#big cast with little to no individual character development (or just very rare)

[jewishcissiekj]

ok I've been talking to myself all day but I just saw TCW and Young Justice TV being compared and I can't get that out of my mind now

[cadybear420]

Cadybear's Reviews- High School Story (OG Trilogy)

Welcome to the third official Cadybear's Reviews post! Today I'll be talking about the OG High School Story trilogy, which (to the surprise of absolutely no one) I have ranked on the "Diamond Tier" at 10 stars out of a possible 10.

Everyone and their dog who knows me knows that this is my favorite Choices series of all time. And even that bias aside, I can in good faith consider this one of Choices’ best-made series too. 

Buckle up bitches, this is gonna be a long one. But I’ll try to keep it as concise as I can and break it up into each of the aspects that make the series so great. 

First, the MC. 

I do genuinely consider them among Choices’ best MCs. Probably unpopular opinion, but them being a blank slate works heavily in their favor, as it allows their character to be more flexible to what kind of character and story routes the player wants for them. You have different kinds of options in how you respond to things, a lot of which do have a significant impact on the actual story outcomes. The MC is a sort of an audience-surrogate character, but in a way that takes advantage of the interactive story medium and allows them to be proactive in the story, rather than making them bland or obnoxious or passive and then passing that off as self-insertable like a lot of modern stories try to do. 

Although there can be some noticeable traits reminiscent of a Mary Sue type character, they’re very minimal and never overbearing. The story rarely if ever makes a big deal of MC being popular, rather than turning them into some OP god/goddess where everyone else just blindly worships the very air they breathe. For the most part, being popular and winning hoco/GoH/prom are simply just bonus things for the MC rather than the crux of their entire character. 

Yeah, they can initially seem “too perfect”, but they’re really only perfect if you make them that way. You can make them do things like slip Koh’s secret to Isa, treat the incoming Hearst kids poorly, or be shit at their activity. You even get a few more gray decisions such as whether or not to turn in Myra or who to side with during the basketball game. And most of them do have consequential outcomes. Maybe not as major as the outcomes of stories like ILS or TH:M, but enough that they do significantly alter the story experience. I legitimately have so many different routes and versions of the MC I wanna try out in this series.

Second, all of the supporting/side characters. 

Along with ES, ILITW, and TH:M, OG HSS is one of few stories where having a large cast is handled well and benefits the story more than harms it. Although the high school environment can be a bit cliquey and some of the characters are based off of typical high school stereotypes, they each feel like their own unique individual person and there’s even a lot of subversion of the stereotypes they’re based on. The jocks aren’t all just meatheaded alpha males; the cheerleaders aren’t all just snobby mean girls; the nerds, despite being more sidelined, aren’t pathetic losers; and each of the LIs have some depth to their supposed high school stereotype traits. 

Aiden and Michael are my two most favorite LIs of all time. Aiden’s route especially is really genuine and earned and develops at a good pace, and I could probably make a separate post just about him alone. But really, all the LIs have some amazing growth arcs. And they, as well as all the side characters, are overall just interesting, down-to-earth, and memorable characters. Julian, Payton, Mia, Frank, Myra, Jade, and the rest all feel like distinct characters that I feel like I have actual reasons to give a damn about. Lest we forget the non-student characters. Characters like MC’s dad and Principal Hughs are especially iconic too, and give the story its own extra warmth and just that little touch of campiness. 

Even the antagonists were pretty compelling– although they maybe weren’t all the most common or realistic kinds of antagonists, the conflicts they created still felt believable and threatening, and they were utilized in their roles relatively well. Brian, Zoe, Isa, Max, and Kara are all characters where I can actually care about what they do. 

Third, the extracurricular activity system. 

This technically goes hand-in-hand with the MC, but it’s a big part of why this series is so immersive and God-tier for me that it deserves its own section too. There are quite a handful of choices in this series that have an impact on the story, but this one is by far the strongest one and it gives the story and MC a lot of flexibility and variance. 

Each book, you can choose sports, band, or cheer, and it gives you a very different experience of the story. Book 1 gives you a different conflict for each activity. Book 2, you don’t really get involved in your activity much, but it does affect how you may experience Isa’s reign and how characters will respond to which stances you take. Book 3 has pretty much the same base conflict in each activity, but the characters are all different enough that it does feel pretty distinct. 

