ seasons queer slowburn. They are best friends, they have a kid, their devotion to each other is very clear. Abc has the chance to go full Elle Woods "what like it's hard?" to every queerbaity ship that came before buddie. Especially considering we have Oliver on record multiple times saying fox was blocking it. And that would make them so much money. So much exposure. We're talking become subjects in television history classes for the rest of times because they were the first to pull through. We're not just talking ratings, we're talking being put next to genre-defining couples in media. They are a gold mine that Oliver and Ryan are on board with, that Tim seems to be on board with and that abc clearly likes using for promotion so they at least understand the numbers they could bring, so not going there because a fraction of the fandom is being bitchy on the internet is bad business.

Season 6 gave them the perfect opening to separate Buck and Eddie but they used season 7 to bring them closer together than they've ever been. If the plan was to make them end up with other people, they had the chance to make that clear this season, and they didn't. They're not gonna throw it away like this to "punish fans". They would be punishing themselves.

[velteris]

I’ve seen a fair amount of posts complaining about this arc in Frieren and… we are all entitled to our own opinions etc which is why I will be launching into a Defense of Frieren’s Exam Arc :) Keeping it manga spoiler free since it seems like most of these complaints are from anime-only viewers.

For me the main draw of this arc is the world building. We’ve spent all this time with Frieren and Fern as our main perspectives on magic. Because it’s Frieren, the magics we’ve been hearing about have mostly been a little silly and sweet. But now we’re finding out that 1) “mage” is largely still a combat designation, and 2) Frieren and Fern are actually incredibly jack-of-all-trades when it comes to their magic repertoire. The “magic is visualisation” part is starting to be really leant into and we’re seeing more humans as well who seem to specialise in one magic (steel flowers, rocks, clones, ice and water…) It’s cool!! It’s objectively cool! I love being able to see this range that we wouldn’t have had otherwise! Also it’s fucking fantastic to see how much of a BEAST Fern really is when compared to other human mages. And she doesn’t even seem that aware of it.

Coupled with that is being able to see different people’s philosophies toward magic. I think a lot of viewers are kind of down about the sudden huge influx of side characters who they don’t really care about. But these philosophies—Land’s maximum wait-and-watch, Wirbel and Ubel’s vastly different approaches to killing—keep expanding the world and highlighting Frieren and Fern’s own perspectives. It’s soooo good seeing them react to situations not of their own making and people not of their own kind.

We get to see human society that isn’t a village in the middle of nowhere! We get to see Frieren being forced to socialise! We get to see Fern away from her emotional support elf! We get to see how society has changed since the demon king was defeated! I love that Himmel and co ushered in an era of peace, which it is, and yet the world is still full of conflicts. Truly the story continues after the hero is finished.

To address a few specific complaints I’ve seen brought up:

Frieren isn’t about all these nonstop shounen fights.

Agreed! Which is why it’s cool as hell that Frieren’s main badass shounen strategy is “sit very still for 10 hours”. That aside? There actually hasn’t been much actual fighting. You could probably count up the minutes in which actual spells are being cast and it’ll be something like 2 minutes max in the latest ep20. And that’s because it’s not about who beats who, it’s about the philosophies, the worldbuilding, the ways of thinking about magic. This is not a power-measuring contest, much as Genau would like to make it. And the random lucky draw-ness of the Stilles only plays further into that. It is possible to pass this exam without coming into conflict with others, and certainly without battles to the death. It hasn’t ever been about the shounen fights.

The good part of the show was about the delicate melancholy and that’s totally missing here.

I agree that it’s one of the strong points. But the thing with the melancholy is that it only works when juxtaposed against other moments. A story that’s composed of a bunch of unlinked wistful slice-of-life episodes will eventually fall apart because it has no momentum, no driving force. And ten years to Ende is too long to go without at least some conflict. Also, again, ten-hour bird meditation session?

Anyway, there’s melancholy, but how sad it would be if there was nothing but introspection and wistfulness. Frieren is bringing the memories of Himmel forward with her into the future. That means she has to be moving forward, forging new relationships with unrelated people, going into situations that she hasn’t been in before. A Frieren stuck in the past would be against the themes of the show, of remembering and yet moving on.

Why should I care about them spending ages trying to catch a bird?

You don’t like Stille? 🐤 fweet?

Actually I care lots about this funky thing. Indestructible and goes supersonic fast. That’s fucking hilarious. Bird that simply cannot be contained. Genau is a dick for setting up this kind of exam when, Your Honour, my client Stille does not deserve to be imprisoned.

Too many irrelevant side characters who it’s hard to care about, and they’re gonna be thrown away at the end anyway.

