#because its a comedy its making it a thousand times better than star trek i feel personallh

[ordinaryschmuck]

I saw a post about how Carmen Santiego has great character designs and diversity through race and body types. I considered it a good post and one that makes a good point...And then below it was a reblog about how a person went "If Carmen Santiego can have a diverse cast of HUMANS, then what the hell is up with Hazbin Hotel and Helluva Boss?"

First of all...What the hell do either of those two things have in common? They sure are animated shows, I'll give you that. Except that one's a children's animated spy thriller and the other two are adult musical comedy dramas in Hell. Stylistically and tonally, neither of them have anything to do with each other and you just randomly made a point because...you hate Hazbin and Helluva? Cool. Congratulations. Now get a new personality and just fucking watch something else if these two shows made your hatred this obsessed when you randomly attack a show through a post that has NOTHING to do with it. The OP wasn't attacking Hazbin Hotel or Helluva Boss. Unless they constantly attack it and they made that post to prove a previous point, something that does NOT come across in that original post, there's no reason to go "Hey, why didn't these completely different shows with their own styles take notes of this kids show with ITS unique style?"

And here's the thing: I like Carmen Santiego. I like the way that it looks, and I think its style really is unique compared to other animated series that have come out around the same time. And I do agree that it has a great diverse cast that shows off a lot of body diversity where every single character looks unique in their own way. But here's the thing: I would not go out of my way to attack other shows, to the point where I'd hijack someone else's post to say, "Yeah, this show is WAY better than this other one I hate." And if I had in the past...I'm sorry. I really am sorry. I hate that I acted that way and I will try to do better. Because that's what I do with media criticism or talking about stuff I don't like. I try to act BETTER than I have in the past because that's not how you talk about media. Whether you like it or hate it, it's never a good thing to talk about something you hate when the discussion is about something someone else loves. Sometimes it makes sense, as there are often two products that are similar to each other. Like Marve/DC, Star Wars/Star Trek, and The Owl House/Amphibia. Those are media where there's a lot to compare and contrast, with people being unaware that the main reason why they like the other basically boils down to personal preferences when it comes to consuming media. But with Hazbin/Helluva and Carmen Santiego, there's really NOTHING to compare and you're just going out of your way to talk about something you hate when it's not relevant to the conversation. It's like people who hyped up Puss in Boots: The Last Wish just to shit on Velma. Yeah, The Last Wish is a thousand times better than Velma, but there's nothing similar about both products that make the discussion worth it. You're just using something you love as a weapon towards something you hate.

I get it, people like some things and hate others. It's how we're wired as human beings and I can't stop that. Nor do I think I CAN stop it. But just feel like this is making media discussion worse when all we can think of to do when discussing something we love and bringing in something we hate into the conversation. It's not necessary, and you're feeding the creators that thing you hate by still talking about it. You want to know the best possible way to react to "objectively bad" media? Stop talking about it. Stop watching it. STOP ENGAGING.

If you don't fucking like it, stop consuming this piece of media and go watch something you enjoy instead. Give THAT your time. Show how THAT does everything right and sing its praises. Raise up this one thing that you believe is "objectively good" so it can effectively overshadow this thing you consider "objectively bad." There's a way to discuss media without shitting on something you don't like.

[christopher-bryant]

the orville is star trek but with comedy

[gingabulous]

Okay, seems that some people didn’t like the season finale, but my first impression is that I honestly really really liked it and my only big complaint has nothing to do with the show and just more to do with the medium and limitations of it in the Star Trek style making this seem more a mid season break more than anything, but this isn’t a 20+ episode show with 44min runtimes!

(This is why I hated the peanut hamper ep so damn much)

I think the overly critical analyses of Lower Decks comes down to the fact that as far as new Trek goes, this is the closest thing to actual Trek we have! It has the spirit and everything! Its not trying to reinvent Trek while forgetting what makes Trek what it is.

The expectations are so high, even though it’s technically and animated COMEDY. All because it’s basically ALL WE HAVE!!! It sucks, but that’s where we’re at.

This is a comedy that has over performed SO MUCH that we all hold it to the kind of standards TNG, DS9, and Voyager are held to.

Could things be better? Yes.

Does every other currently running Trek show do a thousand times worse and show no signs of objectively improving enough to earn actual praise? Yuuuup!

tl:dr I liked the finale overall, I love the show, and I can’t wait for season 4.

