#and this fandom has really become a crew

[aha-my-villainous-thoughts]

It's all about them.

(I'm just a big ole ball of happy mush at the moment, I love our blackbonnet boys 💜)

[avelera]

Man, there’s all these little beats in OFMD S2 1-3 where people keep EXPECTING Stede to be upset or horrified about Ed’s actions and then he’s just. Not. In a way that reminded me of how a lot of fanon kept softening Stede into someone who doesn’t swear and is horrified at Ed for setting those ships on fire when imo to my eyes he was horrified for Ed because Ed was still so clearly distressed about it.

- Zheng Yi Sao asks Stede how he’s doing now that he knows Ed did horrible things to his crew and there’s this beat and Stede just pivots to, oh yeah, sometimes Ed is troubled. Like it didn’t occur to him to be upset on the crew’s behalf he’s worried about Ed.

- Izzy keeps trying to spare Stede’s feelings and cover up Ed’s spiral, but Stede clocked what was going on with Ed immediately and wasn’t the least bit intimidated or bothered. The knives brought the room together. Of course Ed’s trying to burn the world down or die trying. Duh. And I genuinely don’t think the STUFF in the Revenge mattered even a fraction to Stede as much as the signs of Ed’s breakdown broke his heart. It’s just STUFF, who cares.

- Lucius had to SPECIFICALLY call out Stede for not being surprised or bothered by what happened to him. What Ed did. Stede has to almost consciously remind himself to express polite concern. He just doesn’t actually care, instinctively or automatically, about what happened to Lucius. Part of it is he blames himself more than Ed. Part of it is he just doesn’t care, Ed is the priority.

They’re little blink and you’ll miss it pauses in some cases. Micro-expressions. The absence of a reaction. But honestly, I will scream it to the end of time, Stede is not some nonviolent creampuff scared or upset by Ed’s evil ways. He wants to join Ed in the atrocities. The man ran away to become a pirate. He asked if Lucius was taking notes during a murderous raid.

Stede’s at least a little on some kind of whackadoodle pirate comedy neurodivergence spectrum to the point where he actually really actually struggles to empathize with people, even people he cares about!, if their feelings conflict with his hyperfixation (piracy) and the love of his life (Ed Teach). He’s always, ALWAYS going to pick Ed over Lucius or Izzy or his crew or even his own feelings, if the option is there. He will literally throw himself overboard to get to Ed’s side. No pause. No consideration of anyone else or even his own safety.

Stede sometimes seems to have to consciously remind himself things like, oh yeah, the crew, I need to see to them. Not because he’s heartless or doesn’t care, but because it takes a bit of conscious effort for him to see beyond the laser-focused spotlight of what and who he does care most about, he has to remind himself of social niceties and other people’s feelings (just see him running away in the first place!) when he gets an idea in his head. It’s as if he had to train himself to consciously care about some things other people care about and as a neurodivergent person myself, that felt very familiar in a comedically writ large sort of way. I’d even argue that’s where all his aristocratic social niceties come from. They were his guidebook for how to do things “right” in a world that otherwise made no sense to him outside his hyperfixations. He practiced being a person through the aristocratic training because it was all so foreign to him from the start, including caring, actually caring, about the needs of others. Not because he’s consciously evil or consciously a jerk. The instinct just isn’t there unless he practices at it until it becomes reflex to ask how others are doing, because on his own his brain just doesn’t really notice or care.

I just… hope the fandom notes and has as much FUN as I do noticing all the little moments where even people inside the story of OFMD expect Stede to act in a normal way and instead he remains unhinged, laser-focused on Ed.

Stede’s not just an Ed apologist, he truly doesn’t blame Ed for any of it. He blames only himself. He doesn’t always voice this but he really really only cares about anyone else including the crew as a DISTANT second and he has to consciously REMIND himself to do so. He is able to rally to take action, to care about their physical needs like safety during the rescue, but he still struggles, deeply struggles, to remember to show empathy in a non-performative way for anyone except his special person, Ed.

Stede’s not a creampuff, not a nice guy, not some emotionally or morally perfect angel. He has to consciously practice caring about literally anything else but what he wants to do and his special person. And to me that’s a thousand times more interesting than shoving him in a box labeled “the blond, pacifist do-gooder good guy” in their relationship.

[lady-raziel]

idk man i know times are hard but i can't help but feel that watcher putting all their eggs in the basket that is their own streaming service is a bad call. like sure i totally get wanting a platform where you have full control both creatively and financially but i feel they might be misjudging how much loyalty non-hardcore fans might have for what they're creating. in every internet fandom there's a subsection of people willing to pay with actual money to support the creators they enjoy, and that's what services like patreon are for. but to expect that casual viewers will sign up and pay a monthly fee to get access to just watcher content when a large portion of them were likely just watching the content because it was free and accessible on youtube assumes that someone who isn't a diehard fan won't just go "oh well" and find something else on youtube that IS still free? that seems like a miscalculation to me. the massive fanbases online content creators have may literally be only possible because the content is available to anyone-- it seems foolish to assume that every single one of those fans is going to stick around once you try to upsell them.

i hope this new venture goes well for the watcher crew. I really do. but i also know that a lot of brands and startups that bank on the loyalty they earned when their product was free or low cost and expect that to sustain them while they try to do something that historically has not gone well for the vast majority of businesses. at best, they'll have halved their fanbase by alienating those who can't or don't want to pay and made it much more difficult for remaining fans to create fandom products like memes or gifs that promote their shows on social media. at worst, they'll discover in the near future the independent streaming service model is unsustainable with only the fans they have left and by that point they'll have already deleted themselves from youtube and made it impossible to come back to the level of success they had before. any attempt to return to youtube will be an admission of a critical miscalculation and i doubt many remaining fans will tolerate the back and forth. they'll have crippled their credibility, relevancy, and fanbase loyalty over a very short period of time-- and i don't know if it would even be possible to come back and still be beloved after all that.

worst of all-- if the watcher streaming service crashes and burns after they've already removed all their content from youtube, all the watcher shows are essentially going to become lost media, only accessible via reuploaders willing to risk a copy strike or if you know someone who has a copy downloaded. given how genuinely good the watcher content is in the sea of lackluster youtube mush, that really seems like a damn shame.

i hope the watcher team sees how everyone is responding and decides to course correct before it's too late and get away with only the hit to their reputation that they've already taken by announcing this, instead of pushing forward on a path that might lose them everything instead. nothing i've said here is with any hate intended toward anyone involved or those who are excited about the new service, but this just seems like a really ill-advised decision to me.

[illusioninfnty]

desperation ↠ day 31 ; sex pollen

↠ buggy the clown x reader

fandom: one piece word count: 1.6k warnings: nsfw 18+, dubcon, semi-public sex, fuck or die-ish, fingering, banter, unprotected sex, squirting, creampie

kinktober m.list || read on ao3

You know Buggy’s going to leave as soon as he gets his body back.

You’re not going to let that happen. When he finally reattaches himself, and runs off with a see ya!, you run after him.

“Stop!” you call out to him. “You need to stay and fight. We saved your ass, didn’t we?”

He turns around and sighs dramatically seeing you. “You again? Seriously sweetcheeks, would ya let me leave?”

You cross your arms, and give him the most intimidating glare you can muster. You only recently joined the crew, and you wanted to prove that you were tough enough to fight with the rest of them. Making sure that Buggy helped you guys fight Arlong and his fishmen while Luffy went to go save Nami was a way to prove yourself to them.

“I can’t let you—” you're interrupted by a fishman coming out from behind Buggy and approaching you. You whip out a dagger to prepare for his attack, but before you can get a move in he sprays some sort of powdery mist in your face, completely taking over your vision.

“Good luck trying to fight me now when you gotta deal with that,” he snickers as he runs away.

You cough and bend over, hands on your knees, as the mist lands in your nostrils and mouth. You try to swat it away in the air surrounding you, but it feels as though the mist has already gotten inside of you, and there’s no way to escape it now.

“Well, anyways, I’m going to go then,” Buggy starts, slowly backing away as he gets ready to escape.

You’re too weak to try and distracted now to try and stop him, but then your body starts to feel different. Your internal temperature skyrockets, causing beads of sweat to start dripping down your face despite the fairly average temperature outside. You can feel your body not getting hot because of that, but also the sudden arousal that threatens your core. 

Your legs begin to tremble as your body aches with need, a deep feeling in your gut that you never felt before. It’s like a hunger that needs to be sated immediately, as though it were a life or death situation. It has you wanting to just stick your fingers inside of your pussy and just fuck yourself silly until you can rid yourself of this itch you can’t seem to scratch.

“W-wait!” You call out to him. You must sound extremely desperate, because Buggy actually stops and turns towards you instead of ignoring your pleas.

You swallow hard and continue. “I need…help.” Your tongue feels heavy in your mouth as you grit out your words, embarrassed by just how much you want the stupid clown to fuck you. You can already feel how wet you are through your bottoms, and as the seconds tick by it feels as though your arousal is going to start spilling out onto the floor. “Need you to fuck me. Please.”

You’re too ashamed of your desperation to look Buggy in the face to see his reaction to your words. You only know of his answer when you fall to your knees, legs too weak to hold yourself up, and you feel his palm on your back.

“Well when you look like that, how can I say no?” Sarcasm drips in his voice, and you can tell he’s not really taking you seriously.

“I’m serious!” You try to sound as adamant as you can given how weak you feel at the moment.

“So am—” You interrupt him, finally having enough, by grabbing him by the back of his neck and smashing your lips against his own in a kiss.

His own hands move to cup your face, and you open your mouth up to let his tongue in. As the kiss becomes sloppy, you start to rid yourself of your clothes, needing your body to cool down.

He pulls away as he sees you baring yourself to him, eyes widening and a smirk overtaking his face. “Woah, didn’t realize you wanted to fuck me so badly. I would’ve happily done it if you were nice and asked.”

You don’t have it in you to protest him now. Instead you move your fingers inside of you, your juices gushing out of you despite the lack of attention your pussy had been receiving.

“The shit he sprayed me with,” you start. You lay yourself on the ground, arching your back as you piston your fingers in and out of you, praying that you find your release soon.

Buggy hums in thought. “I should be thanking him, then. Got myself a nice view.”

“You can do that after you fuck me.” The next thing you know his cock is inside of you, and he’s thrusting with the vigor of a man starved. You moan and arch yourself into him, your hands scrambling as they claw at his back. You wrap your legs around him, wanting to keep him close as his thick cock ruts into you.