Again, it’s the worldbuilding. And also, mild spoilers for stuff that won’t be covered in the anime, but at least one of these side characters does come back and we get more delicious main character development as a result. Though frankly many of these characters are deeply compelling and interesting to me so I don’t rly get this complaint. Give me more Lawine.

Where’s Himmel? What do these exams have to do with the hero party? Frieren is good because of the links to the past.

Frieren is good because of the links to the past, which affect how Frieren responds to the present. The whole point of Frieren is that Frieren’s life continues. And through her new experiences, she comes to understand and reconnect to the emotions she didn’t realise she felt about her past. I don’t care what Himmel would think of the mage exams, I care what Frieren thinks of them now. And the answer is that she doesn’t really give a damn but she’s in here anyway because Fern strongarmed her into it, and then she was forced to adopt two more kids along the way, and all of that is something she never would have done if she was still hermiting in the Central Lands. Somehow we are still getting Himmel flashbacks anyway? So? He’s still haunting the narrative guys. Just because Frieren isn’t saying “that’s what Hero Himmel would do” out loud in these circumstances doesn’t mean his ghost isn’t here.

Even so, Frieren clearly recognises the name Serie. Do not fear. There is going to be more about links to the past.

I miss Stark.

Fair enough. It’s okay, he’s just on vacation rn. Having an appy juice.

It’s taking too long. The arc is too slow.

It’s only been three episodes… I’ve seen people going “it’s already been three episodes!” but what? Really? Is that considered an excessive amount of time now?? Given the amount of story covered I think it’s quite reasonable? There’s still 8 episodes to go in which we cover the remaining exam stages. Have some patience like Frieren. The payoffs are being set up; they’ll resolve before the end of the mage exam arc. In the meantime, let’s enjoy theorising about the soft magic system and hollering for full auto Fern.

[stevelieber]

Thoughts on giving critiques to comics artists.

Seeing lots of discussion from students about sour experiences with an unhelpful art teacher, so here's a long, long post about giving critiques.

NB: I have no formal training as a teacher, but I was a student, and I've spent decades giving artists feedback on their work.

When someone brings me a portfolio, I like to establish my limitations & clarify my perspective. My work is firmly rooted in traditional US comics storytelling (i.e., not manga or art-comics.) I can give feedback on other approaches but they should know where I’m coming from.

“We've only got a little time for this, so I'm going to spend that time focusing on things to correct. That doesn't mean you're doing everything wrong, or that there’s nothing good here, but it’ll be more helpful if I identify some problems and show you how to fix them.”

Why? Because for many young artists their entire sense of self worth is wrapped up in being good at what they do. (It was for me!) In school they were probably the best artist in their peer group. But now if they're hoping to turn pro, they’re at the bottom.

Sometimes you know what’s up when you see page 1, but try to keep an open mind. Some build their portfolios by sticking new pages at the back & don’t weed out the old stuff up front, so the work gets better as you go. When it’s like that I ask: “Show me your best 8 pages.”

I ask questions: "What's the goal? Do you want to be hired to work on someone else's project, or to get the story you're showing me here published?"

If 1, I steer towards a portfolio that'll showcase hirable skills. If 2, I look for what tweaks will make that particular story more effective.

"Do you have teachers giving you regular feedback? What are they telling you?" Sometimes a student is getting bad advice. In cases like that, I'll do my best to be extra clear WHY I'm giving them advice that's 180 degrees from what they've been hearing.

“What artists are you looking at? Is there someone you admire or try to emulate?” This often helps me understand choices they're making, and I can sometimes incorporate things those artists do into my suggestions.

I ask myself questions about what I’m seeing. First: Is there a narrative? If not, I make it 100% clear I'm not speaking as any sort of expert. I'm good at critiquing storytelling, but don't have anywhere near as much to offer illustrators or designers.

Can I follow the story? Or am I confused about what's going on? Are the characters and settings drawn consistently? If not, is the artist at least making use of tags (distinctive clothing, hair etc.) to keep the characters recognizable?

Does the artist demonstrate a good command of basic academic drawing? If not, Do I think they need it? Do I focus on "how to draw" or on "what to do when you can't draw?" Is the artist putting the viewer’s eye where it needs to be to tell the story effectively?

(At this point I’m usually doing little doodles to go with my instructions. I scribble out ugly little 5 second diagrams that I hope will clarify what I’m talking about. Or they might make me seem demented. Hard to say!)

Is the artist making choices that are creating more work than necessary? Is there a particular weakness? I once spoke to an artist with a portfolio full of great work when he was drawing animals and monsters, but his humans were amateurish in comparison. I spent that critique talking about drawing people.

A crit can be a grab bag. In addition to big-picture advice, I'll point out tangencies, violations of the 180-degree rule, wonky anatomy, weird perspective, places where the artist neglected to do important research, odd choices in how they spotted black, whatever catches my eye.