[jomalley-ferrisbueller-final]

A Closer Look at Ferris Bueller’s Day Off (John Hughes, 1986)

The 1980s was the time of the teen film, with a number of iconic teen films coming out during that decade. One that has become a staple of the classic teen film is Ferris Bueller’s Day Off (John Hughes, 1986). Ferris’ legendary day off has become a dream for teens then and now still being quoted today within the halls of high schools around the country.

Bueller didn’t hit the big screen in the summer of 1986 without its fair share of long and tedious production issues. Director John Hughes took a lot of his inspiration from his own life growing up. Raised in Chicago, this city becomes the setting for a majority of his films. In fact, there are even websites that pinpoint exact locations all throughout Illinois where Hughes shot classic movies such as Bueller, The Breakfast Club (John Hughes, 1985), and Home Alone (John Hughes, 1990). Looking at Buller specifically, a lot of aspects of the film reflect John Hughes. Ferris’s bedroom is created to look very similar to how Hughes’ room looked when he was a teenager, scenes for the film were shot in the hallways of his former high school, Glenbrook North and the character Ferris Bueller is actually based one of Hughes’ friends from his childhood with the same name. Edward McNally, a childhood friend of Hughes wrote an article for The Washington Post honoring the late director. As far as being named “the inspiration” for Bueller he is quoted as saying:

“…for years I was relentlessly pursued by a remarkably humorless Glenbrook dean about attendance, pranks and off-campus excursions -- and because my best friend was in fact named Buehler -- I've spent an inordinate amount of my life being unfairly accused of serving among the inspirations for Ferris Bueller.”

Looking at the production of the film, there were many different things that went into its creation. It only took three months to shoot the film between September 9, 1985, and November 22, 1985 which might not seem like a lot compared to how long shows or movies take to shoot today, but since a lot of their filming locations existed within miles of each other it was pretty easy to get everything shot in a short time. During the filming, John Hughes took some inspiration from Ferris on his impressive way to get the impossible done. The parade scene was shot during Chicago’s annual Von Steuben Day Parade. The float that Ferris is on was actually created for the film and was put in the parade route without the parade officials being aware of what was going on. With there being a real parade Hughes was able to get genuine footage of thousands of people enjoying a beautiful day in Chicago. When they needed to shoot more of the parade scene a week later, around 10,000 people showed up for the filming answering the call made on radio stations for extras to appear in a John Hughes film. In this scene, Ferris is featured lip-syncing the famous Beatles song “Twist and Shout” which came with its own set of issues. Paul McCarthy did not like the fact that Hughes had added the brass element to the song to make it seem as though the band was playing it at the parade. When John Hughes insisted on the Beatles song be used in the film, they ended up having to pay EMI $100,000 for the rights and allowance to change the song. While Hughes was adamant about some of the production decisions, they all proved successful in skyrocketing the film to one of the most fondly remembered films today.

The marketing for the film was very straight forward. There were a couple of articles written about the film in both the Daily News and well as The New York Times talking about the movie, giving an unbiased explanation of the film to promote it. There were also several 30-second commercials giving hints at Ferris’ crazy day off. Appealing to the teen audiences that Hughes is trying to relate to, the announcer narrates over scenes of the film saying, “it’s about life, it’s about liberty, it’s about the pursuit of recreation”. This phrasing attracts teenagers to the film because that is what they are looking for – freedom from the norm. 

Looking at the posters for the film it features many different slogans such as “One man’s struggle to take it easy”, “Because life is too beautiful a thing to waste”, “Leisure rules”, “While the rest of us were just thinking about it…Ferris borrowed a Ferrari and did it…all in a day”. Similar to the commercials, these phrases draw the teenager in because that type of thinking is really appealing to them. 

A teenager stuck in the rut of high school wants nothing more than to skip school and live out an amazing day with their best friends. This mentality is what brought teens to the theaters to live through Ferris.