You don’t think sex had ever felt this good before. Your juices are squirting out of you, proving to be a great replacement for lube, and your walls clench down hard on Buggy’s cock, like a vice. He groans above you as you tighten your grip around him, walls fluttering as they refuse to let him leave you.

The pleasure is too much for you to bear, and you can hardly talk. Your eyes roll back into your head and your tongue lolls out of your mouth, drool escaping the corners of your lips.

All that comes out of your mouth and pathetic whimpers and breaths of yes, yes, yes as Buggy fucks you with reckless abandon.

“Fuck, you’re so tight,” he grits out as his muscles bulge from holding you down with so much force. His hips collide with your own, the sounds of your skin slapping loud enough to draw the attention of anyone who would’ve been in the vicinity of the two of you. “Shoulda fucked you when I first saw you. Lookin’ all cute in slutty in your little pirate getup.”

You know you should feel insulted by the way he technically insinuated you were “playing” pirate, but the horny, afflicted side of you only chooses to focus on the yearning in his voice of wanting to fuck you, and how his cock is hitting parts of you that make you see stars.

It comes to no surprise to you that your orgasm is already closely approaching within minutes of having Buggy’s cock fucking into you. Your nails dig into his skin, and your whines increase in pitch and speed.

“I’m cumming, I’m cumming!” Buggy groans as you clench down even harder around his cock, as impossible as it may seem, and your orgasm crashes into you like a wave. You can only gasp out curses as you squirt all over his cock, your juices rushing out of you wildly.

Your release soaks yourself and him, both inside and out. Buggy’s orgasm isn’t too far behind as his hips begin to stutter in their rhythm and soon he’s moaning lowly in your ear and filling you to the brim.

A sudden rush of calmness washes over you as Buggy’s cum fills you up. It’s like all of the horniness and desperation for sex escapes your body as soon as it comes into contact with his cum. Your body temperature returns to normal, and the shaking of your body is solely in response to your orgasm instead of the deep aching within your core that seemed as though it could never be satiated.

You hold onto him for a couple of moments longer, catching your breath and coming down from your high as Buggy’s arms also remain wrapped around you and his cock stays nestled inside your entrance.

It’s then that you hear your name being called out in the distance. It seems as though while you were affected by the mist powder, your crew had completed all they set out to do.

Not wanting them to see you in the precarious situation you’re in, covered in juices and Buggy on top of you, still inside your entrance, you scramble away from him. Stumbling as you put your pants back on, ignoring the way his cum pools out of you, you give him a kick to his side.

“Ow!” He whines, rubbing the area you made contact with.

“Get out of here!” you whisper to him, despite no one being around you for probably miles out. “If they see us like this I’m totally screwed!”

He rolls his eyes, but still goes to stand up and get dressed again. “Oh, what? Embarrassed to be seen with me? Real original.” 

Your eyes narrow and you cross your arms. “I am trying to make a good impression with my crew, and this—” your hands gesture to yourself and Buggy—“is not going to help that.”

Buggy holds his hands up in surrender. “Fine, fine. But you owe me one.” He begrudgingly begins to leave by walking backwards, his eyes on yours the entire time. “Next time we meet, I'll have you help me out with something.” He wiggles his eyebrows in a way that makes you want to cringe, yet you can’t find it in yourself to dismiss him completely.

You shoo him away, ignoring the way heat rises to your cheeks. “Maybe. Now scram.”

You see your crew approach just as Buggy is out of sight. Thinking about your encounter with him more, technically, your mission was a success. You’d call it a win in your books.

[alchemistc]

911 was always in my periphery bc of how popular Buck x Eddie is on Tumblr and Ao3. I didn't really want to watch a cable network procedural drama, especially one that came off as so unserious. I could also see how such invested shipping by a lot of fans who are young and think it’s ok to demand things from the cast and crew would inevitably become a toxic cesspool. I stand by that assessment of the show based on the behavior of the fandom these last months, as well as the overall quality of the writing and how often good story lines just get dropped or undermined.

However, I heard about Buck coming out. Over the summer, I was going through a lot and feeling aimless, so I finally started watching the show. And I liked Buck and Tommy, but what I really loved was the quality of the fan works they inspired. At the end of the day, I never really had real expectations of high quality television from a show like 911; that’s not what it’s for.

Despite this, what really affected me last night—which was also the first episode I bothered watching live ever because of how terrible this last week has been—wasn’t even how badly it was executed or the fact that they broke up. But how unnecessarily and viciously cruel the whole thing felt?

What was the point of showing Tommy as a caring, supportive, present partner in the previous episode if it was going to lead to an unceremonious break up? What was the point of showing his yearning for connection and family only to see him throw it all away? Why have him say such wonderful things about Buck moments before questioning the commitment of their relationship after six months together? What was the point of Buck getting that speech from Josh and bringing up marriage and moving in together and that Tommy had been a transformative relationship when it was going to end with him being dumped? It just felt so horribly cruel to see a character bare his tender heart and see it get stomped on. He looked so sad at the end.

Up till the very end of the episode, I was actually really enjoying it. Their acting was so good from heart eyes to heartbreak, and the show seemed to understand Tommy’s reaction to Buck getting hit on by those women would cause friction. It even made sense to me that Tommy would recoil at the prospect of moving in together because Buck clearly hasn’t come to terms with being queer yet (sir, you haven’t researched the Kinsey scale? You?) And Tommy is also clearly afraid to reach for the connections he wants and the seeming inevitability of his heart being broken and is masking that with nonsense about Buck needing to play the field and the biphobia present wherein. It was such an interesting depth to his character! I thought the break up speech was so well-acted, and I was so ready for the conversation they were going to have that would address it and let them move on together stronger. To see Buck learn from Josh and see the scars Tommy was unintentionally revealing in that moment and address them.

And then the credits started rolling and I felt like I got punched in the gut.

It was definitely the straw that broke the camel’s back for me, with the election and other personal stuff really stressing me out this week. Last night, I felt sick and unable to sleep, and I spent the morning bawling my eyes out. It feels like one of the few things I really looked forward to had been snatched away for the shock factor. I believe the interviews are the definite death knell, but even if you don’t follow the interviews, it was just a cruel way to end the episode. Even if this ends up being a temporary roadblock or they “fix” it, it’ll always leave a bad taste in my mouth.

Anyway, I’m upset that I let a show I always knew wasn’t very good affect me this much, and I regret spending months of my life on it. But the reason I wanted to send this ask was because my real hyperfixation these last few months was never the show itself; it was always the Bucktommy fandom. Reading some of the most beautiful fanfiction, including yours, these deep and intense character studies or au’s or future fics that show more love to these characters than the show does. The stunning art, the lovingly rendered gifs, the startlingly funny and insightful writing. The fandom has been my real love, and I hope that despite this huge blow, people like you will continue being so immensely creative and artistic for this ship.

I’m sorry this has been so long and vent-y, but I wanted to send you this ask because you’re one of my favorite fic authors, and I’ve been following your posts since last night and you’re still responding to anonymous asks. I’ve always been stealth in the fandom to avoid certain parts of it, so didn’t want this on my own blog. If you do publish it, I hope the other authors and artists and creators who have made my life better get to see it too <3 And that they don’t regret the time and passion and love they’ve poured into the last few months. I have appreciated it, if nothing else.

Hi.

First of all, please don't apologize for the length of this.

Everything you pointed out were exactly the reasons people joined this fandom. Everything you listed here is EXACTLY the reason it left such a bad taste in our mouth.

I'm sorry I won't be more eloquent in this post, because this is such a kind and thoughtful and lovely summation of all the things I've been hearing and seeing and feeling.

The point of all that, if we are to believe Lou (which I do, and honestly props to him for being as gracious as he was in those post-mortems: fucking TWO exit interviews for a guest star? wtf abc), WAS to pull the rug out from under the audience. It WAS to end it all on a shocker of heartbreak. They filmed the bulk of Tommy's S8 scenes AFTER the breakup. It is absolutely vicious and cruel and meant to make people talk about it. The engagement they are getting right now is to some extent WHAT THEY WANTED. I went straight to my notes after work and I can't be fucked to check the insta or FB to see if they've posted anything new and/or what the comment count is on the 8x06 posts but THIS IS THE INTENDED RESULT. Broken hearts, upset people, an increasingly toxic fandom crowing.

That's where I'm at. I think that's where a lot of people have landed. And it's so disheartening to see something that really genuinely drew people in because it was handled so gently and kindly at first just be ripped away and the door shut on it.

And honestly if they close the mid season OR open or close 8B on a premise that includes one of them being injured and the other having a Realization™️ I won't trust this team to do it genuinely or truly. Even the breakup would have held so much potential for me, but not like this.

Anyway. I'm sorry you're feeling so disappointed. I am grieving the missed potential of literally every plot they built up this season for every character and if I do watch it won't be live and I will likely have very little trust for it's potential. There has been So Much wasted potential.

And I want to say thank you. Even if you lurked, even if you disengage now, the creators who made those works made them out of love and they wanted to share them and the community around it all has been lovely to see. Thank you.

Some of us will still be hanging around building the world that could have been. I hope, if you feel up to peeking at that sandbox, that you feel welcome to go play in it or even just clap from the sidelines.

♥️

[trans-jon-rights]

I think we don't talk enough about the amount of unprocessed trauma Jon must have. Like, all of his experiences, everything left a mark, a trauma. We talk enough about his scars, but some of his traumas are more talked about than others.

For exemple, the lotion trauma and the arachnophobia are the ones I see the most talked about. Of course he hates the feeling of lotion on his skin after that month with the Circus, and of course he is afraid of spiders -- though I feel like the latter is very discussed because of how proheminent it is in the show. The fact that he can't stand knocking on a door a certain way because of Mr Spider, or checks for a Leitner plaque every time he reads something are well known and accepted, too.

But do we talk about how much he probably can't stand seeing a mannequin exposed in the vitrin of a shop ?

How he probably had a panic attack once when he stumbled a bit and fell ? He doesn't even need to fall from high to be triggered, because even a second of falling makes him feel like Mike Crew is in front of him, and that he's going to be falling forever this time, that he won't ever touch ground.

He probably became entirely vegetarian after meeting Jared Hopworth, but I doubt he cooked much meat since his encounter with Jude Perry, with the sound and the smell of the pan sizzling reminding him too much of his own skin melting.