I also try to make a point of defining the terms, so that jargon like “tangency,” “180-degree rule,” and “spotting black” don't go over their heads. Find simple, concrete ways to talk about these things, & clarify why it's a problem when they aren't done correctly. Draw diagrams!

Recognize that even a perfectly phrased explanation might not sink in. Some lessons can only be learned when a student is ready, and it might take a year or two of work before they can understand what you were saying. It's good to plant seeds.

Are there other artists who are particularly good at solving the problems the student is trying to solve? I steer them towards that artist's work. And I always recommend life drawing & the use of reference to give work specificity, variety, and authority.

Despite what I said earlier about focusing on what's wrong, I try at the end to find something encouraging to say. And if I’ve really piled on the criticism, I emphasize that I only spent the time and energy to do so because I take their efforts seriously.

If I've done my job right, they'll leave my table with tools to make their work better. And maybe in a few years they'll be looking at some younger artist's work, surprised to discover just how much you can learn when you're asked to teach.

[electronickingdomfox]

"Memory Prime" review

Novel from 1988, by Garfield and Judith Reeves-Stevens. It's strange that the title says "the new novel by...", since as far as I know, this was the first Star Trek book of these authors. Chaotic, crazy, convoluted, at times campy and hard to follow, it's also a lot of fun. Even the cover is a "what-the-fuck" moment, with that Spock looking tiredly at the viewer, wearing the trademark Kirk-ripped-shirt.

The story mixes several TOS elements: a conspiracy to kill someone aboard the Enterprise; a mission to rescue Spock that puts everyone's careers in danger; and an obnoxious Commodore that hinders the heroes' efforts. All mixed and enhanced to cinematic level. Apart from all that, the novel expands on the story from "The Lights of Zetar", showing the aftermath of Memory Alpha's destruction. And has Mira Romaine (the guest from that episode) as one of the main characters.

The titular Memory Prime is the new center of knowledge and research for the Federation, and the main node in a network of similar centers, each in a different asteroid. Selected as the place to hold the Nobel prizes, the Enterprise is tasked with bringing scientists from all over the Federation to the ceremony. But things get awry when Starfleet intelligence discovers that one or more of the scientists are targeted for assassination. And to everybody's surprise, the main suspect is... Spock!! On top of that, Starfleet has lost confidence in Kirk, and orders a Commodore to take over the Enterprise during the emergency. So Kirk now has to recover both his First Officer and his ship, while confronted with a thickening web of conspiracy. There's something of pulp fiction about the cackling villains, killer robots, and constant plot twists and cliffhangers. But surprisingly, there's also an element of more serious science fiction, with the introduction of the Pathfinders (artificial intelligences that have developed their own worldview), and the discussions about computer science. The chapters dealing with the Pathfinders show a fascinating and alien perspective, that may very well be classified as "cyberpunk". It's possible that something of this owes more to TNG than TOS. The final reveal about who was behind the assassination, the real target of it, and the motives, were actually unexpected.

As for the characters, Kirk gets the spotlight and most heroic deeds (so it's no wonder that these same authors got to co-write the Shatnerverse novels later). And of course Spock is central to the plot, though absent during a good chunk of the story. But Scotty also gets a larger-than-usual role, and picks up his romance with Romaine. While Uhura has one of her most badass moments when confronting the Commodore. Also, everyone has crazy, crazy fight scenes: from Kirk defeating a robot with bullfighter techniques (and utterly annihilating his shirt in the process), to Spock locking in a mind-meld combat, or McCoy... attacking with hypos.

In summary, a pretty exciting action adventure, with humorous scenes that are actually funny, and some food-for-thought concerning AI and the fainting distinction between human and machine. Even if the plot can get messy and even ridiculous at times.

Spirk Meter: 9/10*. Kirk is really distressed by Spock's framing and incarceration, and spends most of the novel focused on rescuing him no matter what. Even if this means the end of his career and losing the Enterprise; Spock comes as his first priority. He doesn't doubt his innocence for a moment, either, while others in the crew have some reservations. And whenever Spock's in physical danger, Kirk is the first to jump to protect him (even if he himself is a wreck). Kirk is also the only one who truly seems to understand Spock, he can anticipate his thoughts and see his logic, where others only see crazyness. Besides, there's a scene where Kirk faints, and the first thing he says upon waking up is "Spock, Spock...?". And yeah, Spock is there, hovering over him and pushing him gently to lie back in bed.

