#and having an episode about it isn't an inherently bad thing

[glimblshanks]

Oh the trailer for tomorrows episode is really making me worried

[charlemane]

it feels kind of dumb to complain about something as niche as bad prosopagnosia representation? but also every time i see this condition depicted in fiction they do it so, so stupidly

[karliahs]

every day that i have to navigate health issues with employers i get closer and closer to becoming the joker

[astro-b-o-y-d]

Thinking about themes of trust that I plan on tackling in Triangulum and I feel like there’s going to be a running theme of the Pines fully and completely being as open as they can be with each other, despite the fear and anxiety being there over Bill’s return.

There are still secrets (specifically one with Mabel), but they’re at least open with each other about having them. Like yes, they acknowledge they exist but they’re also like ‘This is something I need to keep to myself. I will absolutely tell you when the time comes for me to do so, or if a situation arises where telling you is absolutely necessary. Other than that, nothing is wrong. It’s not a life-threatening secret, Bill isn’t making me do this, I am choosing this for myself. I trust you, but I also need you to trust me in return.’

Of course, that will absolutely NOT soothe the anxieties brewing in everyone’s heads about the situation, but despite all that, they still want to trust each other. Not trusting each other is what nearly destroyed the world last time, and none of them are going to make that mistake again.

Despite everything, they need believe that they can trust each other.

[strawberry-miiiiiiiiiiiilk]

sitting in my room for a half hour thinking about how if we lived in a better world Ada Wong would be the Ilsa Faust of Resident Evil (primarily in how she's introduced in Rogue Nation), with a dynamic to leon not unlike Fujiko Mine's and Lupin's in which they are both extremely competent and in situations in which they may have to work against and occasionally with each other on a mission, but ultimately are forced to stay apart and while they may be apart and even have different love interests from each other, ultimately still care deeply for one another. They are compelled to go after each other in part because it's so difficult and they are so often in circumstances in which they can't be with each other. The thrill of the chase and all that.

Ada being only tangentially related to the other character's stories because the world is simply larger than them and she has her own concerns and problems to deal with, and to have that be given any care or weight in a story, let alone focus. That she can be cunning and even manipulative but because she needs to and will still choose not to when the chips are down because she is genuinely caring--which I know none of that is new ground for her but I wish it was done in a more interesting way and *without leon at all*. She chooses to show mercy in a key point not because she's in love with that other character.

And also that she has more personality. I dig the subdued nature of her in 4r and her subtle sarcasm but it's just crumbs. I want her to be silly on occasion and say dumb jokes because she's alone like in 2r. I want her to shed a bit of that seriousness when she's on the clock because she's confident in herself as a professional and again has no one to put up a façade to.

It's honestly kinda embarrassing reading this back as I realize most of what I'm writing is not only already present in the games but incredibly tropey in and of itself, and wouldn't improve the character much. Dear god I think too much of my view of the character has been marred by shallow fanworks depicting her. I think if anything it's a sign that:

I'm a shit writer and need to do way more than watch movies and gesture vaguely at them to come up w a decent story or character (that being said as much as I prefer Fallout as a film, I stand by my earlier statement of Ilsa Faust being the ideal spy woman as she's depicted in Rogue Nation as she has a distinct set of goals and needs that are complex and developed largely tangentially to the protagonist's, at least initially).

It's going to take a completely new approach to her character to get something remotely interesting and that takes advantage of her potential.

For as mired in tropes as she and every other character and story in Resident Evil is, Ada could be far more memorable and enjoyable if only there was more care and effort to giver at least some interests and goals (perhaps even...characterization) on her own other than being a sexy love interest and potentially traitorous (as so many femme fatales already are).

[inthelittlewood]

So, just out of curiosity, are you thinking of making episodes for rats 2 like you did for all the other pow creations smps? If not, that's okay (:

I'm really not sure currently. For full transparency, the previous episodes of both series made on average about £40 individually. The occasional one flicked up to NEARLY £100, but they're real anomalies. Thumbnail costs take up a good portion of that 40, then what's left, divided by the hours it takes to condense masses of content down to episode form would be a wage grossly below minimum wage. It's not smart financially or motivationally to proceed that way.

I've always been proud of the end products of each episode / series but I had revenue coming from other sources that have since dried up. I can't make purely artistic decisions when I have mouths to feed and a home to maintain.

I've been quiet on video content this year because I've not had an SMP play in, so streaming became a primary earner. Even that was propped up significantly by our Logitech/Streamlabs sponsorship - which concluded unexpectedly early at the end of September due to budget adjustments on their end (zero bad feelings regarding that btw, it was all done fairly and by the contract, it was quarterly renewals and I was communicated respectfully with)

I'm lucky that Wild Life has come along when it has, as it gives me a little breathing room to try and secure a new sponsor or at least compile a content plan for late 2024 / early 2025.

Even my Life series barely pass the threshold to where an editor wouldn't gobble up the majority of the revenue. That one is a real 50/50 between coming out net neutral, or coming out with a minimal profit. It's rough. Speaking honestly, I'm a tad nervous about the immediate future, but I promise this isn't a post trying to rouse pity or spur on donations/subs etc, it's just transparency as I've always operated. It feels better laying it out so analytically because it gives people context and answers the FAQ of "why don't you just hire someone", the overhead isn't there.

I'm going to start putting the feelers out to try and secure a new partnership, I have one conversation pending and if we can I'll nab some sponsored streams more often to raise the tides.

That said, we are headed in to the best time of year for ad revenue on YouTube especially, but it's not quite the 5x multiplier I would need to sensibly navigate my situation ha

The only viable solution currently would be to crowd source funds to cover the costs of the work for making the episodes, whether that be paid to me and I edit them myself or more ideally, an editor, so I can focus my efforts in to producing another piece of content. I've no idea what the Patreon/Kofi/Crowdfunding landscape is like currently both mechanically and socially. Are they a thing people subscribe to anymore? They inherently come with more pressures too which I'm nervous to take on.

I'm likely to get inbox messages offering to edit for free or at a reduced fee, but PLEASE DON'T DO THAT. Even if you're framing it as good practice, or a portfolio/client list piece, I wouldn't feel comfortable with that. It's a very sweet gesture and I totally understand showing that initiative / sincerity, I've been there, but those scenarios can too often be miscommunicated or misconstrued and it gets messy. People's time and talents deserve compensation.

So tl;dr answer is I'm not sure, I might try an episode 1 to see how it performs, but it's not looking great. Sorry.

[thecryptidzenith]

Alright. So this episode was great, but in terms of themes & setting the stage for the rest of the story, this line really stands out:

"You feel something. You look, the Night Yorb twinkling. You've spent your whole summer chasing this. You know all the things you've missed. Your whole summer vacation, all of your friends. Some of you had birthdays on the road this adventure, and yeah, there's lots of adventure, but all of you feel a tiredness in your bones knowing that the reward for saving the world yet again will be going back to school and having another year of working just this hard forever."

This monologue from Brennan is the most thematically/foreshadowy thing we get in the episode, and it does set quite the stage. This is a story about exhaustion and the price of adventure. It's a story about what the hells these six people are going to do with the rest of their lives.

Fig releases something at the end of the episode. Some piece of magic that will certainly mean something later. This is how it's described:

"You've been holding onto a piece of magic for a long time... If you take me, you know what you would save. And you smell something sour and curdled."

"There is a flash of light, a kind of lemony yellow creamy light that flashes out over the hangvan."

Pay attention to that word choice. The magic is "sour" and "curdled" and "lemony yellow creamy." Is it reminiscent of anything?

Gilear's connection with yogurt is established pretty early on in Fantasy High, and yogurt in general serves as a symbol for everything that Gilear is. A sad, pathetic adult and A Normal Guy. Brennan is very insistent when reading out Gilear's stats for the first time that he's just a guy! Some people have to be normal!

But our Bad Kids aren't normal. That's the whole point of them. They've saved the world. Falling to Gilear's level is terrifying. It's literally Fabian's nightmare.

From that part of Pirate Brawl:

"You hear a voice behind you" [Gilear!Fabian] "say: 'It's all going to be all right... I know it seems very far off, but there is a way for you to be happy.'"

And of course, the yogurt, the symbol of mediocrity, is here too. "The yogurt curdles in your stomach." Curdles. The same word used to describe the magic coming out of Fig. The yogurt that Fig gives to Fabian while he's having his breakdown in Leviathan is lemon flavored too.

Of course the primary conflict seen in the trailer is about difficulty graduating. That's a normal problem. That's a normal concern for normal people.

The fear of mediocrity can be strong. Especially for people as exceptional as the Bad Kids. But the fear that you'd be happier taking the easier path, that the road less traveled isn't inherently better, that your hardship is for nothing... that's even worse.

The reasonable thing for Fig to be releasing would be the red growth seen on the minis in the trailer. But no. She releases something lemony and creamy and sour and curdled.