He has at least five CO2 extinguishers in his home alongside a large stash of insecticide, all because even if he knows Prentiss is dead, he feels like vomitting every time he so much as see a wasp or a worm of any kind.

We can take the autistic headcanon, maybe he liked weighted blankets before the Coffin -- but now ? That item of comfort has become a source of constant anxiety, something else taken by the Fears.

After learning about Sasha, he probably frantically passed over every single polaroid he possessed from uni or before, those showing his parents, friends, grandmother, asking a single question -- is it really them ? Are the people in my memory the same ones as in those photos ?

Yes, he checks for a Leitner plaque at the beginning of every book he reads, but did he stop reading for a while by fear of Mr Spider returning ? Did he have someone checking his books for him, making sure they wouldn't control him and feeling terribly guilty at the posibility of dooming someone else if the book is indeed dangerous ?

He probably can't stand the scent of chemicals either, after six months in a hospital.

Did he take that long to notice Jonah and Elias had the same eyes because he can't look at any of the portraits hanging in the Institute, too overwhelmed by the sensation of scrutiny all the while feeling guilty because he knows he's inflicting the same thing on others ?

Clinging onto Martin every time the weather is a bit foggy, terrified he will lose him ?

Jon got so much trauma responses that are too rarely considered, and I wish we as a fandom explored more of this aspect in fics.

[quasi-normalcy]

Every "Nu Trek" (2017- ) Series Ranked from Worst to Best:

Very Short Treks (2023): There's really no words for just how terrible this series is. I mean, I know that it only barely counts because it's explicitly not canon and has a total combined run time of about 15 minutes, but *my god* is it bad! Only one of its episodes is remotely funny, and even that manages to feel like it's driven its main joke into the ground by the end of its 2-minute runtime. The only thing that I can say for it is that is that it gives me an easy, uncontroversial choice for worst Star Trek series, not only of the last 7 years, but of all time.

Picard (2020-2023): Listen; I know that this series is unpopular with the Tumblr Trek fandom, but it actually breaks my heart to have to put it so low on the list. It has, in my own opinion, the best dramatic acting of any Trek series and among the best directing, and almost every individual scene, in isolation, is compellingly watchable. More than that, it has fascinating worldbuilding choices, you can really *see* the passion of the writers for what they're creating (at least in the first and third seasons), and Agnes in particular is among my favourite characters in anything ever. It's got a lot of great moments, too! Picard and Seven bonding over shared Borg trauma; Soji uncovering the truth of her identity; Jurati hacking the Borg Queen's brain; Picard's final farewell to Q; Shaw's Wolf 359 monologue; Geordi's reunion with Data...I could go on. And yet, it just feels like so much *less* than the sum of its parts! Incredible ideas are introduced and then just shrugged off to pursue much more boring ones. Story arcs feel pointless if not actively offensive. Absolutely baffling writing choices are made throughout, with no indication as to why. And the nostalgia baiting , particularly in the final season, becomes so intense that it just chokes the plot to death. One comes away haunted by the feeling that this series should be so much better than it is.

Discovery (2017-2024): Really, this is two separate series: a twisty, grimdark, sci-fi war drama and a gentle queer coffeeshop AU about scientists who talk about their feelings. Both of them have their moments, but they each fall down in the same way: a focus on epic, high-stakes mystery box storytelling that undermines one's ability to really get invested in the characters, or even know who they are when they aren't off saving the universe. Without that, while I liked many of the characters and loved seeing them science the shit out of things using teamwork and the power of math, it's kind of difficult to get invested in this series one way or another. In spite of its absolutely gorgeous visuals, it comes off feeling weirdly...flat.

Short Treks (2018-2020): Not a lot to talk about here; just kind of an anthology series of short films adjacent to Discovery, Picard, and Strange New Worlds. Mostly they're varying shades of mediocre, but a few of them are as brilliant as any episode of Star Trek ever made, so the series gets to be relatively high on the list.

Strange New Worlds (2022- ): This is the first entry on this list that, in my opinion, belongs on the top shelf with some of the best of the older series. And it achieves it basically by adopting the same formula as the original series or the next generation--socially conscious planet-of-the-week adventures with enough wit, cleverness and joie-de-vivre to keep it interesting. I remember in 2017, there was plenty of discussion of how it's possible to update Star Trek's formula for prestige television; how funny that the solution turned out to be "don't change it at all, just give it modern special effects and actual character arcs." That said, the series is a bit *too* beholden to the original, with focus primarily on a bunch of characters who aren't allowed to grow or change too much because we already know how they'll turn out. It would be even better if it were about a new ship and a new crew full of nobodies who we can come to love. Which brings us to...

Lower Decks (2020-2024): Above, I said that Picard felt like it should have been so much better than it was. Lower Decks, frankly, should have been so much worse. How is an adult animated sitcom with Rick and Morty style animation and constant memberberries this freaking good!?! Every episode is a master class in efficient storytelling, with 22 minute runtimes often feeling like they contain as much story and character work as episodes twice as long. And the characters are incredible--like TOS and TNG, they feel almost archetypal, and even though you've never seen them before, they slide so seamlessly into the Star Trek universe that it's hard to believe that they weren't just *always* there; that there was ever a time when you could imagine the Star Trek universe without just intrinsically knowing that Tendi and Shaxs and Mariner were off somewhere in the background. It's greatest success though, the reason why it's comedy works when it really shouldn't, is that it's only *slightly* sillier than the serious series. What we end up with a fantastic series with an ethos that is pure Star Trek, and in fact, if I had written this list a month ago, it would certainly be in the #1 spot. However...

Prodigy (2021-2024?): The first season of Prodigy is...charming. It's got some fun characters, some spectacular visuals, some interesting premises. And if the plots tend to be a little too simplistic to be engaging to an adult, hey, it's a kids' show. It's good. Solid. Above average. And if I had only the first season to go on, it would probably be in third position on this list. But then, a few weeks ago, it went ahead and dropped the best season of Star Trek in a quarter-century, and I really...I just cannot recommend this series highly enough. The sheer, ambitious scope of the narrative; the arcs it puts its character through; the cleverness of the writing; the fricking GORGEOUSNESS of it! And it does all this while redeeming deeply unpopular characters and plot points from other series, in a way that never feels forced or pandering. Not only is it the best Star Trek series of the 21st century, it's one of the best children's animated series since AtLA. Go. Go! Watch it! Watch it now!

[starryinkart]

[CLICK FOR BETTER QUALITY!!!]

(Likes and Reblogs are appreciated!!)

Soooo I was sucked into Poppy Playtime again because of these goobers!! I don’t think I’ve ever posted Poppy Playtime stuff on here before, buttt I think I will now, I just wish the fandom was a bit bigger and more lively lmao 🤣

Catnap is my #1 favorite, then DogDay, then KC, and then Hoppy! I love the others too, but Bubba and Crafty are so hard to draw atm. I just need to practice more with them!😓

{Colorless Lines Below!!}

Headcannons for them below too!!!

———————

Some headcannons in the show universe cause I’m feeling fun:

- Catnap is the youngest! DogDay is the oldest of the crew! Their age order goes (oldest to youngest) DogDay, Bubba, Picky, Kickin, Crafty, Bobby, Hoppy, Catnap!

- Catnap doesn’t talk much, but he can. Just with a low voice that tends to be calming, and very sweet sounding. He usually just points, says short answers like yes or no, and nods.

- While Kickin (or KC) is the most egocentric and confident, Hoppy is the most energetic and tends to like talking people’s heads off, which causes them to butt heads at times, all while Picky tends to be the usual third wheel, often just quietly eating.

- Crafty is the most creative while Bubba is the most thoughtful and intelligent, which usually allows them to have deep, meaningful conversations of the wonders of life together.

-Crafty is the shyest out of the bunch, usually drawing with Catnap calmly, sharing her creations with him or hanging out with Bubba.

- Bobby and Picky tend to share their love for the world together, usually playing dress up with each other, talking about crushes. or cooking of course! Bobby always has something lovely to share and Picky, in contrast to her name, always is open to trying something new, as long as she thinks she may like it.

- In contrast to the canon, all of the crew just magically woke up in the Playcare, with no memories of before they opened their eyes to the colorful world around them. DogDay and Bubba were the first to appear, Picky, Crafty and Kickin spawning after, Bobby and Hoppy spawning together and Catnap spawning alone. There seems to be no way out, so the crew just embraces their situation and tries their best to not think about it too much.

- Catnap was the last and most unexpected to spawn in. From the time he opened his eyes to the new world around him, he had felt like something was off, like he didn’t belong there. While most of the others treated him nice, some of the crew were uneasy about his sudden appearance, seemingly years after the last of the previous arrivals had spawned in.

- Catnap begins to grow close to DogDay, almost becoming like his little brother. They spend the most time together, due to DDs kindness and warm welcoming energy towards him on his arrival! Also them both noticing they wore opposite necklaces, Cat being the moon and DD being the sun helped with that connection too!

- Kickin doesn’t really like or trust Catnap much, and doesn’t try to hide it, making snarky remarks and comments to clearly express his dislike for him.

- Catnap is super playful with the others, his best friends being Dog Day, Hoppy and Crafty! He tends to move like a ghost, the crew not usually noticing they are in his presence until they turn around! A lot of times, he hangs by his tail on the trees to say hello, or can be found in the fields laying in the grass and sleeping.

- Cat can sleep anywhere that is a surface, and is not wet.

- Every once and while, Cat swears he can see a skinny, metallic hand in the shadows, beckoning his attention. He’s tried to bring it up to the others, but they either think he’s acting weird, insane, or tell him not to worry about it.

———————

If you want to hear more, my asks are open!!! And I will be drawing them inbetween my Absolutely Chapters for Murder Drones, which I am STILL working on and Chapter 4 is coming out soon!! Promise, I didn’t forget, things have just been busy!!

ALSOOOOO New Murder Drones Comic for King Solver N coming this weekend 👀👀👀 Perhaps some angst or something fun?

[idontcaboose]

Haunted car au, pt 6

The next part is fighting me a bit, so I will just post this one for now.

Previous

Duke reeeaalllyyy does not get paid enough for this.

Good news, he was able to get the names of the dealers and suppliers and also narrowed down the places of interest to three warehouses. All he had to do was drop that info onto the server for the night crew, and that was that, not his problem anymore.