The summer of 1986 saw a lot of hit films. Buller had some tough competition seeing films such as Top Gun (Tony Scott, 1986), Aliens (James Cameron, 1986), Star Trek IV: The Voyage Home (Leonard Nimoy, 1986), and The Karate Kid Part II (John Avildsen, 1986) all hitting theaters in 1986. In the United States and Worldwide Box offices, Bueller placed in the top 10 of both lists sitting in the number 10 spot for all 1986 films. The budget for the film was an estimated $6,000,000 and not only broke even but made money-generating $6,275,647 during their opening weekend of June 15, 1986. Bueller, made nearly all of its money from domestic box offices bringing it $70,136,369 and only $1,469 in international box offices. Looking at the reception of the film it is easy to see how it was in the top 10 films of 1986.

Roger Ebert was one of the top movie reviewers of his time up until his death in 2013 after losing an eleven-year battle with cancer. Writing reviews for The Chicago Sun-Times for over 40 years, he became the first film critic to receive a Pulitzer Prize in Criticism. In 1986 he gave a review of Bueller and is quoted as saying “Here is one of the most innocent movies in a long time, a sweet, warm-hearted comedy about a teenager who skips school so he can help his best friend win some self-respect.” He talks about the plot of the film and ends his review by saying “…the film's heart is in the right place, and "Ferris Bueller" is slight, whimsical and sweet.” With Ebert’s review coming out on June 11, 1986, it’s easy to see that Bueller won over the hearts of teens and adults alike wishing that they were able to have a day off like Ferris did.

The non-critical reviews of this film are all pretty similar, it is regarded as a film of the generation that holds against the test of time. On Rotten Tomatoes, of the 728,405 user ratings, the average audience score is a high 92%. One “super reviewer”, Brendan N. is quoted as saying

“Classic cult film and a must-see for all generations. John Hughes created a lot of the teenage angst or coming of age films in the 80s and Ferris was quite possibly his greatest creation. Watching this on the big screen last night was a dream come true but having a film like this remaining so timeless does not hurt. The film is full of heart and the charm of Matthew Broderick is what elevates this from becoming just your average teenage comedy. I wish they would make more fun and creative films like this; no one tackles such a fun concept without falling into clichés and crude jokes. John Hughes created something truly special here. 12/11/2018.”

Since its release in 1986, Bueller, has remained a pivotal teen film for multiple generations. In 2016, Bueller turned 30 years old and Chicago celebrated the only way they knew how to: with a Ferris Fest. People were able to visit his heavily decorated bedroom, recreate the scene where Ferris pretends to be Sloan’s father picking her up from school, and of course a recreation of the famous parade scene featuring Twist and Shout. While this is more of a high scale remembrance of the 1986 film, you can see other companies paying homage to Bueller. During the 2017 Superbowl, Dominos aired a commercial where they recreated the infamous scene of Ferris racing home to get there before his parents find out he skipped school. Stranger Things (Matt Duffer, Ross Duffer, 2016—) actor Joe Keery plays Ferris but this time he is racing home because his Domino’s pizza tracker just sent a notification to his smartwatch informing him that his pizza is about to arrive. When asked about the commercial the executive vice president of creative direction at CP&B said "This being an iconic movie we knew we had to pay homage to it and not deviate, not change it and put our own kind of spin on it outside of using Joe Keery and maybe making it a modern adaptation,".

Below you can see the original scene and then Joe Keery version. 

It can be agreed that this film has been relevant way past its release date. But why is that? Frances Smith looks to understand teen films as a whole and why they become so iconic. In her book Rethinking the Hollywood Teen Movie: Gender, Genre, and Identity, she explores this question and more. In Easy A (Will Gluck, 2010), the main character Olivia (Emma Stone) struggles to identify with the “hook up culture” happening around her within the high school hallways. She looks to the eighties to fantasize about a better life. 

Whatever happened to chivalry? Did it only exist in Eighties movies? I want John Cusack holding a boom-box outside my window. I want to ride off on a lawnmower with Patrick Dempsey. I want Jake from Sixteen Candles waiting outside the church for me. I want Judd Nelson thrusting his fist in the air because he knows he got me just once. I want my life to be like an eighties movie.” (138-139) 

To this Smith says:

This voiceover and the corresponding images reference Say Anything (Cameron Crowe, 1989), Can’t Buy Me Love (Steve Rash, 1987), Sixteen Candles, The Breakfast Club and Ferris Bueller’s Day Off, which is presented for its musical number. With the exception of Sixteen Candles, all of these films center on male characters who, though cheeky, are portrayed as sexually innocent. The gestures to which Olive refers are particularly telling. Having her life ‘directed by John Hughes’ appears to involve her engaging in ostentatious courtship rituals in which the female partner is the grateful recipient of male affection, however dubious the circumstances in which it is bestowed.