[sminny-wew]

I had a long discussion with friends earlier about the gender bias in how YA books are marketed and it somehow evolved into me saying "We need more fiction that questions the concept of attraction itself"

We got into how easily romance can be latched onto other genres (romantic comedy, romantic drama, fantasy romance, historical romance, etc.) and I started asking myself what an arocom (aromantic comedy) would look like. I decided, based on an old Tumblr post I can't find that joked about some comedy movie being aro representation b/c it had no romance, that it can't just be "a comedy with no romance at all", because then that's just a regular old comedy. By that logic, SpongeBob would be an arocom, which doesn't make sense b/c it largely focuses on non-romantic plots (SpongeBob working at his job, failing to get his license, the general shenanigans he and his friends get into) and only addresses romance sparingly, depending on the plot of an episode.

It sucks to admit but at least from my perspective, in order for a piece of media to qualify as "aromantic/asexual media" in the heavily sex- and romance-catered media landscape, it kinda needs to address sex and romance in the first place. As wonderful as it would be to escape for a few hours to a book or show or game where romance isn't addressed at all and think of that as aro rep, you can't really call attention to a character's lack of romantic or sexual attraction without acknowledging, even indirectly, that those exact things exist within the text.

I'm not saying sex and romance are inherently bad either. There are aces who engage in sexual activities, aros who date, folks on both spectrums who engage in kink because kink is not inherently sexual and just approach relationships in so many incredibly nuanced ways. It's not just about aspecs also having parents and siblings and pets either, we have friends and coworkers and neighbors. We have interests and skills and hobbies. But it's not just the cishets who place sex and romance on such a high pedestal as "fundamental aspects of what makes people human", I see it within the LGBT community too. There are more than a few openly queer folks out there who don't know or have forgotten that because asexuality and aromanticism are a lack or absence of attraction (and thus a lack/absence of conformist heterosexuality), that we are, to varying degrees, queer as well. And thus media with aroace subtext (or just text for that matter) tends to get excluded from discussions of queer subtext.

I feel like I got a little off-topic and rambly but Idk I just think we need more aspec fiction where people are free to explore all spectrums of attraction as much as they want, ask questions about what defines a relationship, and just generally bear in mind relationship anarchy when they create. I'd like to see it in mainstream media but I'd also like to see it in fanfic too

(Btw everything I just said also extends to people who are poly)

[jesncin]

Caped Crusader, "Safe Diversity", and Catwoman

We're at a point where it's expected that a new incarnation of any story previously with a white-dominated cast would be reimagined with a "more diverse" cast. This can mean racebending them, genderbending them or making them queer, but for the purposes of this analysis we'll be focusing on racebends. Most of the time, executives will take the "safer" routes with diversifying their cast- pick a couple of unproblematic supporting characters to be incidentally "diverse this time". Other times, there might be "braver" takes where more prominent characters (perhaps even the main character) are racebent. This doesn't necessarily mean racebending prominent characters is an inherently better thing to do.

I've been more than critical of MAWS' portrayal of BIPOC characters but especially their Asian Lois before. Sometimes BIPOC representation is just a decorative palette-swap change for these shows. Caped Crusader however, is different. It's more complicated- but it's rooted in very similar problems. Unlike MAWS (though I can only speak for S1), CC is far more willing to take on political topics: classism, sexism, police corruption and brutality, even beauty standards in the entertainment industry! Yet, in choosing to portray these topics in their stylistically anachronistic 30s-40s set piece- it makes it so the show's reluctance to discuss race intersecting with any of these topics far more apparent.

(spoilers for all of Caped Crusader)

Take for instance, episode 2: "...And Be A Villain". The story is about Basil Karlo, a less than handsome actor who wishes his appearance wasn't holding him back from both love and playing roles saved for better looking people. He makes a deal with Jack Ellman, an experimental makeup artist who turns him into Clayface. This story is set in motion when Miss Yvonne Francis, a beautiful actress, goes missing. Miss Francis is a woman of color (brown skinned, unspecified) played by Lacey Chabert: a white actress. CC goes for a generally colorblind casting what with Stephie (a white girl) being voiced by Amari McCoy (a Black actress) but it always feels icky when a white actor voices a character of color. Prominent characters of color in CC are more accurately casted. However I do think animation should be wary of using their medium to get away with their show appearing more diverse than the actual talent behind it.

The episode's theme is pretty clear on how unfair the entertainment industry is in regards to who it prioritizes in leading roles. Basil is constantly emphasized as a tragically talented actor whose appearance is holding him back. "With your talent you should be a leading man, Basil." Yvonne says to Basil in a flashback. Meanwhile as Alfred is watching through movie clips featuring Yvonne and Basil together, he comments "while lovely to look at, Miss Francis is no Gloria Swanson." So Yvonne has the looks, but not the talent and still gets prestigious roles because that's showbiz. The only time this is weirdly inconsistent is when Yvonne calls out Basil/Clayface in the finale, saying:

"I don't believe your performance. You're chewing on scenery. Relying on makeup effects to enhance weak characterization. It's insincere, Basil. It's not real."

I honestly feel like this scene was just meant to quickly "subvert" Yvonne being a damsel in distress by having her call out Basil's acting. It's a moment that isn't reinforced by anything the episode set up. After all, according to Alfred, she's not as good an actor compared to Basil. That's supposed to be how they foil each other, so this moment feels unmotivated. Again, I get what they're going for, that Basil's performance ironically relies on his newfound appearance so much that even a bad actress like Yvonne can spot his meager acting. But it doesn't work when our protagonists were actually convinced by his imitation of others. She's still a damsel in distress character regardless of her having a bit of attitude when calling her captor out.

What I don't understand is: why make Yvonne a woman of color if this was the story you wanted to tell? It's not like they're paying homage to how her voice actress looks, after all. Why, in your story set in purposely anachronistic 30s-40s era noir, did the character who was meant to represent the epitome of "not talented but gets by the industry because of her conventional beauty and pretty privilege" a woman of color? We're missing the very obvious conversation here where Tinsel Town is a white industry with white biases to what it considers attractive. It doesn't matter how many attractive actors of color exist, they're still pigeon holed into stereotyped and often racist roles (especially back then), and have to work twice as hard to get the opportunities their white colleagues get. Why is Basil, a white man, the only one afforded a marginalized narrative when Yvonne is quite literally a woman of color right next to him? The episode is especially painful to sit through when Basil is afforded so much sympathy compared to Yvonne.

"He didn't have the right look. He didn't have the right face."

"The camera is kind to some, but cruel to others."

This is transparently a colorblind narrative. Yvonne is written and even casted as a white woman. The CC crew just decided she should be a WOC likely because "wouldn't it be neat if the beautiful actress in this story is POC" without thinking about how that would drastically change a narrative already critical of the showbiz industry based on appearances. It's not intersectional and flattens the narrative to being selective of the prejudices Tinsel Town has. This episode is a great example to what CC generally does with diversity. It's not afraid to be critical of society, but it gets oddly squeamish with discussing how race intersects with these topics- opting mostly for a palette-change type of representation.

It's not entirely fair to say CC doesn't ever touch on the topic of racism. It sort of does: if you read between the lines for why the mayor gives Jim Gordon his commissioner role, and more prominently with the Gentleman Ghost (a rich aristocrat ghost that steals from the poor, believing wealth is his right) being offended that his mansion is sold to Lucius Fox (saying "and you would sell it to rabble like this?")- racism is somewhat present in the world of CC. We see the women in this show experience misogyny, but it's ambiguous if any of their struggles are intersectional with that of race. But that's... just about it. Racism isn't discussed more than it is alluded to, whenever the writers decide it's relevant. Because of this, CC has a spectrum of hits and misses when it comes to integrating characters of color in their reimagined cast.

Here's how I would visualize that spectrum using canonized instances of Asian Lois Lane. I should emphasize that representation of people of color doesn't entail the narrative owing us "a racism arc" or what have you. This spectrum is more used to measure how much racial identity was integrated in the characterization of the character: whether that be cultural identity or history. Being a person of color isn't just "person who goes through racism".

This is how I'd personally place the prominent characters of color in CC on my "spectrum of racebends" chart. Generally most of the characters of color (whether reimagined that way or were originally POC already) are fairly harmless in how they were integrated into CC's world, but none of the characters feel bespoke as a reimagining of the character and are interchangeable with their white counterparts. To quote cartoonist Juni Ba (in a discussion on CC):

"...stripping characters of color in these time period stories of any cultural, [a]esthetic or social signifiers that’d make them true to the groups being represented. Instead they dress, act and speak very western."

In my opinion, the only character that is an exception to this is Linton Midnite (or as he's popularly known as: "Papa Midnite"). Midnite is a character so interlinked with Haitian culture and mysticism that even CC couldn't erase that aspect of his identity (important note: historically, the portrayal of Midnite since his creation is riddled in racism, but that's not my place to discuss here). Midnite at most speaks with an accent, dresses more nonconformingly compared to the western standard dress of all the other characters, and practices occultish stuff (though I don't think there was anything culturally specific in that episode, please correct me otherwise if someone has more insight!). That's a lot more cultural representation than just about any other character of color in CC. Midnite can't be changed to a white character, his African identity is too interlinked with who he is.