 Not to mention that the different activities can give extra scenes with certain LIs. Romancing Aiden as a jock is still pretty damn good and I love it, but romancing Aiden as a band kid hits so much differently. You get extra interactions with him, a few more opportunities to score romance points, and you can feel this bit of extra connection between him and your MC. There’s a scene during the band concert where just before you play his song, they say that “you see a glint in his eyes that you haven’t seen before”, and after you finish playing it you see “his eyes gleam with pride”. 

Bonus points also for sports and cheer both being open to both m!MC and f!MC; getting to be a female football jock is very euphoric for me. Although I’d have loved more female jock rep and male cheerleader rep besides MC, Emma in Book 1 if you do the football route, Jade, Kieran, and one or two one-offs, it’s still incredibly enjoyable. Especially with how un-sensationalized it is– the jock guys on the team don’t pathologize or patronize or tokenize my f!jock MC– they just treat her as yet another normal part of the team. Which is how it should be. I haven’t done a male cheerleader MC route yet but I think it’s fair to assume that the same applies there. 

Obviously, this is probably not realistic to how most high school sports would work, but who gives a shit? It’s still believable and still makes the experience much more unique and enjoyable. In fact, nowadays there are some people advocating for sports to have a similar system to wrestling weight classes instead of gender/sex-based divisions, so if anything, this is kind of ahead of its time. To quote Caleb Mitchell, “If you’ve got the speed, who cares if you’re a guy or a girl?” 

Fourth, the storylines themselves. 

They’re not super emotionally deep or realistic stories, but that’s okay. They’re really fun and engaging, and if anything, that’s why they work so well. They’re able to think outside the box for what can be done within the high school setting. So we get situations that are fun and exciting and escapist, but never get overly absurd or juvenile or feel cheap in their conflicts, and are made to feel grounded with characters that are very down-to-earth and human. 

It’s a very idealized high school experience for sure, but it’s not without humanity or conflict and challenges, and overall it does feel organic. It makes you actually want to attend that high school, which is a pretty damn good accomplishment considering IRL high school more often than not is a traumatic experience for a lot of us. HSS is basically “high school but if it were actually good”. 

A lot of the conflicts are seemingly basic high school drama, but we see how it can have a very real influence on the characters and their personal struggles. Such as how band in-fighting and a screwed up half-time performance basically sends Aiden into a near breakdown over his fear of failure and strive for perfection in music. Or how the Ollie the Tiger statue being vandalized is deeply upsetting to Michael due to Berry being the one high school that was the most welcoming to him and his desire to preserve that. Or how people’s low energy for homecoming causes Maria to get frustrated and eventually snap from struggling with her leadership roles. Even if these situations are unrealistic to your average high school, it sure as hell is believable. Sometimes, it’s those seemingly small or petty issues that can be taking the biggest tolls on us. 

Fifth, no smut scenes. 

I mean, it makes sense, since I don’t think it would go down well for PB if they wrote smut of under-18 characters. But as someone who does not like how PB writes smut, I’m fine with that. Even if these guys were 18+, I wouldn’t want PB’s mediocre formulaic-ass smut writing to ruin the LI scenes, especially since characters like Aiden and Michael are my all-time favorites of Choices LIs. 

Granted the 30 diamond scenes we do get aren’t exactly immune to being formulaic either (I swear to God if they make my MC sit in Michael’s lap one more goddamn time instead of the other way around I will actually die on the spot), but it’s a lot less… glaring here. And frankly, I prefer it that way. Leave the NSFW bits (if any) of their relationships up to interpretation. 

Sixth, its relevance to its past installment, AKA the original High School Story mobile game. 

For the most part, I think it bridges pretty well with HSS Prime. I actually played Choices HSS before I heard about and downloaded the Prime game, and even then, I found all of the returning Prime characters like Julian, Mia, Ezra, Payton, Koh, etc. to be really memorable. Even Nishan and Sakura, who barely had relevance in the trilogy, were endearing to me. Hence going into the Prime game was like delving into the HSS lore and getting “The Origin Story” of the seniors and the school. 