Bad news, the car is becoming his problem.

When Duke entered the cave, he could see the wheels turning, and not in a sick burnout way Jason does anytime he gets behind the wheel, they were just turning left and right. Then to add more insult to Duke's attempt at ignoring it, the car opened its driver door in what may have been a mockery of a greeting. Honestly, Duke could have also ignored that but then it seemed to fucking Panic and set off its own alarms and proceed to flail all the doors open and reverse to the point that the back wheels made it off the platform and into the gutter that runs though the cave. If Duke was a betting man, and he was, he would bet that whatever possessed or replaced the Batmobile was so incompetent that he had to worry more about Its safety from the Batfam. Whether that was protection from arrest or adoption is still up in the air.

Either way, this is becoming Duke's problem. He is really not paid enough for this. Time to calm down a sentient car.

“Hey, car buddy? You ok?”

Duke wasn't sure what he was expecting when he was talking to a car of all things, but absolute silence wasn’t it. Was this thing going to try to play car now? After everything that just happened? Duke slowly walked up to the driver's side door and looked in for the green blob person, only to see them in the back seat sprawled out. Duke tried to not think too hard while putting the car back in its spot, but the list of facts he has so far kept ticking.

1. The Batmobile has a new passenger or has been replaced

2. The thing/person is not good at hiding, so probably not a villain plot

2a. If it is a villain plot, they got the absolutely wrong person to do it

2aa. Possible meta forced to spy?

3. The person just freaked out so hard they fainted after setting off the Batmobile alarms.

4. Alfred will know what to do right?

5. Try to communicate again with the person in the car.

It didn't take long for the blur on the backseat to shift again. Luckily they didn't immediately jump into the driver's seat, where Duke still sat. Duke turned to look in the backseat, time to start this interrogation.

“Hey, you ok?” Duke was happy that he was able to see the head nod that the fuzzy blur gave.

“That's good. Now, I can't see you too well, but we can work out some basic questions, alright?” Another head nod answered him.

"Are you in danger? Like, did someone force you to do this?” The head shake that was produced shook the car. Duke internally sighed in relief, not a villain plot or meta trafficking gone wrong.

“So this was just an accident, and I am guessing you are now stuck?” Duke knew he was not as good at body language reading as the others, but the wave of embarrassment and resignation this blob was giving off confirmed that whoever/whatever this is, was not a total threat.

Next?

As usual tag list!

@kizzer55555 @sebas-nights @candeartist422 @trappednyourheart @fandom-life-corrupted-me @tkiesai @2lbballpeenhammer @admiralwidow @rewrittenwrongs @whotfevenknowsanymore @symmetricalastigmatism @atinygracie

[starlithumanity]

I'm having a fascinating time rewatching Our Flag Means Death with the knowledge that Ed sees Izzy as a "safe" mentor/family figure ("safe" because Izzy is Ed's subordinate aboard the ship, which creates a more balanced power dynamic) upon whom Ed projects his many unresolved daddy issues. That stated interpretation from David Jenkins does work, even in season one!

Most of the fandom conceptualized season one Izzy as a power-hungry subordinate to Ed and a "co-parent" to the crew (paralleled with the Stede/Mary marriage) who has an understated masochist lust for the Blackbeard legend. All of that is true too, because Ed and Izzy's relationship is incredibly complex and fucked-up. I know from personal experience that this kind of layered toxic relationship is completely possible, though it might seem contradictory on the surface.

In season one, Ed considering Izzy as a mentor/family explains more why Ed let his first mate be so insulting to and controlling of him and still kept wanting Izzy to stay beside him. It adds more meaning to how Ed veers super hard into the violent Blackbeard role after feeling cornered and threatened by Izzy at the end of the season. (This also has further weight for those of us with family members who have disapproved quite loudly of our queer relationships.)

There is a strong parallel that I noticed previously between young Ed's reaction to his father abusing his mother and season one Ed's reaction to Izzy dueling Stede. Stede is linked to Ed's mother through the red silk and through the fact that Stede and Ed's mother--and Lucius--are the only people we see treating Ed with compassion/softness in season one. It thus makes sense for Izzy to be mirroring Ed's father.

Then there's another parallel in how Ed responded to Izzy mentioning Stede in a mocking way ("pining for his boyfriend") by choking Izzy, like how Ed had once responded to his father threatening his mother by strangling his father. In this moment, Izzy touched Ed's face with an intimate kind of familiarity and said, "There he is." Ed clearly found this unnerving, which some people read as sexually harassment, but it makes just as much sense for it to be his daddy issues getting triggered.

(GIF Sources: captain-flint and divineandmajesticinone)

I think part of why this dynamic was unclear in season one is because the writers wanted us to see that, even though Izzy is a mentor figure who taught Ed certain skills, Ed is a grown man who is fully competent on his own. He had likely started building the Blackbeard legend by the time Izzy met him, he has a clever mind that's constantly coming up with new plans, and when Izzy himself was left as captain, Izzy proved to not have the necessary charisma and compassion to lead the crew. Ed is the star power; Izzy is the manager, so to speak.

However, Izzy overestimates his importance and often talks about himself like he's a martyr to the Blackbeard legend, working so hard to keep both Ed and the crew in line. He claims that he's been "clean[ing] up [Ed's] messes... my whole life," which feels like a very parental complaint to me.

Ed fuels this martyr complex some in season two by physically harming Izzy, but notably, Ed doesn't threaten this kind of harm to the rest of the crew (though he isn't very careful with them either) until he's in the suicidal spiral of driving the ship into a storm. Before that, Ed threatens Izzy specifically, both because Izzy threatened him and Stede in season one and because Ed's trying, in his own fucked-up way, to prove to Izzy that he's following Izzy's guidance and "being Blackbeard." The toe-cutting also has some metaphorical weight: Izzy demanded that Ed "cut off" the gentler pieces of himself to be Blackbeard, so Ed starts cutting off literal pieces of Izzy in return. When it becomes clear that this isn't satisfying Izzy either, that's when Ed really goes off the deep end. ("I loved you the best I could," but I never could be enough to fit your expectations.)

(GIF Source: livelovecaliforniadreams)

Meanwhile, we see Izzy starting to question things specifically in response to Ed saying that Izzy could be replaced as first mate. Izzy thought his place, as a mentor/family and self-professed "martyr", was more secure than that, and it challenges his whole identity.

Throughout season two, the mentor/family dynamic is further emphasized via the parallel between Izzy/Ed/Stede and Auntie/Zheng Yi Sao/Oluwande. Others have discussed this more, but there's so much meaning in the similar ways these characters carry themselves, in the tension of Auntie disapproving of Zheng Yi Sao's feelings for "soft" Oluwande, and in the way Oluwande finally teaches Auntie to soften herself some for Zheng Yi Sao.

(GIF Source: bizarrelittlemew)

Additionally, in episode five of season two, we see Stede turning to Izzy for mentorship, proclaiming that Ed himself had recommended Izzy as someone who "made him into the captain he is today." People have questioned that as being a false manipulation from Stede, but I think there's a good chance that it was true! (Ed probably said this to Stede sometime during season one, when the two of them got to know each other so well.) "Taught him everything he knows" is definitely a flattering exaggeration, but hey.

(GIF Source: ofmdaily)

Throughout this and other episodes, we see Izzy continuing to take on a mentor-like role with Stede and the crew (and eventually Ed) as he tries to recenter himself after the darkness of the first three episodes. It's clear that Izzy is most comfortable playing the gruff and politically incorrect old fighter who offers guidance, but now he's letting himself branch out more and connect to the crew in new gentler ways. He even metaphorically "gives his blessing" to Ed and Stede's first time having sex by providing the musical accompaniment, which is the perfect amount of weird for this show, haha.

(GIF Source: izzyfag)

Izzy's transformative arc in season two also involves a steady pattern of reversals, corrected new versions of his treatment of Ed in season one, as Izzy start coming to terms with the harm he did to Ed. Other people have discussed this in more detail, but I think the pace of this change is realistic to what you would see in such a situation. Ed's responses to this, too, are consistent with him seeing Izzy as a mentor/family.

(GIF Source: edwards-teach)

I should further note that Izzy and Benjamin Hornigold (another abusive father figure from Ed's past) are two characters mirrored by the fact that they call Ed "Eddie" in season two. I can imagine that being the nickname Ed used when he was younger, before growing out of it. Izzy seems to start feeling the echo of that memory of younger Ed when Ed comes to him scared, asking for Izzy to "fix [his] mess" by shooting Ed like Ed "dreamed" about.

(GIF Source: blairpfaff)

Right before Izzy's death, there's a scene where Ed is triggered super hard in his daddy issues by the fisherman "Pop-Pop." I think the writers wanted to remind us of the parental trauma Ed has been through before giving us some catharsis through Izzy's deathbed confession and apology. In that moment, Izzy takes full accountability for what he did, while Ed cries and says, "You're my only family." Izzy redirects him in a final bit of mentorly guidance, telling Ed that the crew is there to be his family if Ed will let himself be loved, truly, in the way Ed has often rejected and distanced himself from being loved.

(GIF Source: izzyfag)

Now, I do think Izzy's death was the right choice for this show. I like that DJenkins went with the classic mentor death trope, and he did a similar thing with Buttons, the other old-timer first mate! I agree likewise with those who have discussed Izzy's loss as being a necessary step for the narrative to move forward both from Ed's darker self/parental trauma and from the older age of piracy that Izzy represents. Izzy was always meant to be a dark reflection of and a narrative support/conflict for Ed, and this is the natural culmination of that. His complicated legacy will continue to be something Ed has to reckon with, however, although Ed is trying to compartmentalize that right now.

I very much hope to see, in season three (🤞🏻), how Ed continues to process his past, especially now that he's trying for a domestic life that will likely lead into marriage. Marriage, from what I've seen, often acts as a staging ground for whatever parental trauma you had growing up, because you look to your parental figures as an example of how to do "adult" things. This is going to be a huge conflict for both Ed and Stede, who has his own personal negative marriage experience. I suspect Izzy will continue to represent this problem in some form or another.

(GIF Sources: kiwistede and yenvengerberg)

[battlekidx2]

I'm making this post purely to shout out some incredibly talented fanfic writers from the Hazbin Hotel fandom and my favorite works of theirs.

Did anyone ask me for this? No. Will I post it anyway? Absolutely. The writers in this fandom are too good.