There are a few characters I consider in poor taste to be POC- that being Arnold Flass, Yvonne Francis (who we've covered already), and Harley Quinn (who will be getting her own post, as her case is complicated). So let's talk about cops, then.

I tend to be indifferent about media choosing to diversify cop characters because it feels like choosing the most "respectable to society" role for a marginalized character to play. Cops uphold bigoted systems of power at the end of the day, so that's a very comfortable place to represent your marginalized characters. It's why we keep getting gay or lesbian cops, which Batman media absolutely perpetuates as well with Renee Montoya. It's hard to cheer for two women of color being allowed to date and kiss in public when one of them is a cop, y'know? But this doesn't mean re-imagining cop characters doesn't have narrative merit.

In regards to Jim Gordon being reimagined as a Black cop, I'm gonna refer to La'Ron Readus' video on "Fixing the Batman's Copaganda problem" where he goes into detail about the missed potential of Black!Jim Gordon from Reeves' The Batman (2022). Generally, I felt that opportunity was missed in CC as well. While I love that Barbara Gordon is in CC, nothing about her being a WOC is integrated into this version of her. It felt like if either character was white, the story wouldn't be that different. The bigger issue here is the choice to racebend Arnold Flass- a previously white, blonde, cunningly smart, and brutally corrupt cop.

CC follows some of this in their version of Arnold Flass- he's paired with Harvey Bullock (also a corrupt cop). While Bullock is the brawns of the duo, Flass is the smarts. He's cunning and even implied to be willing to frame Bullock if the worse comes to it. It isn't an inherently bad idea to racebend a corrupt white cop into a Black cop. If the writers want to tell a story about how the police force assimilates people of color into the system and forces them to be just as if not more brutal than their white counterparts, then by all means tell that story.

But that's not what CC gave us. By rarely acknowledging race, we don't get to have a conversation or themes surrounding that delicate intersection of identities. We just have "diverse Flass". Look at these panels from Year One for example, can you imagine how Flass' casual disrespect for Gordon by constantly calling him "Jimmy" could be re-contextualized with a race change? Unlike other characters who just feel like missed opportunities for not integrating race into their characterization, Flass is an elephant in the room. To not acknowledge his race in themes of police corruption and brutality is to white wash the narrative with diverse paint.

I personally think the stronger narrative decision would have been to racebend Bullock as Black instead of Flass. Flass could still be the conniving cop, but he encourages Black!Bullock to be the more "violent brute" who does the dirty work for him. It would put a newfound racial layer to how Flass considers Bullock disposable. Then we could have some kind of commentary on how the police force encourages a system of abuse that makes even fellow POC turn on each other. It'd also make it so a certain scene would be better in optics.

I have many criticisms for the scene where Batman holds a gun to Flass in the finale of CC. It's a narratively unmotivated (see my criticisms for CC's Two Face here for elaboration) and weak moment that relies on metatextual shock value to cover up how underdeveloped this take on Batman is. But it's also just very uncomfortable optics-wise. It's a common and valid criticism that Batman as a character can very easily fall into copaganda, with his status, goals, and collaboration with the police force. In many ways, Batman is often written to be committing his own kind of vigilante police brutality.

Caped Crusader wants to be a deconstruction of a Batman tied to power and hellbent on his mission to eliminate crime. But because CC occasionally omits race from its narrative, the scene where Batman holds a gun to a Black cop-a man stripped of his ability to fight back-just falls flat for me. There's no acknowledgement in this scene that Batman basically gets to be an anonymous cop, "warning shots" and all. Batman shoots at an unarmed Black man several times. It's meant to be shocking to us how Bruce is willing to stoop to such a level and indulge in gratuitous gun violence, but it honestly hits too close to real incidents where this is racially the case for me to enjoy the narrative point of this scene.

You know a character who would be perfect for calling out Batman's many privileges? Selina Kyle. Let's talk about Caped Crusader's biggest downgrade.

I've heard just about all the arguments in favor for CC's reimagining of Catwoman and none have convinced me that this was in any way a good take on the character. I see people saying that this Catwoman is a return to her golden age roots, and there's a lot of misconception surrounding that assumption. So bear with me as looking at Catwoman's history is necessary to discuss race and how a character evolves.

Catwoman debuted in the 1940s as a jewel thief who disguised herself as an old lady. She was just called "The Cat" and would not don her more feline appearance until later. True to the mystery woman femme fatale trope she was inspired by, her backstory was left unknown for a long time. 10 years later, in Batman #62 it is revealed that after a plane accident bonked her head, the now named Selina Kyle got amnesia and went on a crime spree. Giving her leeway to reform and be an ally to Batman. This would historically inform how Selina Kyle toed the line between good and evil as an anti-hero.

Her origin would be revisited in 1983, in the Brave and the Bold #197. Although not canon to the mainline universe, it is still a crucial development for her character's history. In this story, Selina reveals that she lied about having amnesia to get out of facing punishment. Her true story was that she entered a life of crime to escape an abusive relationship with a rich man. The only loss her husband understood was material loss, loss of property, so stealing was how Selina fought back.

This crucial re-examination of her character transformed her from shenanigans inducing femme fatale, to a marginalized fighter. Shortly later in 1987 in Batman Year One, Catwoman is reimagined as a street-hardened sex worker in poverty. She is inspired by the Batman to become a vigilante for her own goals and gets annoyed that she's assumed to be his sidekick.

The moment Catwoman became marginalized by power, was the point where she became worthy of solo-character status. She was not only a compelling foil to Batman-capable of going toe to toe with him and make him question his motives even though she did not share his privilege-she could lead her own adventures reflecting a side of Gotham Bruce Wayne's perspective doesn't. She actively makes the setting of Gotham stronger because of how she's evolved as a character.

Catwoman's character would continue to evolve, with some iterations reimagining her as a latina woman and others where she's canonically bisexual.

While Catwoman has been portrayed by Black actresses before, I want to focus on the most recent and prominent iteration of a race-swapped Catwoman. When Matt Reeves' The Batman (2022) featured Zoe Kravitz as Selina Kyle, an explicitly biracial character within the text of the story, we see another step this character evolves. I think La'Ron Readus' video on "Why Race-Swapped Characters Are Not The Full Story" does a fantastic job of explaining why this is a narratively great race swap. To summarize (though I do encourage watching his video as he goes into depth about 2022 Batman's Jim Gordon as well among many other examples) and add analysis of my own: Selina being the byproduct of an Italian crime lord and a Black sex worker is a brilliant marriage of her original backstory (being connected to and abused by powerful men) and her modern backstory where she's poverty stricken (and tangentially related to a sex worker if we're talking about Batman Year One).

We understand why someone of her background would have an affinity for stray cats because of how she lost her mom at a young age, she is sympathetic to fellow people from the lower class, and explicitly calls out privileged white people- including Batman who attempted to over moralize Selina's partner as a sex worker.

"All anyone cares about in this place, are these white privileged assholes."

It's especially that last line that makes it so Selina's character isn't interchangeable with her white counterpart. She's a textually rich character to contrast Bruce in Batman 2022, and we can see how years of history and evolution has brought such an empathetic character to the screen. Interestingly, Readus feels that while 2022 Selina was an example of a race-swap that works, he believes it was great by coincidence, because of the miss that was Gordon's characterization in the same movie. I think with Reeves as a collaborator on Caped Crusader, that assumption was correct.

Selina in CC is back to being a rich socialite, but (unlike her Golden Age counterpart) she's not married into wealth- she's got generational wealth (with a dad serving jail time for tax evasion). Worse yet, she's taking what little remains of her money and spending it on superficially imitating the Batman to create her Catwoman persona. She even has her own reluctant Alfred, a Catmobile, the works. Selina steals things because. She likes shiny things. And is something of a kleptomaniac. Catwoman is instantly discovered to be Selina because of course she's not as good as Batman is with keeping a secret identity (another key difference from her Golden Age counterpart, whose backstory was shrouded in mystery for a decade).

It is laughable to me that CC touts that their version of Harley Quinn has an origin of her own outside of the Joker, only to turn around and make a Catwoman that is completely tied to copying a man as her origin (did they decide Harley's goofyness as a character needed to be replicated in Selina for some reason? In their supposed dark and edgy show?). What a strange choice to fixate on the part in Year One where Selina didn't like being mistaken for Batman's assistant despite being inspired by him and turn it into a quirky bit. It feels like such a regressive take that frames Selina as a sillier, whimsical version of Bruce that just spends money on a whim because women just aren't smart enough to know how to keep track of their money. They're too busy looking for shiny things to steal. The fact that both 2022 Batman and CC have a scene where Selina is looking through her many bills she's yet to pay is wild to me. How am I supposed to care for a Selina that has the expendable wealth to create a Catwoman costume, car, and gadgets, but delay paying her maid? One of these versions of Selina is far more sympathetic than the other.