Olivia dreams of having the production that teen heartthrobs would perform for their love interests. This is one reason that Bueller has remained so relevant today. No matter how the culture changes, everyone wants someone who would be willing to show the world how much they love them.

Another reason that this film has remained so relevant today is because of the underlying theme within the film is something that will never go away. The drive to find yourself and get out of your small town to explore is something that will always be a shared feeling among teenagers. In Kimberly M. Miller’s Clueless Times at the Ferris Bueller Club: A Critical Analysis of the Directional Works of Amy Heckerling and John Hughes she says 

A fine example can be found in the response to the film Ferris Bueller’s Day Off, which received criticism for being too similar to Risky Business (Paul Brickman, 1983), as well as “lacking in irony,”10 and yet Ferris has become ingrained in the popular culture—even being ranked number ten on Entertainment Weekly’s “Fifty Best High School Movies” list (2012),11 in addition to being quoted by teens who see Ferris as a role model of “cool” despite the nearly thirty years that have passed since he took his day off.

Teens idolize him for doing what they have always wanted to do so they are able to live through him and his amazing day off.

Overall, Hughes has delivered a number of teen films that lasted well past their release date and will continue to be relatable in the future. Bueller is the perfect example of this because its underlying themes will never go out of style. Everyone wants to be a “righteous dude” and live their lives with the carefree regard for the rules that Ferris showed us back in 1986.

[okimargarvez]

WALK

Original title: walk.

Prompt: humor, fake walk

Warning: none.

Genre: comedy, romantic.

Characters: Penelope Garcia, Luke Alvez, Roxy  

Pairing: Garvez.

Note: oneshot, part 5 of 365 pills of Garvez canon life.  

Legend: 💑😘😈🐶.

Song mentioned: none.

Note: even this ff is based on true story. For more information, see the note at the end of this post.

GARVEZ STORIES

WALK

-You... are terrible. I hate you. How it’s possible that I find myself in this situation?- the woman whines, continuing to shake her head. -I'm ridiculous. I hate you. I hate you.- the man next to her chuckles. -And stop laughing at me. I'll make you pay for it later.- she gives him a weak fist on his side. He grabs her by the wrist and drags her against his body.

-It's a promise, chica?- he grasps her face in his hands. Her eyes widen as they are so close. Too much. She forgets instantly what she was saying. -You're not ridiculous at all, in fact, you're... so sexy.- he puts a kiss on her lips, short but intense. -And anyway you asked for it.- he remembers her maliciously. Penelope curses herself for the fiftieth time in a day.

-Who thought that behind that Mister Muscle air you hid a nerd?- that pout makes him literally go crazy. So much so that he would ditch everything, to spend these free hours in a different way. It would be anyway physical activity. He licks his lips unconsciously, feeling the taste of the woman's lipstick. Penelope believed that he didn’t even know the name of the creator of Star Trek, but instead he was so informed that he could almost challenge Reid. Surely, beat her, how it happened. Too bad she had shown herself so confident that she was bet anything. And he, why he hadn’t taken advantage in another area? Perhaps because he preferred to earn every inch of that diaphanous skin, to see her yield to desire by biting her lips. Of course, if she had categorically refused, he wouldn’t have had the courage to force her. But Penelope wasn’t the type to surrender and so here they are. All three.

-Are you sure you want to keep her?- the man observes his dog, who for the occasion wears a white T-shirt with the FBI logo. Many children have stopped for caress Roxy and the blonde woman's smile is that of a proud mother.

-Yup! Just us girls we will help each other and then look at her will not make me think about how many kilometers are missing at the end of this nightmare.- he chuckles while a judge signals that they are about thirty seconds to go.

-There are only eight kilometers! You will not even notice it. At most an hour and it will be all over.-  he is enjoying this sadistically and she will make him pay for it. He already knows it. He is curious even to know what vengeance she will choose. Penelope adds nothing, deciding to save breath. In theory it should be a walk, so it was written on the brochure, but she has reservations about it.