The first fanfic writer I want to shout out is @prince-liest (ao3 link)

I absolutely love their get cared for idiot (Alastor) series (not the official name but they called it that in one of their asks jokingly so it's now the default in my head).

Knock, Knock! It's Your Worst Fucking Nightmare! (this fic gets it!!!! This is what I meant when I said Alastor is growing a heart and part of him is raging against it. He still has ulterior motives and a massive amount of pride and part of him feels like that growing fondness is getting in the way, but he can't stop it. I need to stop before this becomes a long ramble. I've written a couple thousand words on this idea, but this fic is just a better use of your time than any meta I could ever write and way more entertaining :D )

Happily Ever After, and Other Shit Nepotism Can't Buy

The Last Bus Stop in Hell, Now Boarding (Please look at the tags for content warning. Angel and Alastor body swap story.)

They're amazing at balancing on that razor's edge with Alastor where there's a heart in there (really deep) and he's unintentionally growing attached to the hazbin crew, but he doesn't lose his edge. He's still manipulative and an asshole and can easily be the scariest guy in any room. He's in hell for a reason. A+ characterization at all times.

They're so good at writing the complicated dynamics he has with the residents, especially Charlie, and I enjoy how they expand on Alastor's potential dynamic with Angel Dust.

Anything they write from Lucifer's POV is gold too! My favorites are:

Take Two and Leave a Voicemail!

The Care and Keeping of Homo Angelus

I am also 100% here for their Aro!Alastor agenda and I'm enjoying their fic I Love Her, I Love Her Not so far!

The second person I want to shout out is @grayintogreen (ao3 link)

Their series Red Roses and Dead Things consistently gut punches me.

Just like Princeliest, they are also fantastic at balancing on that razor's edge with Alastor. A+ characterization for everyone and I love how they write HuskerDust. It's so soft, especially in the aftermath fic for Learn that Even Death May Die called If My Love Is Tomorrow, I've Forgotten Yesterday (that fic hurt in the best way).

The way they explore the aftermath of Learn that Even Death May Die is incredibly impactful. They capture the unique grief that comes from the reality that there are some things you won't get closure for so well that it's painful.

I can't say enough good things about their series. Genuinely go read it.

I found @lediz-watches (ao3 link) before the first season of Hazbin Hotel dropped (I've been a fan of the hellaverse for a few years now and have been enthralled with the Hazbin Hotel pilot since I first watched it in 2020) and I really enjoy their fics.

My favorite is Suffering Kindness. I love the Charlie and Alastor dynamic they explore in this story. I think I'm just a sucker for the Charlie and Alastor dynamic in general, but this fic hits all the right notes for me. (written pre-season 1 but man is it good. 100% recommend)

LeDiz also has a lot of one-shots/collections of one-shots that are very fun.

The Cure for Inexorable Boredom

Dollface (one-shots about Alastor theories. My favorite is the 3rd one. So fascinating!)

Choice Words (one of the few explorations of Alastor and Vaggie's dynamic that I've found in the fandom)

Don't Say It

I have to shout out @ckret2 (ao3 link) and their phenomenal fic You’ve Got a Face for Radio. This is such an amazing aroace!Alastor fic. (Embarrassingly it was this fic that made me realize I was most likely aroace myself. I’d had fleeting moments of suspecting it but it wasn’t until I saw my experiences laid out in a character explicitly written to be aroace that I put the puzzle pieces together. -_- some of these passages were too relatable.) I cannot express how much I love this fic.

I also like their fics Dumpster Baby and Bitter Grapes.

I have one last writer I want to mention because this is getting really long (whoops). The last one is tiredoflofteranditsshit and their Assume He Has a Heart series (because my favorite character and how I interpret them was not obvious enough already with the fics/authors I've recommended. I had to make it more obvious).

These fics are massive (17k and 26k words) and so much fun. Definitely worth the read. Yet another series that follows up season 1 and explores Alastor’s growing connections and how he lies to himself and pushes against it. Love this series and there’s a lot to sink your teeth into :D

[thequietkid-moonie]

Autistic memeber of the Astral Express

[ PLATONIC HEADCANONS ] [ Pom Pom, Himeko, Welt, March, Dan Heng & the trailblazer ]

[ Honkai Star Rail ]

I want to make this some kind of tradition, having at least one fic with autistic reader for every fandom I write for! Request or original idea, it doesn't matter, the important is bring cute fics and comfort!!

Hope you enjoy it and feel the inmense love and comfort Moonie is expressing for you, dear reader ❤️❤️

The astral express is constantly reciving people from the whole galaxy, everyone is welcome to the visit the astral express, and just like that everyone is more than welcome to joing the nameless and travel across the universe, helping people in need

Everyone has a past and a reason to why they choose to follow their own path, and thats is respected in the astral express, they aren't bothered by it in the slighest (and even if you prefer to don't say anything about it its okay too), once you decided to join the crew you imediatly become part of the family and are accepted as such

It will be quite helpful if you are sincere and tell them about your condition, or at least one of the crew, that way they will be able to help you feel more comfortable and adapt what it is need to adapt to bring you comfort, no one in the crew will be disrespectful or think less of you (in fact, every one is more than willing to share some words of comfort if you feel insecure or even bad for your disability)

Pom Pom as the driver of the astral express he end up taking the charge of taking care of the crew (and visitors) while your stay on the train, so that is why at the end, once you joined the nameless was him who directly approached to you and ask you if there were something you needed to feel more comfortable, inisiting that there is no need to be shy, you are free to talk to him if you need anything. As well, since Pom Pom is the once who is in charge to cook (not that it bothers him, he does it with joy) he will ask you at some point if you have any preferences or even what is what you like the most when it comes to food (at the end Pom Pom will learn how to make your comfort food just the way you like it! and he actually feels quite proud of himself for that)

If changes tend to cause you distress the constantly traveling around the galaxy and constantly visiting all kind of worlds can not be the best for you, however to help you with that Himeko always make sure to take time before the jump to tell you about your next destination, telling you all the details she can in hopes to help you feel less anxious and stress by the new enviroment, as well with knowing the name of the planet you can easily search for more information in the data bank that the train owns (and since Dan Heng is always there he is more than willing to help you search the information you need)

As well, if you feel that there is something in the enviroment of your next destination that you may not be able to handle too well then you can just stay on the train while the rest of the crew take care of the problem, besides it is helpful if someone stays on the train (and if you decide to stay on the train March promise to take a lot of photos just for you and will try to bring you and Pom Pom a souvenier)

Even when you have a disability no one in the astral express will look down or think less of you, in fact all of them will try to learn about your disability and how it affects you to be able to offer the help you need, and they always does. Himeko is the best to bring comfort or help you understand things you struggle with, as well she can show you around the train and teach you how it works if you really want to know, Welt is also really good with comfort but more indirectly, making sure you never forget how apreciate you are by everyone (and not only in the astral express)

March will be the one who has more problems with adapting to your condition because she is really clingy and loud, she loves dragging you to what she is up to because she consider you as a really good friend is her way to show you how much she likes you, that is why she has to be reminded constantly to respect your space and to don't be too loud or touchy, either by you or the rest of the crew. Is probably that more than once she have trigger you and made you upsed (or even made your body hurt due the overestimulation), but that has never being her intention and she always try to make it up for you

Dan Heng is the one who is more quickly to adapt to your needs, he respects a lot your condition and always make it clear, even if he has never being too expressive you can tell by his actions how much he loves and cares for the astral express crew, including you, you can notice the little hints of him making sure there is nothing that could trigger discomfort or distress on you or quietly checking on you whenever you are spending time together, it isn't that he underestimated you but he does worry for you. Also, he has never have problems with people coming to the archives (even if it kinda is his room), so if you it brings you comfort the quiet and peaceful atmosphere of that room you are more than welcome to go whenever you want

Despite having a lot of knowledge due Kafka's helps, after their memories being eraised the trailblazer is now more like a newborn and everything is quite new, so they has to take some time to adapt and properly learn how to treat you to don't make you upset or bring you discomfort by accident, not that they thinks that your disability is a problem, is just that they don't want to bring you troubles, although, for them it won't be as dificult to adapt as it is for March and once they do and finally feels comfortable (knowing that they won't make you feel uncomfortable neither) they just become a great friend and a little bit protective over you too

[jesncin]

A Failure of Asian Lois Lane: Pt 2: My Adventures with Superman, an honest discussion

If I had to pinpoint the fundamental problem with My Adventures with Superman's depiction of Asian Lois Lane it's in their attempt to subvert the classic two person love triangle: Lois loves Superman but is indifferent to Clark Kent. In MAWS, Lois insta-crushes on Clark Kent and hates Superman. In the show's attempt to make sense of this dynamic, Lois' Asian identity becomes at odds with a story meant to touch on xenophobia and immigrant themes.

Let's have an honest discussion about a show that made fandom cheer as an Asian character removed the one thing that made her most visibly Asian.

Disclaimer: While I am of East Asian descent, I am not Korean. I'll be discussing general Asian diasporic experiences but the specifics of Korean culture are outside of my knowledge (as usual I can't and don't speak for every Asian person ever, I am 1 opinion). Secondly, I'll be pulling from my personal experiences every now and then particularly pertaining to being a butch Asian person watching this show. It'll be a mix of formal analysis and personal anecdotes. Thirdly, this isn't an exhaustive analysis of MAWS Lois' character. We'll be sticking to what I consider is relevant to themes of Asian identity and immigration. Lastly once more, I do not believe the MAWS crew had malicious intent in any (of what I consider) poor writing decisions. We're here to analyze and challenge these writing decisions.

Please read Pt 1 of Asian Lois analysis that covers the comics, as it provides the groundwork for the ideas expanded on in this essay.

We need to talk about Lois' design. In the follow up to MAWS' release, people have been speculating on Lois' ethnicity. CBR writes that the show has "some fans believing that she's at least part Asian" and other articles have the show crew confirm Lois Korean heritage via her hanbok outfit in episode 4. The existence of these articles, my own anecdotal experience of streaming MAWS with Asian friends, and comments I receive from people asserting Lois' Asian identity was never explored in the show ("you'd only know she was Asian if you searched up articles about it"), tells me we have a case of an ambiguously designed Asian woman. Tangentially many people had no idea Livewire, the white haired and blue eyed woman, was meant to be South Asian.