Though this is clearly a spirky novel and McCoy has a lesser role, there are a few moments with him too. At the beginning, both he and Kirk devise a convoluted plan to keep Spock in the dark about the Nobel ceremony, in the hopes of seeing him smile or at least react when the surprise is revealed. While at the end, McCoy wants to know EVERYTHING about Spock's years in the Academy, once he learns from one of his teachers that he was a bit of a "class clown" back then (for Vulcan standards). And despite Spock's apparent annoyance, Kirk notices a warm expression on him, because of the doctor's antics. Kirk also jumps in front of McCoy and Spock to take a lethal phaser shot instead of them. With the hilarious result that the shot wasn't neither that lethal, nor he took it all that well, considering both Spock and McCoy also end up groaning in bed after a stun.

*A 10 in this scale is the most obvious spirk moments in TOS. Think of the back massage, "You make me believe in miracles", or "Amok Time" for example.

[fiyaerrigan]

re: BuckTommy 8x06 and the Interviews

First point: I hesitate to say Oliver's response was biphobic

We don't know the man??? He could literally be bisexual (and guess what, it would be none of our damn business!) But within the context of "he has said he wanted change for his character and what he says in this recent interview directly contradicts that" I do have my gripes.

Second point: To me, the execution of this sucked.

Normally (as a resident Messy Bitch who likes seeing shit in her Complicated Fucked Up Life reflected in media) I live for drama and I live for narratives taking me wherever the wind takes them! but there was something so BLUNT and RAW about this that i cannot feel settled or satisfied with it (esp taking into account that, as noted before, this is a direct contradiction of what people IN the show have said they wanted for Buck) because it was SUCH a tonal shift from where they left off the previous episode.

I try to be gracious and remind myself that network TV has to deal with sudden changes that affect the way they go forward with planned storylines, but this was kinda ass, right down to the wire.

Assuming that it WASN'T a sudden change and that this *was* how they wanted everything to wrap up, I feel like it really could have been written with more consideration. It's one thing to pick up from where s7 left off and have their relationship in s8 be something along the lines of “we keep trying but it isnt working out” and then culminate in a breakup, but it's another entirely to break them up and...

Have Tommy's character interactions *still* be intertwined with Eddie (when it would have been more of a soft exit thing to treat Eddie's friendship in the same "implied presence" way they do with Hen and Chim rather than giving them scenes where Tommy and Eddie interact directly) as recently as the previous episode. Like at that point you've established an additional relationship for the guest character to have with the main cast, and given that relationship more recent screentime than any of his previous friendships, which THEN makes his departure have multiple fallouts to address

Have Buck be on the verge of a momentous confession when said breakup happens, because GOD that just hurts

From a writing perspective, you're leaving loose ends that are (imo) not going to really lead viewers to sit well with the story going forward?

On a personal level, even if (by some miracle) we still end up with Buck in a queer relationship despite the looming storm for LGBT media in the US, I'm probably not gonna be able to look at whatever relationship happens after this without feeling some sort of sting. I'm all for writers planning out stuff to happen in advance, but they could have spelled out the end for Buck and Tommy in SO MANY ways that would have been less bitter.

Like, fuck. Even if it WAS a sudden change, there are ways that this COULD have worked decently even *with* a single episode to wrap up the BT relationship.

You could have Put Tommy On A Bus for [insert serious reason that Buck can't argue with] here and that (at the very least) would soften the blow bc at least the loose ends are explained by "oh, *no one* who's close with this character is able to interact with them" and that would have hurt slightly less?

You could have killed Tommy off and that would have been INFINITELY better than this IMO because at least sudden death seems more realistic an ending (as far as the weewooverse is concerned) compared to "these two characters break up but somehow we're supposed to forget that he's also friends w his ex's bff and there are Ramifications (tm)."

Hell, I'm not big on Buddie but it could have brought Eddie and Buck closer via grief bonding, if that's what the writers wanted? idefk.

Overall, this Sucks.

I'm gonna try to stop looking at my weewoo tags for the time being and focus on stuff that brings me joy (like content from old fandoms where I Haven't Been Hurt Yet lol) and spend some time away from the show for a bit.

Honestly, for me, s8's main sticking points were the BT relationship and whatever the fuck those two had going on with Eddie. My personal sticking points for the entire series (found family vs. blood family juxtaposition, breaking the cycle, and group hijinks) don't seem to be the focus in s8 thus far so I'm not too keen on watching the show as intensely as I have been, going forward. Hit me up if they bring Chris back or if the 8x06 interviews are smoke and mirrors (though I don't think they are) but otherwise I'm gonna go back to weewoo-ing through dashboard osmosis.

I still have BT and weewoo plotbunnies in my drafts, and I don't see myself abandoning those completely! I think, after some time, I see myself coming back to that creative space, even if I'm not following canon super closely. Of course, my ass never finishes anything, so whether I finish and post those WIPS is another thing entirely.

Peace out, friends?