Again, I get what CC is going for. Batman is characterized to be hellbent on catching criminals, Catwoman is supposed to serve as some kind of reflection of his obsession. They're both self destructive in their goals, but one is vengeance and the other is chasing thrills. But is that really as interesting a foil as having Catwoman be marginalized, just as skilled, and making Batman second guess himself? Is it a take that strengthens Gotham as a setting by shedding light on its lower class characters? Is it a take that makes her worth revisiting as a perpetual rogue and not a one off episode where's she's basically a shenanigans-inducing nuisance to Batman? Evolved takes on Catwoman have talked about her desire to seek thrills and paired it with how she dismantles power. So it's not like CC's take is particularly unique, it just lacks all the depth that usually surrounds Selina's thrill seeking.

In a show that is frankly desperate to make it so Bruce doesn't have a personal relationship to his rogues gallery because he's too busy being "A cold, remorseless avenger of evil, seemingly more machine than man. Forged in the fire of tragedy, every fiber of his being is dedicated to the eradication of crime." (according to promo) that's how we end up with Barbara as the foil and humanity to both Harvey Dent and Harley Quinn. How the show focuses on the police force more than Bruce. It feels especially pointed that Catwoman is characterized this way. When she doesn't contrast Bruce, she becomes less personal to him as a character that is poverty stricken but still matches up to him in skill. She can't challenge him or his worldview, he can't find her fascinating as an equal, all of their chemistry and intrigue is erased.

All this to say that of the characters revealed for CC, I was honestly surprised that Selina wasn't one of the many characters racebent. CC followed up on a Black Jim and Barbara Gordon, two characters that have been race swapped before in previous media. Most prominently! Harley is Asian in this iteration, something never done before. So why is it that Selina doesn't follow up on the many times she's been portrayed by Black actresses?

It's because it's an actual good racebend if written well. It wouldn't be a "safe" racebend because writing Selina this way means you'd have to acknowledge racism, and it would be much more noticeable if you didn't. There is no canonized version of Asian Lois Lane that parallels her relationship to Superman as an immigrant. But there is a version of Selina as a Black woman who directly calls out white people and is aware of systemic power. It's in something as prominent and mainstream as Matt Reeves' 2022 Batman. So instead it just reads as cowardice to me that CC couldn't follow up on this evolution of Selina.

Not only does it weaken Catwoman and Batman's relationship to regress Selina this way, but it actively weakens Gotham as a setting and the very themes of Caped Crusader. I personally think all the energy that went into Harley Quinn should have been shared with (or straight up gone to) Selina Kyle. Because unlike CC's take on Harley, the way Selina Kyle's marginalization intersects with race and queerness would have actually critiqued Gotham's class corruption effectively. As a Black queer woman, Selina would be among the most vulnerable people in Gotham. We don't have prominent characters in CC that truly reflect the lower class, there are these unnamed characters Harvey Dent sits next to on a train. There are some orphans with Batfam names. A proper Catwoman reimagining that takes advantage of her evolution would have filled this gap in their narrative.

But that's not how "safe diversity" works. CC would rather racebend and canonize the queerness of a character like their take on Harley Quinn. A WOC who gets to kiss a cop and call out powerful men, but not in a way that makes white people uncomfortable.

If I could edit the Sandman quote that "The great stories will always return to their original forms" for Superheroes, I'd say "The great stories will always return to their most resonant forms" because without iterations we don't get characters like the Kents, Alfred or Catwoman as we know her today. Classics are good to look to, but we like these characters because they evolve. In my opinion, none of CC's takes on these characters of color feel resonant. They're not definitive to the level of Mister Freeze's tragic love story in BTAS, among many standout narrative choices in BTAS that continue across media iterations.

In my opinion, CC isn't as thoroughly clumsy as MAWS is in regards to POC representation and race-swaps (all characters of color in MAWS get put in the left side of that chart I made. In the Sunken Place. Where they all Missed The Movement). However, I can't help but see Caped Crusader's take on the world of Gotham as nothing more than an anecdote in the evolution of Batman's story for the modern era. "It's BTAS but superficially more diverse and with less compelling narrative choices."

[uss-genderprise]

okay the new episode has people poking my sleeping special interest like a bear and it was about time to wake it from hibernation anyway so here are some fun facts about welsh fairies

it's spelled fairy. it's always spelled fairy. not faerie, faery, fae, or fey. fairy. please. or tylwyth teg if you want to be proper about it

fairies are not inherently malevolent. they work by their own rules that sometimes don't make sense to humans but there are rules, if you pay attention.

yes fairies will punish you for doing something they don't want you to do

they will also reward you for doing things they do want you to do

fairy rings are circles of green grass. they sometimes how up as a different shade of green than the grass around it and are generally markers of where fairies dance, as well as portals to the fairy realm. mushrooms aren't really a thing for that in welsh folklore.

string and bones and flowers are man-made and possibly supposed to bind or protect against fairies (though i haven't seen anything quite like what we see in the episode described in any of my sources) but generally breaking one of those doesn't immediately anger fairies, just lets them in to affect whoever put the ward up in the first place. that's not called a fairy circle.

changelings exist in welsh folklore. have fun with your theories.

fairies will generally let you leave the fairy world if you ask nicely. yes even if you've eaten the food and drank the drinks

however time moves differently so when you come back you might be super old and/or turn to dust the moment someone touches you

dancing is a different thing tho. they don't exactly want you to stay dancing with them until you die of exhaustion but like that's on you my dude get your friends to help you

if you broke fairy rules like kicking them out of their meadow to build a castle they will count eight* generations** and come back to turn that castle into a lake and drown everyone inside. you have been warned (repeatedly. usually by old ladies and/or bards and/or birds or sometimes just. A Voice��)

* the number of generations can and does vary but in welsh folklore it's generally 8 that's an important number, not 3 or 7.

** also the way generations are counted is. weird. idk if it's that i'm bad at math or bad at welsh or that the book i read explaining this is over 100 years old but i don't think i fully got how many generations this actually is.

oh and they only wait if you beg enough otherwise they kill you now

so basically. no getting trapped in the fairy world as punishment. they just kill you

personally i think the closest thing in welsh folklore to that old woman is a weird lady but even that isn't a great fit

yeah fairies bend time and space to always be far away from you if they want to but that's generally because they're trying to avoid you not following you at a distance

i am fully aware rtd probably couldn't care less about any of this. he definitely didn't do the work that i did to learn all this and incorporating this into your theories is probably shooting yourself in the foot as far as actually being correct goes. HOWEVER i do think it's more interesting and fun this way :) theories are gonna be wrong anyway might as well respect the culture that's inspiring them while we're at it yeah?

i will cite my sources if anyone asks but i doubt many people care to read hundreds of pages of edwardian non fiction novels just to fact check me. trust me on this guys

[buddieism]

tommy's character, bucktommy's inherent flaws, tommy & eddie as mirrors and buddie endgame; a (lengthy) meta analysis

honestly, what's really confirmed my feelings about tommy (and the imminent bucktommy bones -> buddie pipeline) is that there have now been multiple opportunities for the writers to actually make tommy a likeable/serious love interest for buck and they just…haven’t. because while fans are naturally going to overanalyse every little thing, the vast majority of the show's audience are regular viewers who consume the show at face value and don't think twice about it -- so if tommy was intended to be buck's endgame or anything remotely close to it, they'd absolutely want to make the most of his (very limited) screen time to present him in the best light they could. think about karen, the only non-main LI, and how she was introduced to us -- despite hen's cheating, we can see how dedicated karen and hen are to each other and how karen is a complex character in her own right who is immediately easy to root for and love.

comparatively, when we look at tommy's s7 appearances and specifically his interactions with buck, it becomes abundantly clear that there isn't really much depth to their relationship at all. which is fine! it's just... you know. fine. let's get into it.

following the cruise arc, we watch tommy through buck's eyes in 7x04 where he's basically wining and dining eddie -- flying him to vegas, getting them front row tickets to a fight, sparring with him in muay thai, playing pick up basketball with him -- tommy and eddie are so similar (which we'll come back to later), and we even get that line from eddie about how well they "click." as the audience, we are being subconsciously told to align tommy and eddie together -- and furthermore, we are told that tommy can easily make grand gestures when he wants to. now let's compare that to the bucktommy moments of the season.