There's a lot to be said about art styles that don't properly stylize ethnic features, but for the purposes of our analysis that means the writing has to deliver the heavy lifting where the design fails. This is the opposite case of American Alien: a comic that relied on the art to portray Asian Lois.

Let's start at episode 3. In it, Lois finally manages to conduct a private interview with the elusive Superman. When she asks where Superman comes from, how his powers work, etc- Superman comes up empty. In this version, Superman can't talk to his Kryptonian father (Jor-El)'s hologram because of a language barrier, so he knows very little about his alien heritage. He leaves Lois, assuring her he's here to help the people of Metropolis. When Clark Kent congratulates her for interviewing Superman, Lois rebuffs him. "Oh, he's [Superman's] a liar." smirking as she says it. This is the start of the Lois Hates Superman For Being a Liar arc.

I'd like you to consider the optics of an Asian American woman interviewing an alien immigrant who honestly told her he doesn't know where he comes from and is still figuring out who he is, only for her to think he's lying. Because she didn't get the answers she wanted. I can't help but think about my own experiences, where I was asked "but where do you really come from?" or "okay but what's your real name?" I think of my Asian American peers who would honestly say they're from Texas or Atlanta and get a vindictive "you're lying" as a response. People want to hear you're from China. They want their biases confirmed. I think about how I honestly can't tell you where my elders hailed from, because of cultural genocide and language barriers. This scene makes me uncomfortable, but let's press on.

Episode 4 is where Lois is most visibly Korean. In this episode the trio of Lois, Clark, and Jimmy are tasked with interviewing rich techbro Prof. Ivo of Amazo tech at an investor event. It's a prom episode. Lois wears a "hanbok inspired gala outfit" designed by Dou Hong and Jane Bak in a deliberate move to showcase Lois' Korean heritage. Bak comments "I remember feeling strongly about wanting to inject some aspect of her Korean heritage without disrupting her characteristic as a spunky and resourceful intern/reporter." while the wording poorly implies that Korean heritage is at odds with Lois' spunky personality- I do want to challenge a couple of the decisions that went into this design.

I want to acknowledge as an Asian butch that there are many ways to sport traditional garments and it's okay to mix and match to figure out what reclaiming culture (and your comfort) mean to you. However we're talking about the opportunity to showcase culture in an episode of a fictional animated show. I also encourage cultural gender expression that thinks outside of western white people's idea of gender (in both fiction and real life).

Whenever artists try to do a non-conforming spin on a cultural outfit, I always have to ask: "what standard of masculinity are we basing this on?" It's clear that MAWS is pushing for a "tomboy" Lois, and this gala outfit is an extension of that. But what's the standards of masculinity in a Korean lens? Men wear hanbok too, so why can't Lois imitate how Korean men wear hanbok, by traditionally accompanying her look with baji (baggy and loose pants)? This design notably has tight pants that hug the form, instead. I know the hanbok look has been modernized in and out of Korea in many ways, but in a show where you have the opportunity to showcase cultural non-conformity, I feel more thought should be put into the outfit outside of a potentially western lens- or the idea that cultural heritage of any sort "disrupts" a character's personality.

Now that we've discussed the design of the outfit, let's look into the narrative role it plays in episode 4. While we can celebrate cultural representation in media, I consider it important to ask "what is this media's relationship with the cultures it represents?" and the answer for Lois' hanbok in this episode is: nothing! It's an aesthetic acknowledgement of culture. "Hanbok" or "Korea" are not terms explicitly mentioned in the show. When Prof Ivo offers beautiful women as compensation for Clark to keep quiet about his company's corruption, Ivo looks over to Lois- who spills food on her clothes, and remarks that she's unclassy. She's not judged for wearing othering cultural clothes- which would have tied nicely into Clark choosing to be silent on issues of Ivo displacing a neighborhood, making Clark realize his complacency actively hurts marginalized people. Despite wearing cultural outfits being a political statement in America, nobody reacts to it. It's clear what the actual goal of this scene is: Clark looks cool for defending his "tomboy" crush.

In a scene blatantly made for fanservice, Lois offers to sew up Clark's ripped tuxedo by undressing her hanbok so she can reach her little sewing kit. Lois never wears her hanbok again afterwards. This scene haunts me. It's a scene that tells you that fanservice is more important than cultural representation. It's a scene meant to set up that Clark gives his tuxedo to Lois later on for warmth. Lois removing her hanbok is meant for not one, but two fanservice scenes.

Lois talks to Clark at the stairwell. She opens up about her estranged relationship with her father, how her mom has passed away, and how she's been an intern at the Daily Planet for a year with no sign of being hired. This makes the narrative decision for Lois to lose her hanbok far more tragic. Lois being a diasporic child with so few familial ties to her culture would mean garments like her hanbok would hold a lot of sentimental value! It's hard enough finding a cultural outfit that fits with your butchess (many of my cultural outfits are hand made to fit my form and gender expression), and yet Lois unceremoniously loses her hanbok. You would think in Lois opening up about being distant from her parents that Clark would be able to culturally relate with the distance he has with his Kryptonian parents. But the narrative opportunity to link their immigrant experiences is not taken, because the show simply doesn't recognize the parallel between the two.

Instead MAWS pushes for the Lois Thinks Superman is A Liar thing again. A far less narratively substantial and fundamentally flawed arc. This episode starts with Lois calling Superman a liar and has Lois ranting about him "dodging her questions" (remember, he was honest with her about not knowing his heritage) thereby rendering her interview unpublishable. She resorts to conspiracy tabloids giddily provided by Jimmy for information. She rather cruelly says "nobody normal believes in aliens". We are uncomfortably seeing the build up of Lois being allegorically xenophobic towards alien immigrants- a Lois on a quest to out an alien before he's ready. This is their justification for flipping the love triangle. Lois loves cuteboy Clark from work, and hates Superman for not confirming her biases that would help her publish an interview that would promote her at work. What a love story.

To wrap this episode up: Prof Ivo ends up challenging Superman to a fight so he can flex his Parasite suit to investors, only for it to backfire, destroy his reputation, and greatly damage the Amazo building (remember this it'll come back later). The episode ends with Lois discovering Superman is Clark Kent. Anecdotally, I was so frustrated with the treatment of Lois' hanbok in this episode, that I went online to search if anyone else felt similarly. All I was met with was fandom thirsting over the stairwell scene where Clark and Lois were undressing. Consider the optics of an Asian character who removed the most visible signifier of her heritage (the outfit far more culturally specific where her character design was racially ambiguous) and how people cheered because that meant they could see her in her undergarments. They can happily thirst over the body they desired now that the othering cultural garment was out of the way. It's just clothes after all. Diversity clothes. This show continues to be very uncomfortable, and a little too real.

In episode 5 Lois is passive aggressive to Clark and Superman, trying to get Clark to admit he's Superman and vice versa. She eventually confronts Clark by jumping off the roof of the Daily Planet, causing Clark to fly down and save her. She proclaims she doesn't want to be friends with him anymore for "lying" to her. This episode caused a huge ruckus online as people were divisive over Lois' actions. Some defended Lois, saying that "women should be messy" and "it's not Lois Lane if she doesn't do something crazy for journalism!". Ignoring that opinion's very flandarized view of Lois' character for a second, let's thoroughly discuss how this relates to themes of immigration and Asian identity.

By this episode, Lois had known Clark for 5 days. In that time she's entitled and angry to the point of friend-breaking-up with him because he wouldn't disclose his marginalized identity to her within less than a week. "A secret is another type of lie!" Lois says, regardless of her lying on sight to both Jimmy and Clark upon meeting them at work, and continued to lie in episode 3 (after promising not to in ep 1) about her intentions to interview Superman. Only Lois gets to lie in this relationship. The hypocrisy of her character is never recognized. Clark calls out Lois for having previously admitted to him that she wanted to dox Superman and "publish all his secrets. MY secrets!". Keep in mind that when Clark brings up Superman feeling uncomfortable about his secrets being published by Lois in episode 3, Lois' response was "yeah, but HE doesn't know that's my plan!". She explicitly admits that she would publish private information about Superman without his permission. But when she's confronted by Clark in episode 5 about that, her response is "I would never do that to you, I didn't know it was you until after the gala. How could you think that?" It's only through conflict of interest that Lois spares Superman of being doxed. He's supposed to magically know this. Extremely cool of Asian American Lois to be entitled to an alien immigrant's identity within four business days.

Episode 6 wraps up the Lois Hates Superman For Being A Liar arc, so let's quickly summarize what happens. Lois and Clark set aside their fight to find Jimmy in an abandoned scientific facility (he's being cared for by Mallah and the Brain). Jimmy admits (very smugly) to having known Clark was Superman all along because he kept breaking stuff. As the trio are chased by killer robots, they emotionally confront Clark for not trusting them with his alien secret- despite neither Lois or Jimmy creating a safe environment for Clark to come out to either of them (Jimmy outed Superman as an alien on his video channel). The moral of the story is Clark should have trusted his friends anyway, because lying is bad. Not once does the narrative hold Jimmy or Lois accountable.

We have Black Jimmy Olsen and Asian American Lois Lane being entitled to their white passing friend Clark Kent's marginalized alien identity. A joke is made at Jimmy's expense that he doesn't understand bigotry, and Lois clearly doesn't understand why an immigrant wouldn't be forthcoming about his identity to his hostile friends at work. This is how that arc ends.

I'd like to quickly compare this Lois Hates Superman For Being A Liar arc to my favorite scene in Superman Smashes the Klan. In this story, Superman debuts as a strongman superhero instead of an alien, suppressing his more othering powers to pass as human. He jumps instead of flying. Roberta, the Chinese American girl targeted by the Klan, calls Superman out for not using his full abilities to save people who could've gotten hurt. Yet, as she's calling him out, Roberta understands Superman's fear of not wanting to be othered. She sees the way her father dresses up to pass as an accomplished scientist, how he tells her mom to speak in English, how her brother makes racist jokes at their family's expense to fit in. She's not mad at Superman, she's mad at the world that would be scared of Superman if he flew.

"I wish it were okay for you to fly!" Roberta yells. This is a beautifully empathetic scene that shows a marginalized person frustrated at a systemic problem, instead of blaming the marginalized for being marginalized. It's the empathy and perspective we're missing from MAWS.