Someone shouts -Go!- and everyone immediately starts running. As it turns out. For the first few minutes the blonde manages to keep up with the others, thanks to the contribution of Roxy. She focuses on her breath, looks at the paws of the dog chewing up meters, doesn’t even notice more than where Luke is finished. As long as one arm doesn’t appear around her waist and realizes she has no more breath.

-Look, we don’t have to get in the first places. Just complete the route.- he is worried that she can overdo it so as not to make a bad impression. He forces her to slow down.

-But why did you stop me ? I was going so good.- she lies. She is out of breath. Lungs burn. She no longer feels her legs. But she doesn’t want to give him the satisfaction of be right again. She must hold on. She looks how much time has passed and how many kilometers are missing on the smartwatch that she wears on her wrist. It would have been better if she had not done it, but she will not give up. She jerks and starts again, slightly less strongly. Roxy after a very short time starts to trot. While doing a strange thing halfway between a long run and a long walk, similar to the long march of the Olympics, Penelope sees through her mind's eyes the smug smile of Morgan when he had made her believe Spencer and she had to overcome a series of physical tests to remain members of the BAU. She had hated him with all of herself. He had also reminded her of her high school days, when every week she waited fearfully for the day of the gym. The shorts that showed off her legs, too stubby. The ridiculous braids her mother used to do her (and yet she would do it every day if she could get her back)... no, there's no need to continue on this path. She puts aside the melancholy and realizes she is more than halfway.

Luke is just a step back, not because he can’t keep up with her, of course, but because he prefers to enjoy the show of the back of his girlfriend who sways at every step. He decides not to worry anymore and trust her. If she understands she can’t take it anymore, she will stop. But she amazes him every day. And he almost stumbles in a protruding root, when a child points to Roxy, saying to Mom -You've seen, even the dog has a shirt!- and then he smiles at Penelope, who smiles back him, a very sweet expression that makes him want to cry.

When the last quarter is missing, he decides to join them. The one that was a climb on the way, and that usually she was struggling to travel by bike (because in the last month she had decided to open up to new experiences, but in small doses), now it has become a descent. And pulled by Roxy, the woman runs more than once the risk of falling and breaking a leg. Soon, however, she developes a strategy to balance her weight and counteract the dog's push. Roxy is not the only animal present. The CIA has also deployed its dog squad, as well as the New York and Miami Police have not been outdone. But theirs is the only one to really wear the shirt with the identification number, the other dogs had tied it to the bib.

Luke sees the finish line and leaves, as a gentleman, that his women cross it before him. Roxy wins the prize as the first dog and they are ranked 345 and 346 on more than a thousand people, children not included.

 The next day he wakes up all spry. -Good morning, sweetness.- the man leans out first giving her a kiss on the forehead and then on the lips. -How are you?- as soon as her feel the weight of his body, she emits lines complain sounds.

-Every single bone of my body is crying and if you dare to make fun of me or laugh at me, Luke Alvez, you will pass the next evenings on the sofa, so your back will not be affected, you're super trained, right ?- apparently she is still nervous and her vengeance will now be limited to forcing him to abstinence. He doesn’t move but rises slightly. He grabs the woman's face firmly and catches her tongue. She moans, trying not to feel anything, but it's a lost enterprise. -You're an asshole, Alvez.- he laughs on her mouth. -If you think I have the strength to make love with you...- he silences her with a wave of his hand.

-Who said you should do something? Yesterday you were fantastic, and I thought that as a reward you deserve a nice full body massage ... but I will not use only hands.-

Note: this is Pippo, my love. He is so beautiful. In my city there is a walk, that it is in fact a race. I use my dog like Penelope in this fan fiction, as a distraction, because I don’t like run except I have to catch the train. Pippo is the only dog who wears T-shirt.