bucktommy's first date: tommy makes a shady comment that would have outed buck if eddie or marisol caught onto it and then proceeds to abandon him on the sidewalk because he thinks buck isn't "ready" for a relationship with a man

i'll be objective here -- i understand in a show like 911 there's always going to be "unnecessary" relationship conflict for the sake of drama and i can also see how buck trying to play off their date as platonic to eddie might have put a bad taste in tommy's mouth. but we hear from tommy himself that he struggled with being open about his sexuality when he was at the 118 so he could have absolutely extended some sympathy towards buck for not wanting to come out on the spot to his best friend -- especially when tommy fully knows how important of a role eddie plays in buck's life. at the very least, he didn't have to leave buck alone on the curb. this isn't me trying to woobify buck because yeah, he's a grown man, he's fine -- but that doesn't mean it still isn't a bit of an asshole move.

the bachelor party: tommy doesn't dress up for the theme and dismisses buck when he's clearly disappointed about him doing so

tommy showing zero interest for the bachelor party buck planned is practically the writers waving a massive red flag in front of the camera -- him having to leave because he's on call is an understandable 'conflict' plot point but why not have him show up in an 80s themed outfit? it wouldn't have changed anything except that he and buck would have had a positive interaction; buck would have been happy that tommy cared enough to make that small gesture and it could have been a cute way to establish their relationship as one built on mutual effort. (btw, the bucktommy hospital kiss could be seen as a big gesture, sure -- but from a more practical viewpoint knowing how rushed this season had to be, it was also just an easy way for buck to "come out" to the rest of the 118 without having to spend too much episode airtime on it.)

the medal ceremony: tommy says 'enjoy it while it lasts' (which, LOL) and also is not shown reacting to buck receiving his medal. he also has a conversation with henren in a deleted scene.

again, i'm going to try to give tommy the benefit of the doubt -- i'm not saying he has to be sunshine and rainbows all the time and i have no issue with a character having a snarky/sarcastic side. but when his screentime is so minimal, every line of dialogue matters. and it's pretty damning that the writers aren't taking those few chances to give us something to appreciate about him. with buck, tommy makes a dismissive comment for literally zero reason, and with hen and karen, who are rightfully looking out for their friend, tommy refuses to take them seriously at all.

bucktommy's dinner in the finale: buck displays some vulnerability about losing bobby, and tommy... really doesn't seem to care.

honestly i refuse to rewatch this part of the ep because it really icks me out on another level but iirc: buck says he's glad bobby's okay because bobby is like the father he never had -> tommy says "your father's alive" -> something something joke about daddy issues. ignoring #that joke entirely, it's really insane to me that they have tommy even acknowledge the nuclear bomb that is buck's relationship with his parents. yes, we had a bit of a ham-fisted 'redemption arc' in s6 but that doesn't negate the buckley parents being absolutely heinous and the fact that buck verbalises how bobby played the role of the father figure because philip didn't -- all for tommy to basically deny that to his face -- is absurd. tommy has expressed on multiple occasions that he's jealous of the 118 family bond, so this line is just... very interesting to me.

now, let's recap all these events and bring eddie back into the mix!

post-bucktommy's first date, buck is more torn up about the fact that he lied to eddie than the actual date to the point that he has to vent to maddie about it. he then comes out to eddie, who is incredibly supportive (and oliver and ryan make some very curious acting choices indeed). eddie is reiterated as one of buck's most significant relationships.

pre-bachelor party, eddie is the one to suggest he and buck dress in matching (queer-coded) costumes. he then stays by buck's side at the party when everyone else leaves and although we'll never get to see it (tim minear i'm inside your walls👹), they sing an absurdly romantic karaoke song together. eddie is reiterated as one of buck's most significant relationships.

during the medal ceremony, when the camera pans to each member of the 118's love interest/family, it is eddie we are shown smiling at buck, not tommy. this is especially interesting considering we get buck reacting to tommy. i honestly can't get over how a reciprocated tommy reaction would have been an easy yet significant moment to cement bucktommy as a relationship, but they gave us eddie's instead (with chris in the background and marisol conveniently obscured, mind you). eddie is reiterated as one of buck's most significant relationships.

in the final episode, when eddie is experiencing his personal worst nightmare, buck is the one at eddie's side every step of the way. buck talks to christopher, buck reassures eddie (without judgement), and it's made clear that buck will be there for eddie, whatever he needs.

at every possible opportunity, we the audience are being implicitly told that eddie is buck's person. he is his place of support (buck having his more vulnerable coming out scene with eddie rather than his sister); he has buck's back (the bachelor party); he is his family (medal ceremony reaction), and ultimately, this goes both ways (finale).

some other things worth noting: when buck has his coming out scene with maddie, she tells him he's confused about his feelings in a way that seems to indicate she's talking about his feelings towards eddie ("if you there's something you need to tell eddie, you will"). in bobby's conversation with buck in the firehouse, he's verbally supportive of tommy and even asks if buck is going to see him, but buck goes to eddie's house instead. these were deliberate choices made by the writers; eddie has been consistently intertwined in bucktommy's relationship both overtly and subtextually throughout the entirety of s7. and let's not even get into the whole 'evan' thing, because that could be a whole other post in itself.

from the first moment we start to learn about tommy's character (beyond his... coloured past), we find out that he and eddie are practically mirrors. why not make tommy and buck share similar interests? why not give them something to bond over? why present tommy and eddie as almost identical in every way? because tommy is a placeholder for eddie. buck's initial bisexuality journey can't happen with eddie when eddie still hasn't come to terms with his own feelings. so, in the meantime, tommy is the "safe" choice in buck's mind because buck has nothing to lose with tommy whereas he's got everything to lose with eddie. buck can't confront what he truly wants yet because the risk factor is far greater and it's been repeatedly asserted that buck has an issue with people in his life leaving -- he would never do anything to jeopardise his relationship with eddie.

but ultimately (and in my opinion, fairly soon), we are going to get that moment where it "clicks" for buck and he realises that it is eddie he has feelings for. and when that happens, there's basically only one way it can go. we know buck can't keep secrets from eddie; we know eddie is going into s8 feeling "isolated"; we know tim loves making his characters suffer before they can be happy. in my mind, the narrative is going to go something like this: buck feelings realisation -> pining buck era -> eddie healing journey and a reevaluation of what buck means to him -> some insane life-threatening situation that really doubles down on how buck and eddie care more about each other than anyone else because it is 9-1-1 at the end of the day -> love confession induced by their dramatic near-death experience -> #BUDDIE_CANON !

when we factor in how there was a possibility of eddie having the sexuality arc this season instead, how tim has said buddie is one of his favourite dynamics of the show, and how supportive both oliver and ryan are of the ship, i really can't see how everything isn't building to buddie endgame. every other main pairing of the show has had seasons of development, of conflict, of bonding moments. buck and eddie have gone through that with each other time and time over (tsunami/lawsuit/shooting arc etc), which is why every other random love interest that's introduced for either of them falls flat in comparison. they quite literally are exactly what the other person needs; buck wants the stability of a home, a family, and unconditional love; eddie wants someone he can trust, a caretaker for his son but also a partner. buddie is the ship the audience wants to root for, because we know they work! now that we have canonically bisexual buck and eddie finally having to face his complicated feelings about losing shannon, buddie isn't just the logical conclusion -- it's the inevitable one.

[lenaboskow]

i'm bored at work so here's an updated list of everything tommy kinard has ever said or done that makes him a bad person who hasn't changed/learned from his mistakes (even if he's not being inherently/explicitly racist anymore) (before you come at me for saying people can change, here's my previous pinned post from 7x05 that explains how he hasn't. i go into it more here about the back half of the season, but all of these points still stand)

season two

chimney begins

the first thing tommy says to/about chimney is "did you forget to tip the delivery driver?". if it wasn't for the fact that they had asian food delivered and chimney is asian, this could've been passed off, but instead they chose to have the first act of racism/general harassment be done by tommy, not the racist captain.

then when they return from a call and see chimney dutifully cleaning, tommy says to chimney: "you're still here?". not inherently racist, but still rude

we get some montages of chimney being left out/harrasef, and tommy is always at the forefront. it culminates in the locker room scene where tommy says "i don't think about you enough to hate you", which again isn't inherently racist but it is rude.

at the end, the only way chimney manages to earn a semblance of respect from tommy is by saving his life, which is fucked up. you shouldn't have to save someone's life to he treated with dignity. but fine, maybe tommy learned his lesson, right?

wrong

hen begins

at the beginning, tommy, chimney, gerrard, and a few others are standing up in the loft while hen walks in. gerrard says a few racist/sexist words, and chim stands up for her. tommy just stands there, not even looking like he might want to say something. not saying something when it happens is almost as bad as doing, and obviously chimney, who'd been there a shorter time, was brave enough to stand up for her.

then tommy, during a meal, tommy says about hen: "new york bitchiness is a compliment?". there's no non sexist explanation for this comment

actually that entire meal, he ignores chimney's attempts move the conversation away, which says a lot

again, general enabling of the racism and sexism

during hen's "see me" speech, tommy looks pissed off to be there, and then proceeds to look annoyed when he apologizes to her at the end of the episode (if you can even call it that)

post begins episodes

now, we don't know a whole lot about how hen and chimney interacted with tommy after the events of their begins episodes, but we do know they weren't close enough to keep in touch after. chimney loses touch for two years immediately after he leaves, and by season seven hen forgot that tommy worked at harbor. i don't know about you, but that doesn't seem like behavior for people who worked closely for ten years.