Episode 7 is a metatextual episode where MAWS addresses how their Lois isn't like the other Loises you've seen before. Lois and Jimmy are brought on to a team of alternate dimension Loises to find interdimensional troublemaker Mxy. In seeing the other more accomplished Loises in the multiverses, Lois ends up feeling inadequate about her self worth...in connection to being Superman's girlfriend, of course. Because Superman only loves Lois Lane after she wins a couple of Pulitzers, right?

I'm open to a version of Lois Lane that isn't as accomplished as she's historically known to be. I can like a Lois that's young and idealistic, like in Girl Taking Over. It's hard not to compare this episode to 2022's Everything Everywhere All At Once, another multiverse story about an Asian American woman who is the "greatest failure" version of all the parallel iterations of herself. But while that movie talks in depth about themes of generational trauma, expectations, and self potential within Asian immigrant families, MAWS uses the multiverse to say that while their Lois is less accomplished, she's still a good girlfriend to Superman! Why should I bother giving grace to a different take on Lois only to get such a superficial story out of it. This is metatextual-ly frustrating.

Why is it, the minute we get an adaptation of an Asian Lois in something as prominent as an animated show, we get "the worst Lois in the multiverse"? Lois is historically depicted as excelling in her field. She's an award winning journalist, jaded and mean from having to work her way to the top. She owns her sexuality, she's the experienced city girl. Instead of taking the opportunity to inform Lois' jadedness and excellence with her Asian American identity like in Girl Taking Over, instead we have an Asian Lois that's simply incompetent at her job. Why are we now adapting historically accomplished women into adorkable quirky screw ups? She went from being sexually confident to being insecure over sending a text to Clark. Is it more relateable to see an Asian woman that way? Is it too intimidating to see a butch Asian woman who excels at her job? Who's romantically confident? This is what MAWS would rather do than humanize her excellence or her failures.

Are you tired of an ambiguously designed Asian American woman reporter being xenophobic to Superman in MAWS? Well too bad because episode 8 introduces us to Vicki Vale, voiced by Andromeda Dunker (an Asian actress), with explicit notes in leaked concept art to design this character as "Indian American or Asian American" (as if those are mutually exclusive...) inspired off of real Asian reporter Connie Chung. Vicki wants to write a hit piece on Superman and interviews Prof Ivo's assistant, Alex, for a negative biased opinion on Superman (to Lois and Jimmy's dismay).

This episode is where it's abundantly clear the writers don't know how to talk about xenophobia. They'll make nods to xenophobic rhetoric, but they don't know what the rhetoric means. In response to Alex's derisive opinion on Superman destroying Amazo tower thereby bankrupting the company and putting "thousands out of work", Vicki responds "Superman wiped out good American jobs". This is a misplaced nod to Replacement Theory: the fear white people have over people of color, but particularly immigrants, coming to "their" country to "steal" jobs they're entitled to, ultimately becoming demographically replaced by non-white cultures and people. This rhetoric is also commonly applied to Jewish people.

The problem is, that's not what Superman did in the show. Amazo tech was going to go bankrupt because of Prof Ivo's poor business decisions. Prof Ivo made the mistake of antagonizing Superman and ruining his own image. Superman damaging the building came from his fight with Prof Ivo, not a deliberate attempt to get hired (if anything don't the building repair people have new jobs now?). No one's job is tangibly being taken by Superman. None of this is called out by Lois or Jimmy, who know the full story and were even the ones to attack Alex for helping Prof Ivo (let's be real the writers forgot this happened). In fact, Lois and Jimmy don't react to Vicki's Replacement Theory remark at all! It's like they don't even recognize she said something with racist implications!

Jimmy and Lois meet up with Superman who learns the people of Metropolis are becoming scared of him (from causing some recent property damage in an attempt to hunt a criminal down) and writing mean comments on social media. A user writes "he should go back to where he came from." This is a transparently xenophobic comment. It doesn't work in the context of the show because of a huge plot hole: Superman never publicly came out as an alien to Metropolis. No verified newspaper has explicitly made this fact known. The only source that mentions this is Jimmy's conspiracy channel, which the citizens of Metropolis are apparently treating as fact- therefore (if we're to believe this is how people knew) this means Jimmy absolutely outed Superman as an alien without Clark's consent.

So how does Asian American Lois respond to seeing her alien boyfriend go through xenophobia? She says "Take a break from being Superman and just try being normal." To be fair, the narrative does portray Lois saying the word "normal" as charged (only here at least, not in episode 4), and when she tells Superman to "take a break" it's because he had been overworking himself after suddenly unlocking the ability to hear when someone's in trouble. But was this really the response Asian American Lois thought to say? To her boyfriend going through such explicit xenophobia? At this point it's abundantly clear that racism doesn't exist in the world of MAWS. Being "normal" is to be human. And to be marginalized- or as the show likes to call it "different" is only reserved for white passing alien man Clark (along with gorilla and robot that was once a white man). Any hope of an immigrant parallel between Asian American Lois and Superman should be fully discarded at this point.

After the events of the previous episode where Superman is kidnapped by Task Force X, in episode 9 Lois regrets being allegorically xenophobic to Clark. At least I think that's what's happening. I often describe MAWS as a show that's extremely squeamish with getting political- and I believe the vagueness of Lois' Dark Night of the Soul moment reflects that. "I said awful things to Clark. I doubted him when he needed us most. I was wrong and now he's gone..." Lois says as she cries to Jimmy. Is this dialogue implying she shouldn't have told a sleep deprived Superman to take a break? What did she doubt about him? This dialogue is purposefully vague about Lois being xenophobic. They've universalized Clark's immigrant identity to such a point that they can't keep their argument consistent. Was Lois in the wrong for telling her overworked superhero boyfriend to take a break? Or was she being xenophobic for telling him to lay low for a while? Or is she regretful for hating Superman for Being A Liar? How is that possible when the narrative sided with her and Jimmy in episode 6? It's woefully non-committal. Regardless, the intent of this scene is to pay off in the climax of the episode.

In the end Superman has a showdown with Prof Ivo Parasite, who has grown into a large godzilla-esque kaiju creature. In typical MAWS fashion, the show is more interested in a surface level nod to Asian media instead of engaging with the specific themes of nature and post-war trauma kaijus and godzilla serve in Japanese culture. I digress. Using Jimmy's massive social media platform, Lois delivers a hope speech that instantly heals Metropolis of its xenophobia towards Superman.

Lois says to the people of Metropolis.: "People have told you to fear Superman because he's different from us. But we humans are capable of causing hurt and pain too. [...] Because we want to punish those who don't look or act like us." I mean this in the most polite way possible, but who on Earth thought this line was a good idea for Asian American Lois Lane to deliver when talking about white passing man Superman?? Why did the writers feel the need to specify Superman not looking like us. I simply don't understand how nobody considered the terrible optics of this.

After Superman defeats Parasite, episode 10 is about Clark, Lois, and Jimmy celebrating Thanksgiving at the Kents' house. At the Daily Planet, the trio of interns are promoted to finally being reporters. It only took Clark and Jimmy a few weeks while it took Lois a whole year! Now feels like a good time to remind you that Lois as a character was historically frustrated at sexism in the industry and despised how men were treated better than her (including Clark Kent). Well in MAWS episode 4, Lois has no idea why she isn't getting picked up to be a reporter. According to the narrative, and Perry White's dialogue ("you're terrible interns, so the only thing to do was to make you reporters")- she simply didn't break enough rules yet! Thank goodness she had the help of two men to show her how it's done! This is a pretty clear case of character regression. Keep in mind that in American Alien, at the very least that Asian Lois still underwent sexism, and I gave it the grace that the story could eventually expand to talking about both sexism and racism if it were to continue. But in MAWS? I don't think even sexism exists, let alone racism. Somehow Thanksgiving does, though.

Half the final episode is spent on Thanksgiving shenanigans where everyone's trying to be polite but they dislike Lois' stoic dad (Sam Lane)- who Clark recognizes as the Asian American xenophobic man who tortured him in Task Force X's government bunkers. A parallel is pulled between Sam and Jor-El, two fathers with different ideals when it comes to protecting their kids. There's a huge missed opportunity to have Lois and Sam speak in Korean with each other, to create a parallel in the language barrier between Clark and Jor-El. Maybe Lois isn't as fluent in Korean as Sam is depending on how culturally connected she is. Oh, but the existence of non-English human languages would imply some sort of minority, who would be marginalized, and we can't have anyone outside of aliens and a gorilla be marginalized in MAWS. Non-English languages in America are political, after all. Oh, but they also got a Filipino actor to voice Sam. Generously Lois could be Filipino-Korean but if we're being truly honest it's clear the MAWS crew think Asians are interchangeable.

Let's talk about Sam. In terms of optics, it's already not great that the main villains who represent the face of America's secret government xenophobia are Amanda Waller and Sam Lane- a Black woman and an Asian man. What's doubly notable is that of the antagonistic villains, Sam and Vicki are the most xenophobic. When Sam tortures Superman, he shouts "When is the invasion? How many of your kind will come through this time?" without a hint of irony. Reminder that historically, Asian immigrants were (and still are) considered invaders in America. They are the perpetual foreigner. MAWS loves making nods to Superman being an immigrant allegory, and yet they can't fathom the human beings that allegory is inspired by.

It's not impossible to portray people of color or even Asian American characters specifically being xenophobic. In Superman Smashes the Klan, Dr. Lee is initially antagonistic towards Superman but we understand why. We see him trying desperately to assimilate into whiteness, to the point he rejects assistance from his Black neighbors who help put out a fire in their backyard (that the Klan started as a threat). We understand why he's a character who would turn on fellow people of color, or fellow immigrants, in order to fit in. For MAWS, if we had a flashback scene where Sam was serving in the military and fought against Asian soldiers, showcasing his loyalty to America over his own people- that would narratively explain why an Asian American character would be xenophobic. Writing bigotry from within marginalized communities requires specificity. Otherwise, you've just got a diverse villain. In the end, Lois defends her immigrant alien boyfriend from her xenophobic Asian American dad.

Whenever I bring up how MAWS fails its characters of color but especially Asian Lois, I'm met with people telling me that "hopefully they'll make Lois more Asian in S2" or "they'll just retcon the bad writing in S1" and I hope this thorough analysis on the treatment of Lois' Asian American identity can help enlighten why I personally think that's impossible. The entire concept is flawed from the very beginning. The story MAWS wants to tell is at odds with Lois' Asian identity. In trying to justify an Asian Lois that loves Clark but hates Superman, they never considered what it means to hate Superman. To hate the alien immigrant. The alien other. What it means for an Asian American character to do all that. MAWS is a show that wants to have its cake and eat it too, they want a diverse world without racism or sexism but still want to reap the clout of lightly portraying Superman as "different".