TAGS: @theshamelessmanatee @itsdawnashlie @talesoffairies  @kiki-krakatoa  @gcchic @arses21434  @jarmin @kathy5654 @martinab26 @thisonekid @thenibblets @perfectly-penelope @ambrosiaswhispers @reidskitty13 @jenf42 @gracieeelizabeth27 @silviajajaja @smalliemichelle99 @charchampagne14 @thinitta  @skisun  @myhollyhanna23 @thenorthernlytes @garvezz @mercedes-maldonado

[blairtrabbit]

Thoughts on Goddamn Voltron

1. The treatment of Shiro and Adam as a couple was the stupidest shot at “representation” i think I’ve ever seen and it honestly made me angry. We don’t know anything about Adam. We don’t know anything about him but his name and that he possibly has some sort of relationship with Shiro. We are never even allowed to see them physically touch (because this would be gross I suppose) and when Adam is killed off immediately in the initial invasion there is no emotion to it other than he was someone we were supposed to care about because Shiro cared about him. Or ...so its suggested. Not only is Shiro denied any sort of emotional catharsis after being forced to be stoic and endure unimaginable amounts of physical and mental trauma there is no one waiting for him to come home. They are killed for absolutely no reason aside from creating some bizarre boyfriend in the refrigerator for a character who certain has enough anger at the Galran empire that he doesn’t need anymore. If Adam was introduced to show Shiro was gay then that failed. If Adam was introduced to heighten the stakes that failed too. Adam was created to die for no damn reason and unless he somehow appears in season 8 this kind of shit queer-baiting is un-acceptable...hell even IF he comes back who cares? we aren’t even given the chance to know him as a person so whats to come back? Sidenote: Don’t make Shiro sick with some terrible wasting disease and then NEVER mention it again. What the SHIT. 2. The treatment of Lance is unimaginably cruel and I don’t understand it. In season three Lance proves himself to be a mature member of the team and not only does he help Allura who took his lion he becomes Keith’s right hand after a rocky start. He has shown multiple times that he is vulnerable, once to Keith’s face, and yet his leader and his team constantly question his choices and insult him. It went beyond ribbing this season. It felt like everytime there was a chance for the writers to do it they stuck in a Lance barb. I kept expecting a breakdown a moment where he finally defended himself, walked away or told them that he was tired of it. But that moment never happened. Instead the strong right hand of voltron just takes it and continues to do his job. No matter how many great shots or encouraging comments he makes he never gets fucking complimented. Also the writers seemed more determined then ever to give him absolutely no arc or focus. Which leads me too- 3. Why the hell did Hunk have Lance’s story arc. Theres this thing in writing called “setup and payoff” Its a super simple concept that all writers,especially in film and television, know how to use. You set up a concept early and later on it pays off with an emotional revelation or a character change. In seasons one two and three...even four? Lance was the only one on the crew besides Pidge who talked about his family. We saw them in his memories. he had a scene with Coran where he talked about missing earth. He talked about his mom and so on. That was his starting point and when he gets back to earth it should have been his family in the camps, his speech about being angry about coming back to a peaceful earth and a closed end to his talk with Keith about being a leader and how he respects him as one back in season 3. Having Keith compliment his bravery would cement him as his right hand the person hes SUPPOSED to be closest to on the team. Hunk had no set up for this. He never mentions his family or how much he misses them. He talks about food but for some reason he was given the ending arc that Lance EARNED but wasn’t given. In fact it feels like it was even written for Lance but was changed because they goddamn hate him and decided he doesn’t get an arc fuck you. 4. Hey. Hey Voltron. Its called fucking character development.  If you wanted to make Allura and Lance have a relationship you can’t make them blush in ONE EPISODE and call it development. Why don’t you cut down on the 90 fucking minutes of brain melting action sequences and put in some more character development. You can’t just dedicate the first half of your season to some goofy (lance abusing) comedy then spend the last half in one constant exhausting battle and expect us to give a shit about the cadets or anyone you introduce on earth. To me the stand out episode this season was the one where everyone is floating in space. They had to...INTERACT with each other but even this episode felt empty because Keith was the only one allowed to act out...AGAIN. Where was Lances righteous anger? Or even Allura’s? Why is Hunk stepping into this role as mediator all the sudden? What even lead to that? Was he literally just written into the Lance roles? If you wanted to tear the group down to have them be built back up then you have to do so on equal footing and it felt....tame. Like you didn’t want the kids to worry too much. Stress makes people act in cruel ways sometimes and overcoming it is a part of good character development. Instead it was just some lame foreshadowing about the deux ex machina that was lion summoning. It had so much potential-SO MUCH.

5. Not everybody has to end up in a fucking relationship. Axca? Seriously? Man are you gonna crank out some romance bullshit in season 8 aren’t you voltron? Is that what your gonna do? Make sure everyone gets a set of corresponding genitalia to wrap everything up in a nice straight bow? I’m sure you’ll give Shiro some kind of significant other right? Or maybe just have him smile at a dude ala live action Beauty and the Beast because that's what representation looks like in 2018. 6. Coran not getting to build the spiritual successor of his grandfathers work is kinda bullshit.