season seven

7x04

this episode was from buck's pov, so it's actually the time where tommy is the most tolerable. that doesn't mean he doesn't have his moments, though:

calling buck "kid" and "evan" is a weird way to introduce a love interest. tommy calling him "kid" shows that tommy is aware of the age difference, which as i explain here is at least the same as buck and abby's (and here why that screenshot of tim saying he's 40 is irrelevant). also, tommy calls buck "evan" with no on screen explanation, and we know that lou was explicitly told tommy isn't "allowed" to call him buck. you know the only other characters who aren't allowed to call him buck? his parents. that's all I'll say.

we don't really see much of tommy again until the basketball scene, and then it's focused on buck and eddie anyways, so the next time we see him and buck really interact is the loft scene (which is telling about who buck was trying to get the attention of, but that's a different conversation). in this scene, tommy makes a condescending remark about how "we weren't trying to make you feel left out" and "eddie can have more than one friend", which... again, brings us back to the age difference because it sounds like (in context) that tommy is reprimanding a child. having them kiss right after that was definitely an interesting choice (in terms of their relationship)

7x05

oh the date. i have so many feelings about this. we know that tommy knows buck isn't out, because buck told maddie they purposely picked an out of the way spot, and despite the face tommy made at the comment, he didn't seem surprised when buck told him it was his "first date with a dude" (it seemed more like a "i already know this, you don't have to repeat it" face). because of this, the way tommy acted when eddie showed up and freaked buck out has no excuse. the closet comment? even if tommy didn't know buck wasn't out and decided he didn't want to date someone who wasn't out, he shouldn't have made that comment knowing it could out buck to his best friend, who he clearly wasn't ready to tell. lucky for buck, eddie's an idiot (affectionate) with a one track mind (buck) and didn't register the comment.

then we have tommy leaving buck at the curb. leaving the date isn't the problem, it's the fact that he didn't tell buck until he got in the uber, which obviously upset buck (though he was admittedly more upset over lying to eddie). the rest of the episode is spent on buck coming out to eddie, and we don't see tommy again until buck is apologizing for the date, which... why should buck have to apologize for not being ready to come out? buck did nothing wrong on the date. if you just figured out you were queer and hadn't had the chance to tell your best friend before they accidentally crashed your date, you'd react the same way, don't try to tell me otherwise. it was tommy who should've apologized, plain and simple.

7x06

the bachelor party. tommy's excuse for not dressing up made no sense to me... he was obviously going to have to change anyways, so why not put in a little effort for your date? i see people saying that only eddie put effort in, but henren was dressed too, just more subtly. tommy chose not to dress up, and made a half hearted excuse of "they had henleys in the 80s" (which you would know, wouldn't you, 70s baby?)

then we have tommy leaving, which fair he's on call, and we don't see him again until the hospital kiss. this is the only time we see tommy look remotely interested in buck the entire episode (every other time he has an rbf face, even when they're hugging).

7x09

we only see tommy during the medal ceremony, and he still manages to say something to piss me off. "enjoy it while it lasts" because he can't indulge his boyfriend for two seconds. it's becoming a pattern, i'm afraid

7x10

the date scene was a weird way to end their s7 relationship. buck was opening up about his trauma, tried to find middle ground by saying "so we both have daddy issues" (nothing in the context made it seem sexual, in fact i didn't realize until tommy made the joke, so it's possible buck didn't either) and then tommy says "i don't" despite admitting that he did only a few seconds before. buck says with a slightly resigned (barely there, but still there) tone, "but you think i do" and tommy responds with "god i hope so". any other context and it would've been fine, but buck had just been talking ahout how his father figure literally died and came back to life. there's a post somewhere (pretty sure it was an ask someone sent me actually, if i can find it i'll link)that talks about how buck has a habit of going along with his love interests to avoid causing waves, and how that's exactly what buck was doing in 7x10, and it makes perfect sense. if buck had a problem with it, he wouldn't immediately say. he'd sit on it for weeks before even considering bringing it up (like natalia and death, and how he avoided taylor in s5). even if he wasn't uncomfortable, it doesn't take away from the fact that the timing was weird and buck wasn't in a good headspace to respond properly.

in conclusion

tommy is repeatedly a bad person. just because he hasn't said anything racist or sexist since season two, it doesn't negate this. you'll notice that almost all of his scenes are here, if not all. the writers have chosen to have him repeatedly look bad and like someone who only cares about himself (with the way he constantly tries to defend his actions by blaming gerrard, and how he only cares about his feelings about being out), but the bt stans are too excited at the prospect of two white men kissing (or just two men and they don't care who, thus dumping eddie, it depends on the bt) that they choose to look past it and hate on ryan/eddie instead.

these last three months in the fandom have felt so different compared to the rest. the fandom i knew pre s7 would never act this way. is it because lou is a nepo baby? i know it's not because of his looks. but either way, i'm disappointed, and hope s8 treats us (fans who actually care about the characters and don't actively want less for them) better

(if i missed anything, let me know and i'll edit the post to add it)

[tiredandoptimistic]

"Early 21st Century Romanticism" truly is one of the Community episodes ever for a variety of reasons, but I'm a Saw enjoyer so I'm gonna talk about the scene where Troy defends Abed to Mariah, and specifically defends his love of the Saw franchise. It's not just representative of Troy and Abed's relationship, but also of horror and neurodiversity and how those subjects are so easily ignored and discredited.

For those of you who haven't watched the episode recently, it's about Troy and Abed both crushing on the same woman (Mariah, the librarian) and deciding that the only fair way to resolve this is for her to take both of them to the Valentine's Day dance, and decide afterwards which one she wants to date further. Mariah is down for this plan, and ends up preferring Troy and sending Abed away. Abed is chill with this, but Troy clearly isn't; spending his dance with Mariah grilling her on why she would possibly see Abed as anything less than the perfect date. She has a couple reasons, one of which being that he spent two hours analyzing the Saw movie franchise. She eventually calls Abed "weird," causing Troy to storm off and reunite with his boyfriend best friend outside in peace, but I'm gonna focus on that bit about Saw because that's who I am as a person.

Before I go any further, it's important to remember that Saw is a largely hated franchise. Well, "hate" might be a strong word, but it's definitely looked down upon as worthless torture porn for the depraved. Troy is not a horror guy. I'm not a horror guy either, which is why I haven't actually watched the later Saw films and am content to enjoy them purely through my friends who are more down for gore and batshit plot twists ( @cape-wearing-enigma this is about you and your Saw slideshow presentation). My point is, Mariah's clear distaste for Saw and her opinion that it's "weird" to put two hours worth of thought into it is pretty damn standard, and just based on Troy's personal tastes I wouldn't be surprised if he agreed.

But the thing is, he doesn't.

He continues defending Abed's taste in films and his interest in talking about them, because to Troy it's not about enjoying Saw it's about enjoying listening to Abed get passionate about anything he cares about. His line about how "the first one did redefine the genre" in particular sounds so polished and is delivered with such ease that I'm confident it's something Troy is repeating that he heard Abed say, that he's got complete faith in it being true because it's what Abed thinks.

That, more than anything, is what sells the episode to me. I really relate to Abed in that I'm someone who can and will talk for hours about my interests, and those interests are often things which aren't generally considered to be "good" (oh the joy of trying to explain that I'm not into something for a bit or because it's "so bad it's good," I just genuinely love it and think it's great), and it's one thing to be able to hold a conversation with someone who shares those interests but it's a lot harder to find somebody who just likes hearing why you care about them.

Now, I'm aware that Saw is a popular mainstream franchise, but that's not the point here. Mariah isn't weirded out by Abed liking Saw, it's by him talking about it for so long. It's okay for you to watch when a new one comes out or do a marathon for Halloween, but once you start actually caring and putting thought into a "dumb" franchise then you're the weird one.

Horror is one of those genres (alongside romance and comedy) that are just seen as inherently low-brow and simple by a lot of people, like they have no value besides being easy watches and are easy to pull off in a compelling way. Which is wild! Even if you don't actually have deeper thoughts about a movie, if it genuinely scared you then that means the creators did something right and that takes effort! Good horror deserves to get credit, but instead it's just all lumped together into one mass that it's apparently okay to talk shit about.

I won't make statements about the entire Saw franchise, but as someone who loves the first one, I firmly believe that Saw (2004) is genuinely a really fucking good movie. If Abed had ignored the rest of the films and just talked about the first one for two hours, he'd still have plenty of material.