They'll make the most surface level nods to Lois' Korean heritage- but remove all of the cultural context from them. They can't be bothered to acknowledge the inherit political identity being a person of color means in America, they're too busy doing that with Clark. I'm told "MAWS didn't have the time to go over Lois' Asian identity, it's a 10-episode series that focuses on Clark's alienation", and to that I say the potential of an immigrant love story and time frame was there, they simply chose to go another direction.

When I bring up things like Superman Smashes the Klan, Girl Taking Over, and Everything Everywhere All At Once, it's not to say MAWS should have used those stories as reference when crafting their allegory. All of those specific media were released while MAWS was deep in production already. Girl Taking Over was released the same year MAWS premiered. What I am saying is that we, as the audience, should have higher standards. Because better media portraying Asian American characters already exist. Better media portraying Asian characters relating to Superman mythos already exists. What we're doing when we celebrate the breadcrumbs of representation that is MAWS, is allowing mediocrity to exist uncritically.

Shows like Wednesday are known in the discourse for their portrayal of Black characters as being functionally white, yet that kind of scrutiny doesn't seem known for MAWS. The diverse reimagining of Lois and Jimmy is so poorly handled in MAWS that it would honestly make more sense if Jimmy and Lois were white here. The joke made at Jimmy's expense that he doesn't understand bigotry would be actually funny if it was calling out his white privilege. If, for whatever reason, the writers are compelled to write a xenophobic Lois that unlearns her bigotry and falls for Superman, I'd rather she be white for that kind of story. I wouldn't personally root for that kind of couple, but at least it'd make sense. It's a common joke among DCAU fans of color that we like to headcanon Lex Luthor as Black, or Lois Lane and Terry Mcginnis as Asian. It's a cruel irony that the one time we finally have a canonized Asian Lois in an animated show, she honestly feels and acts whiter than actual white Lois ever was.

I mentioned in Pt 1 of my essay that Asian Lois and Superman has the potential to be a definitive love story. One that considers both their backgrounds as immigrants, othered in different ways by American society. The story of a jaded but accomplished Asian city girl who finds hope to be herself again in an alien immigrant superhero. One where she gets the courage to wear traditional clothes again, to practice languages she once suppressed. The story of Superman, an alien immigrant, finding hope in someone with a painfully similar experience.

As of writing, we have yet to see this dynamic in any canon DC media. A second season of MAWS will not give us that story.

[wherestheconspiracy]

Can I take a moment of your time?

If you loved this show or even if you just like my content I would be very appreciative if you could sign this petition for us to try and save it. Or even if you're as angry as a lot of us that the streamers only count the viewer numbers of the first 30 days of any show, then PLEASE SIGN. This trend is destroying good TV and fandom by not allowing shows to grow organically even when they're critically acclaimed. We are losing so many brilliant, unique, (suspiciously queer 👀 there I said it) shows and at some point we need to put it our foots down. I think Dead Boy Detectives has become this for so many people.

We're making waves, we're trending, we're streaming so much that Dead Boy Detectives is in the Top 5 Everyone's Watching List in multiple countries. Or was No.1 in the UK for two days, and it's now at No.3. There is hope, for once, I like to think. The cast and crew are supporting us with the hashtags (a massive thing!), but every signature makes a difference.

Link here:

https://chng.it/7StBTPPMrF

And if you haven't seen it yet, please give it a chance. The unexpected bomb of Baby Reindeer drowned it in the algorithm on release, but despite that is critically acclaimed, with a 92% review score, a 99% audience score and has made the Best TV lists in what has be 30 articles worldwide right now. NOONE understands why it was cancelled. From the brainchild of SPN writers, starring Ruth O'Connell (our beloved Rowena), directed by Richard Speight Jr, it is the perfect replacement for SPN.

It's a beautiful, spooky and quirky show all about friendship, ghosts, mystery; and with so much heart it'll feel like your own is bursting out of your chest, all the while dealing with important issues like grief, death, shame and toxic abuse. This show was an bright spot in a really difficult year for me, and it will be the show I recommend for everyone. I haven't felt this way about a show since Sense8, and so you should all watch it and sign.

Available to stream on Netflix.

Similar shows we've lost along the way after one season: Lady Jane, Lockwood and Co, 1899, The Accolyte and so many more...

[transhitman]

I’ve seen a lot of Mouthwashing lets players get confused when Curly laughs when Jimmy finds the gun. I wanna try my take, lemme know if I’m delusional or not.

There’s a short story by Juan Rolfe called “No Dogs Bark” about a father carrying his son’s corpse back to their village so he can receive a proper burial. The father talks to his son’s body as if the young man is still alive. Through context clues, the reader learns that because of the father’s emotional neglect, his son ran off to become a highwayman and that’s ultimately what got him killed. There’s a line in book where the Father seems to come to terms with his son’s death, his failure as a parent, and that the last futile gift he can give his son is to endure the suffering with carrying a decomposing body back to town without stopping to rest so the boy can be buried as soon as possible:

“I cannot think of a sentinel’s burden so Hellish and so fit for a man like me.”

The choice of the word “sentinel” always stayed with me. The duty of a protector, a duty that this Father clearly failed when his son was alive and can only fulfill with futility in death.

When the player finally sees Anya’s body and where’s she positioned in Curly’s line of sight/proximity; I think Curly would say those same words.

Rolfe goes into detail about how the Father’s human senses reflexively react to the smell and sight of decomposition: eyes watering, visceral nausea, and lightheadedness, but the Father does nothing about it and says that sentence with “anguished joy”. Curly has no eyelids to blink away his watering eyes, can’t pinch his nose from the smell, or tend to his nausea. Literally every protective measure his body would employ to withstand being in the vicinity of decaying flesh is removed from him.

The fandom can debate whether Curly karmadically deserved to be in a position where he cannot look away from Anya’s corpse/put into the pod, but I think, HE THINKS he deserves it. Once Jimmy has that gun -practically a monument of Curly’s failure to protect Anya- is when he finally accepts her death. This flawed-but-good man and captain who has failed to protect his crew, accepts this final sentinel’s duty of being the last survivor of the Tupalr dissent into chaos. And He accepts this duty with complete anguished joy.

Okaaay this is so interesting. I at first took Curly laughing as like. Kind of breaking as he realizes the gun was literally right here the whole time. It should have been obvious where Anya hid it. Literally right next to him all these months. God, the irony. But I really like the interpretation that it's the point where he realizes he's going to either die or be the last one alive, and that he has finally reached his personal hell. Cause like. Anya and Daisuke are dead. Jimmy has the gun now and either he'll kill Swansea and then himself (because let's be honest, Jimmy would not chose to live with himself after this and I think Curly knows it), or Swansea will overpower Jimmy and then put Curly out of his misery like he did Daisuke. And Swansea sure as hell isn't taking the pod for himself after everything. And Curly knows there's no other outcome. Everyone is going to die because of what he did and he deserves to bear witness. Cowboy Bebop endscreen You're Gonna Carry That Weight. Fuck that's such a good interpretation...

[commsroom]

OK I need you to point me to the nearest entry point into this fandom. I don’t know what this is, but you popped up on my dash.. and I need to know what this is. Please lead the way.

oh!! that's exciting. yes. okay!! wolf 359 is a science fiction audio drama about the isolated and questionably competent crew of a deep space research station, the u.s.s. hephaestus. the initial four characters are comms officer doug eiffel, 'everyman' pop culture guy who really, really hates his job; commander minkowski, who cares about her job and the rulebooks that come with it a little too much, and desperately wants to feel like she's keeping everything under control; dr. hilbert... eccentric? station medical officer and mad scientist whose methods and mission objectives are not entirely above board; and hera, the station's mother program, who struggles with her job and the ways she's perceived by others.

there are other characters who show up later - i would say only three of the above characters are "main" characters, while the actual fourth main character is introduced in s2 - but that requires way more context, and i don't want to get into spoilers, obviously.

wolf 359 is a character drama - it's my personal gold standard for character writing - and the brief descriptions i gave you are the most surface, surface level parts of them. the writers once said something about it, like... that they weren't interested in subverting typical sci-fi character archetypes so much as looking at them and asking "why would a real person behave that way?" and i think it really worked. whether i like them or not, they all feel like real people to me. it has great sound design and a lot of "physicality" in the performances for an audio-only show, which i think comes down to gabriel urbina's film background and the way the scripts are written and performed. (and alan rodi's incredible soundtrack and sense for music cues.) you can't see a lot of what's in the scripts, but they're acted out in a way that you can kinda feel it anyway. i love that.

here's a fan made trailer that i think captures a lot of the right energy. it's a show about a lot of things, but some of the primary themes are communication + music, and i think the collaborative nature of the show itself adds something very sincere to that. it's also about corporate and medical exploitation, resisting dehumanization, what makes us human, connection, identity and autonomy, guilt and accountability, the stories people tell themselves to justify who they are or what they feel it's necessary for them to do, and, of course, the enduring philosophical question: "what's wrong with handcuffs?"

you can check it out at the website i linked above, or anywhere you can listen to podcast feeds! it's free, but they added ads a few years ago, which i hate, so you can pay a dollar here for the ad-free feed if that'll make a big difference in your ability to enjoy it: https://www.patreon.com/Wolf359Radio

it's a sequential story, nothing you really need to know about listening order except that i recommend not skipping the mini episodes (they have important character context and are where they are in the feed for a reason) (with the exception of mission mishaps ones near the end; those are comedy bonus episodes you can listen to whenever) and that you should definitely watch the live show after ep 26 and listen to special episode change of mind between s3 and s4.

i also have a folder here of every recording script where i edited any parts that were different from the show's dialogue + added transcripts for the ones that didn't have available recording scripts, if that's something you'd find useful! i also recommend checking them out just to see what i mean about how they're written.

the first season is pretty short, so i'd say stick with it until at least episode 12/13 (two part finale) if you can - i love the first season, personally, but that's the point it really becomes serialized, and so that's where i think you can safely say if it's something that's going to capture your interest or not. ... and that's it! sorry this is kind of an essay, but i got excited about it. i hope you love the show, please keep me updated, and let me know if there's anything else!!