He spent literally every season waxing lyrical about how great his pop pop was and how much he wanted to be the one to build something like he did and then the castle is destroyed and I’m like oh man so cool Coran is gonna get his wish.Thats so emotionally rewarding that after all the hero-worship Hes gonna have the opportunity to build a new castle even better than the one his grand-oh -no...ok Sam did it. Yeah ok.

7.YOU CAN’T SPEND ONE EPISODE ON EARTH BEING DESTROYED AND SHOW MAYBE THREE PEOPLE AND EXPECT ANYTHING TO HAVE EMOTIONAL WEIGHT. Hey, remember the movie Independence day? Not a great movie but it actually felt like the world was being invaded. It felt like peoples lives were being interrupted on a large scale and it accomplished this by showing the invasion from multiple pov’s worldwide. Would that have been so hard? Maybe show a little girl at school seeing a Galra ship. A man in Africa? A mother in Russia? Just quick shots. Thats all you need. A few establishing shots to show that people are experiencing something foreign and terrifying. I know its a kids show and you gotta what...keep it Y-7 but the Galra literally killed thousands and thousands of people-possibly millions you can’t just gloss over that. STAKES CAUSE TENSION. WITHOUT STAKES OR JUSTIFICATION A BATTLE IS EMPTY AND POINTLESS.OH ON THAT NOTE. 7. THE BATTLES IN THE LAST EPISODES BECOME RIDICULOUSLY BORING AND REPETITIVE. You can tell what the writers wanted to write. They wanted to write whole scenes where people star trek groaned in chairs and shouted about how much time they had.Because of the season lack of setup or stakes buildup in the previous episodes theres no tension whatsoever. Do I care about the people of earth? No I haven’t even seen them. I care about Shiro and the mains ...not even the cadets. I haven’t seen them interact enough with each other to even establish their personalities. So if the whole earth fries eh...I care more if Shiro is ok because i’ve gotten to know him over time. If the entire battle was to save Shiro from a falling ship (HOW THE FUCK DID HE SURVIVE THAT BTW I GUESS BEING A CLONE MADE HIM IMMORTAL) It would have more weight to it than the entire Hour long clusterfuck that was the battle for Hunk’s Parents, literally the only humans we care about. 8. WORLDBUILDING? HOW ABOUT FUCK YOU. Wow...so WW3 huh. That sounds interesting Voltron you wanna...no? Alright so...Russia is still a country this far in the future? Is China still communist or? Hey...why is this lady the queen of the Garrison? Why is her position so important? Who funds the Garrison? Is it the United States? The UN? Is it an international organization? Who pays the bills? The funding must come from some government who would be curious why you asked for millions of dollars towards all these bizarre supplies that could be used to build the biggest ship ever made.Why is Admiral Sanda god? She keeps threatening to go over their heads in the chain of command but that means that SHE has to report to someone? WHo?? THE PRESIDENT? SOME KIND OF WORLD LEADERSHIP COUNCIL? I know this shit is hard but come ON. Earth is NOT like these alien planets Voltron has been on that have a centralized monarchy or singular race with one central government. If Sanda is worried about causing wars and global panic thats fine but shes the one commiting treason by not reporting to her own superiors and letting the leaders of the free world make decisions on behalf of their own people. One person can’t make all the decisions we call that LAAAAAAAAZZZZYYYYYY. Oh and about Admiral Sanda? 9. Admiral Sanda is the worst villian Voltron ever faced Why did you try and give her a redemption arc? Every decision she made was stupid every choice was just...so dumb. She betrayed everyone and her level of power kept making me go...why...is she the queen of earth? When she died I was like good. What a dumbass. Don’t try and redeem someone who did nothing good in the first place especially if you never established enough world building to show she might have been correct. We can’t just trust TELL you have to SHOW us. 10. If you think the racism against immigrants is bad now I can’t even imagine the civil wars when actual aliens just invite themselves over. 11. Thanks for fucking up our tide systems by parking a fucking Balmera directly in our atmosphere assholes. In conclusion:THANKS I HATE IT.