I'm not sure that I have a conclusion here, I just think it's awesome to see one of my favorite characters getting so into something I also enjoy, and one of my favorite parts of Troy and Abed's relationship is that even when they don't completely agree they still support and respect each other. This is yet another example of when it would have been so easy to make Abed the butt of the joke, but instead Troy (and the show) decides that actually Mariah is the weird one if she can't appreciate him.

[mazzystar24]

I hope I can ask you this because I don't want to ask in the tags, I'm scared 🥹 but I've seen a lot of discourse about why tommy isn't good for buck, he's cold, the relationship is toxic etc and I was wondering why people think that? Is there anything specific that started it?

I fully believe eddie is buck's true love, endgame, whatever we want to call it and I'm sad we don't have that (yet) but I thought bucktommy was kinda fun in the meantime. I just want to understand 🫶🏻

Oh hey darling! you were so sweet and genuine in your response so please know I’m just answering what I’m asked and if you wanna enjoy and have fun with bt that is completely your prerogative but I’m just offering my perspective on it

And i am warning you this is gonna be long because I feel a constant need to go really in depth in my thoughts

Okay so idk how I’m gonna break this down but maybe I’ll do it in like main points?

Also if you’re new here whenever I use bullet points I’m just doing it cos I find it easier to chunk up my thoughts not cos I’m being curt or anything with you

1. The chimney and hen begins episodes

He wasnt just passive in the episodes and letting Gerard get away with his racist and misogynistic behaviour he ACTIVELY participated in it

This includes:

• Asking if they forgot to tip the delivery guy WHILE THEY WERE EATING CHINESE FOOD when chimney first comes up despite the fact that 1. Chimney had a big ass lafd bag 2. They were probably already told a probie would be coming 3. Probably would’ve seen the actual delivery guy 4. I would bet my absolute life that question would not have been asked if buck or bobby had walked up those stairs this wasn’t an innocent comment it WAS RACIST intentionally like the entire point of the episode was to show how bad they had it

• the New York bitchiness comment

• throwing his tools down along for hen to clean up

• going out of his way to treat them like outcasts and hating chimney before he even knew him despite chimneys efforts

• the way each of them had to “earn his respect” in some way before he acted like a normal coworker to them and this was never in the typical ‘oh it’s a new person’ type of way it always had to do with their race or in hen’s case her gender too

A defence I see a lot for this is “oh he was closeted” and honestly to me that is such bullshit because 1. Eli was perfectly capable of not participating in the racism and taking chimney under his wing without getting any shit for it and chimney is quite literally a Korean man (something he literally can’t hide) and he had just got his head above water with Gerard’s racism when hen came and he STILL was a friend to her 2. Again tommy wasn’t passive in it and just letting Gerrard be racist (which would’ve been one thing) no he actively participated in it to be part of the boys club 3. Let’s say that somehow not being a dick would’ve meant that that was a threat to the closet he was in- that is still in my opinion a fucked up sense of preservation if you spare yourself the possibility of bigotry (despite having inherent social capital by being a white man in that job) by inflicting others to bigotry

Now when Tommy was first reintroduced I was like keeping an open mind and saying okay it’s been a lot of time and maybe he has genuinely made amends because I do believe in redemption but imo they have made no attempt to show us that and had him honestly put more of the blame on Gerrard for his behaviour or the writers flat out avoiding mentioning it to retcon tommy a little and hope we forget

Another defence I see is “oh chimney and hen became friends with him so they must’ve forgave him”, hen went no contact the moment he left (something the writers went out of their way to include that line) and chimney didn’t even invite him to his wedding which was quite big after the Buckley parents got involved so it’s not like it was cos it was such a small and intimate wedding and he only called him as far as we know in those years when he needed a favor, which all means that most likely they had kinda just put it behind them and kept up a coworker relationship with him, but no actual friendship or actual forgiveness or redemption had taken place

Oh wow all that was just point one and I can probably talk more on it but I’ll just leave it with saying that Lou’s comments about it being teasing or how Tommy genuinely didn’t know hen or chimney were capable etc just makes for a worse case than saying it’s cos of being in the closet (and that is genuinely a large part of why idk much abt Lou but those comments are enough to make me hate him) and I’ll also say that poc (myself included in that) have these situations so often- situations even as specific as gay men being racist to them to fit in - and we understand the nuance and shit to it but we also understand on a deep level how it feels to be on the other side of that

And getting toxic bt fans try to come up with ways to downplay or minimise racism honestly pisses me off so much cos believe you me we have heard every excuse and downplay under the sun and I for one am sick and tired of it

2. Why he’s viewed as cold and his jokes

• literally from the small parts we saw of him and Eddie hanging out we have seen the man is in fact capable of joking and being light and having fun but around buck in particular he’s like 🧍‍♂️😐 and the occasional 🙂 like it just feels very stiff and just plain in a way

• his humour consistently falls flat and feels passive aggressive more than anything like blunt or sardonic humour DOES work like I personally love it but it’s not being written OR executed right

A. It’s always in response to genuine moments or questions such as buck talking abt the award or the daddy kink joke or henren questioning him

B. It’s the the majority of what we see from him, there is not enough balance for it

C. Lack of rapport, when friends or couples make jokes that can come off the wrong way if said to anyone else it’s cos of the rapport built already, this rapport is not established with the characters OR with the audience for these jokes to come off right

D. I gotta say this one too but the execution just isn’t right from writing to acting, it’s the same reason sardonic humour lines from Sandra oh as Cristina Yang or hugh Laurie as house still lets you like the characters and find them funny but Tommys lines come off as annoying to a lot of people

3. I think fandom discourse probably has something to do with it but not in the way you think

I’m not saying like oh ppl who ship buddie just hate him cos of the ship no I’m saying that like what takes him from an annoying disliked character to a hated character is most likely the fact that his role stirred so much drama and caused so much damage to how the fandom used to be that its turned the dial up

4. A lot of his development, lore or redeemable factors or cute things are just not canon

This may be blunt and I am sorry for that but I think his character has been blown up to such a degree that it’s genuinely shocking

Like I look at posts or get sent hate and I’m like where did any of this happen this is just not canon this is just not a show like at times I’m genuinely convinced it’s a social experiment where different ppl saw a different show like some spiderman multiverse situation

Listen I’m all for headcanons genuinely like if you wanna take extra number three and make a whole backstory and lore and cute stuff abt her I’m all for it but it’s when it’s said as if it’s fact or canon that I’m like hold up a second rewind

I think this is kinda a result of Lou’s cameos (which honestly deserves its own post but you asked why the tommy hate so imma stay on topic) and also this like need to defend the character but not having much material to work with

Like if we look at canon we can literally break down the entirety of Tommys appearances this far in the show and what we learn about him:

• chimney begins- he makes a racist comment and he tries to suck up to Gerard, there is a little hint abt his gayness with the gf comment, Eli says to chimney that’s just how they are and tries to reason it could be fear of losing friends but we see tommy having friends in the firehouse while eli says this, chimney tries to make friends with him and tommy makes no attempt to get to know him and says he’d hate him anyways, chimney saves Tommys life thus earning his respect

• hen begins- she’s met with the same racism chimney is but also met with misogyny (and homophobia but that’s not relevant to the tommy of it all), we find out chimney is still isolated from the rest despite having earnt that respect, chimney befriends hen and again tommy still doesn’t try anything like that until hen proves herself and earns his respect, ppl reported Gerard but it’s never actually stated tommy was one of those ppl so again that’s not canon that’s speculated

• bobby begins- chimney and hen both seem to be like coworker friends with tommy and Sal, Sal throws hissy fit bobby “fires” him tommy says it’s an overreaction bobby reveals it was a transfer, they all seem to make nice, tommy leaves to 217

• chimney calls tommy for help and tommy helps

• we see nothing from tommy,then cruise ship he helps the team but also in this we find out hen cut off all contact since he left

• buck takes tour of harbour, Eddie and tommy have a friendship and we find out some of Tommys interests and that he was in the army, basketball scene and the subsequent apology and kiss

• dinner date, Tommy explains how he was in the closet, Buck has his little awkward moment (which will be elaborated on in my next point) , Tommy says nothing abt it till the Uber arrives and he leaves buck

• buck reaches out and apologises and asks for a second chance inviting tommy to the madney wedding

• bachelor party and the issue of the lack of costume and not just taking the day off for neither wedding nor bachelor party (which you can reason is reasonable but also I feel like this deserves its point for the narrative choices)

• tommy shows up straight outta work they kiss buck has the soot coming out award ceremony - buck being happy abt the reward to which tommy sardonically says enjoy it while it lasts enter bigoted cunt gerard then chimney comes and insults gerard and they walk away

• we don’t see tommy again till the dinner date after Bobby nearly died and when buck tries to explain Bobbys significance to his life tommy throws the your dad is still alive which is just honestly one of his worst moments imo and I made a whole post abt it but can’t find it and then we all know the rest of that convo and I could make a bullet point for it but actually I made a whole post before so I’ll link it: here

AND THATS IT

Like all this comes down to what maybe like 30 mins screentime? If that?

5. The leaving buck on their first date

The defences people use for this are:

• buck was trying to shove him back in the closet

• buck was obviously not ready

• people angry abt this are just babying buck like he can find his own way home it’s not that big of a deal

• buck was at fault there and tommy would’ve been justified in being angry and not giving him a second chance

And honestly every last one of these are bullshit imo and lemme go point by point

• buck panicked, I don’t think that what buck was feeling in that moment can be properly described because unless you’re a queer person and you’ve experienced that like bone deep panic that like brain overload then you won’t get it

Like one it’s his first queer date

Two he doesn’t even understand his own sexuality atp

Three his closest friend just walked in in a situation that’s already putting him on edge

So he’s not only panicking he’s not understanding why he’s panicking he’s trying to make excuses eventhough part of him knows he doesn’t need one but also he doesn’t even understand this side of himself yet so he doesn’t want to have to potentially explain it

Like it’s a million things and a million emotions and no one can claim they would behave rationally or appropriately in that situation and if you say that you would you’re lying simple as that

Also then we find out that Eddie thought tommy was straight anyways

• the reason I love the buddie coming out scene is because of Eddie’s “and what do you think” line because it’s not up to tommy or anyone else whether a person is “ready” enough in their queerness to date. Full stop.

Also tommy knew it was Buck’s first date with a man and was still down so why is he using that as some sort of out

•it’s not about babying buck and it’s not about him finding his own way home it’s the fact that Tommy could’ve done it with much more grace and he could’ve been a lot nicer with it but he wasn’t, and this is again bucks first date with a man even if it doesn’t end with a second date it should at the very least not end up with him feeling like a screw up on the side of the road

• to the ppl who say that- kindly shut up cos again see the first point but also I wanna point out that somehow the ppl saying this are also the same ones saying that Tommy was justified to be RACIST for a prolonged period of time due to being in the closet yet Buck what? Panicking for a few seconds and being a little awkward? is somehow this giant inexcusable thing

5. The narrative choices with him have been reasonably clear and tbh if they had been made with a woman it would not be up for debate:

• tommy leaves buck on their first date then he comes back and gives buck a chance- we as a fandom have been unanimous in saying for years that Buck’s endgame would be the one that doesn’t leave him cos this pattern has been something we saw over and over with him

• tommy not dressing up- again you can rationalise it but it’s a narrative choice and it’s glaring when contrasted with Eddie suggesting the duo costume

And if we had this scene with Taylor so many ppl would be saying that it’s once again showing that her and Buck’s personalities don’t align

• him being on standby for the wedding and bachelor party- again you can say oh buck invited him last minute or oh he couldn’t taken the day off (which lbr he could’ve he’s not the only firefighter pilot in la) - but again narrative choice

If it was Taylor everyone would’ve been like SEE? Again they’re showing the audience that her work is this looming presence in their relationship

Anyway I’m gonna shut up now cos this is A LOT

I’m so sorry it took me so long to respond tho and sending flowers in apology����💐💐💐💐💐

Love ya for being so genuine when asking and hope all this didn’t come off too strong and that it was idk helpful?🫶🫶

I realise my response is abt to have toxic bt fans scurry to my inbox like rats to send hate and to that I say go fuck yourselves I’m responding to a question here

[chenouttachen]

i'm back to be angry at episode 5 alan before i steamroll ahead to eps 6 and 7. picking up straight after the world's worst staff meeting, alan follows jeff out of the garage. and leads with THIS!

after having the audacity to grab a (rightfully) livid jeff, alan tells him to let the others apologise without even apologising HIMSELF.

jeff doesn't say 'they don't trust me', it's 'everyone', and alan is included in that. i've said it before, but jeff just opened up to alan, trusted him, and had that trust thrown back in his face.

and alan keeps putting his foot in it. he tries so hard to be on everyone's side that he doesn't recognise that he keeps choosing the worst dialogue options each time. what he should have said is 'i trust you, i want you to keep working here'. instead he rationalises the other's actions, which wouldn't be a bad thing if he also told jeff that he understands his side. but he doesn't.

jeff continues to stand up for himself; he's not going to apologise to this man for doing his job. this entire situation is unfair and he's not going to pull any punches making sure alan understands that. he rightfully points out the biases and prejudices of the x-hunter team (because that was a setup through and through).

alan knows he's losing jeff in this moment. he's getting desperate to make him stay, but he has no idea how to do that. he thinks that dean and way are the problem, that if they apologise it will be enough. but he still hasn't done that himself.

and it breaks my heart, because jeff is ready to turn around and hear alan out. he's almost willing to overlook alan's lack of apology. but then alan keeps talking. and it doesn't come from a malicious place; alan wants jeff to understand the other's perspectives. but it cuts deeper than he intends to. by blaming jeff and his introverted nature, he conveys to jeff that there's something wrong with him, that he can't be trusted purely because he doesn't operate with the same boundless energy as the rest of x-hunter. and as his words sink in, we see jeff accept them and shut down.

it hurts jeff to realise that the one person who has made an effort to get to know him... doesn't know him at all. we know that jeff cares deeply about people - he loves charlie and is going through with this plan because he's tired of seeing people get hurt. but the wall that he's had to put up because of his past and his power hurts him too. to know that alan (unknowingly) condemns him for protecting himself, it's too much.

jeff has been so strong this entire time, clear in his knowledge that he's done nothing wrong. he's refused to apologise or stoop to way's level, but he can't do that anymore. because he isn't strong in his belief in himself. yes, he knows his skills and his worth as a worker, but as a person? he's lived his whole life as cattle being raised for profit, and he doesn't know how to reconcile with that, or how to speak about it. he's only just learning how to function in society with a power that keeps him inherently isolated. he's pushed himself so far out of his comfort zone in his short time in the garage, trying to protect these people, but in jeff's eyes they cannot accept him. not because he's a bad worker, but because of who he is as a person. and all he can do in the face of that is apologise.

but it is like that. alan has failed to step up for jeff in his time of need, and has still failed to apologise. jeff realises in this moment, that alan won't. and he can't take any further disappointments.

when jeff leaves, it physically pains alan. there's a part of him, one he can't acknowledge yet, that wants to do right by jeff, wants to protect and support him. and in one evening he's done more harm than he could have thought possible.

[konnosaurus]

iiiiit's sonny!!

sonny is such an intriguing little character to me. i really like him, but am very curious about his character and his placement in the series. i'm gonna stick a few thoughts about him (and diesel, honestly, and their interesting dynamic) under the cut!

even though sonny first appeared in the Last Series of the show, he felt like he had been designed with longevity in mind (at least to me!). he had personal character relationships with thomas (positive), diesel (complicated) and james (intriguing). unlike a lot of the characters introduced at the very of the series run, sonny was given these relationships that made you feel he could have his own character growth and also influence other characters and their stories.

sonny and diesel specifically are an interesting pair. diesel had only relatively recently had his minor/major redemption arc in springtime for diesel, but more recent relevant episodes, in my opinion, are diesel glows away & diesel do right. these episodes have a very interesting understanding of diesel which honestly remind me quite a bit of james (which is probably odd to say!). he thinks he is great, and that his presence makes the railway a better place, but in reality… he isn't really helping all that much because his high opinion of himself makes him do his jobs worse than if he just… tried to do them himself. it makes the other engines have a worse opinion of him than if he just talked to them as equals.

this is where sonny comes in. diesel, who has learnt through his past few episodes that he can't make other engines like him by being a nuisance and that he must put his own effort in to do his jobs correctly, is introduced to a new engine who has no preconceptions about him at all. in fact, he seems to enjoy his presence! but this is a whole new thing to diesel, who has not really had a chance to have a new interaction without the other engine involved having been told about his ways~~. while he probably hadn't had toooo many interactions with nia before diesel glows away, it was never implied she was unaware of the way he is, where as this is clearly all new to sonny.

these interactions between sonny and diesel show the two growing close very quickly- neither has really had any close buddies at any recent point, as far as we know. nobody seems to particularly enjoy the company of diesel, and sonny has been implied to have been on his own engine-wise, with only baz and bernie for a while at least. sonny is shown as inherently good- he tries to help james, he tries to do the other engines jobs. diesel as shown as inherently bad- even though he has grown, and we have seen him grow, his first instinct when given the opportunity is to use someone for his own gain. but it is different this time! when diesel causes something to go wrong for somebody else, he apologises without having to make it a whole ~thing~, which was exactly what he struggled with in springtime for diesel. he could apologise, then, but not directly. now he was able to manage it!

sonny managed to bring out the best in diesel, get a direct apology from him ((and also a direct (though sliiiightly reluctant) apology from james)), and get himself into the good books of other engines in essentially one day. though this happens quite a lot in the childrens-morals stories of thomas, there is something about him that brought that out in the characters in a way that felt entirely natural. and i just think that is neat!!