Heck, I’d even say some of the characters– Julian, Mia, Koh, and Sakura in particular– got a bit of upgrade in Choices, being more mature from how they were in Prime. Honest to God, stuff like Julian’s over-machoness and Mia’s snobbishness could get pretty grating in Prime. While the Prime versions were obviously all more fleshed-out characters, seeing them the way they are in Choices is sort of like seeing how far they’ve come from how they were in Prime. Which I think is a pretty neat way for us to see them off as they’re about to graduate.

Returning for a second HSS playthrough after playing a fair amount of the Prime game, I was later able to notice all the Easter Eggs that showed up in the OG trilogy- Wes and Autumn’s history, Koh’s relationship with her grandma, Koh’s love for buffalo wings, etc. They were able to keep the two very connected, while still allowing OG to be able to stand on its own two feet. 

I also love how they make it so that the switch from the old MC and cast to the new MC and cast feels justified. The writers knew that taking HSS to Choices would need to be welcoming to both old and new fans, and to try and make the Choices trilogy continue the story of the Prime MC probably would have made that a bit more difficult. So they write off the Prime MC as having graduated the year prior and sort of set up the implication that the new cast was being “passed down the torch to unify Berry and take on Hearst”. Which works because it maintains some grounded relevance to the HSS franchise, but doesn’t alienate the fans who are new to HSS. 

It’s not perfect and it did have its shortcomings, but for the most part, it did feel like it was truly a part of HSS. 

Of course, the trilogy as a whole isn’t without its flaws. There are actually quite a handful of problems ranging from minor nitpicky general Choices problems to a couple that are pretty glaring. I think I’m gonna make a separate post for that, so stay tuned for “Everything right and wrong with each of the HSS Books”. But for the most part, they don’t really bring down the series all that much. 

Overall, I definitely consider this one of the best Choices series. It’s fun, escapist, immersive, a lot of your choices actually fucking matter, and it’s a good continuation of the HSS franchise.

[etherealspacejelly]

as someone who is also obsessed with it perhaps i can help

for me i think its a number of things that come together to essentially produce the Perfect show for my brain

the characters. they are all well developed and have interesting personalities and dynamics with each other. each individual is compelling in their own way

monster of the week format. each story is pretty much unconnected to the rest. you dont need to remember everything that happened this season to understand the current episodes plot. monster of the week also allows for episodes with varying levels of seriousness in terms of plot ideas, and a lot of focus on characterisation of the main cast, which contributes to point 1

its fun! i think with a lot of modern shows they can take themselves too seriously and forget to have fun with it. of course this depends on the genre and im not saying Every show has to be a little silly, but in my opinion sci fi should always be a little campy. but maybe thats just because i grew up on doctor who

a good balance of computer generated and practical special effects. tos knows when to use a costume or a puppet for something, and when to generate a lazer beam using computers. are all of the special effects a little goofy looking? well yeah, it was the 60s. but they did what they could with what they had at the time to make Everything feel as real as possible

the ship. i think my problem with most sci fi these days is that the spaceships feel too sanitised. they're all shiny and empty and covered in LED strips. i like that the aesthetic of tos is primary colours and big chunky buttons and carpeted floors, it feels like a real place where people live and work. its practical, not built for aesthetics. the enterprise feels lived in.

the lack of serious conflict between characters. idk if you've noticed, but very rarely do the characters have actual genuine conflict with each other. they might disagree on things or antagonise each other sometimes, but generally they all really do love and care about each other and they express that not only in life or death situations. these guys are Friends and you can tell! its not like some shows where they tell you the characters are friends but they never seem to actually. get along. spock and jim hang out all the time to play chess. they take shore leave together. they take the time at the end of each episode to banter a little about everything that happened and cheer each other up. they give each other advice and encouragement. and yeah they make fun of each other too, but in the same ways that my friends poke fun at each other.

anyways uh. sorry this is really long i kinda got carried away. i love waxing lyrical about my special interests. i love this show so so much

please someone tell me why i’m so obsessed with star trek tos. it’s all that consumes my thoughts at almost all times. i must own everything to do with it. these characters are my blorbos

[fozmeadows]

race & culture in fandom

For the past decade, English language fanwriting culture post the days of LiveJournal and Strikethrough has been hugely shaped by a handful of megafandoms that exploded across AO3 and tumblr – I’m talking Supernatural, Teen Wolf, Dr Who, the MCU, Harry Potter, Star Wars, BBC Sherlock – which have all been overwhelmingly white. I don’t mean in terms of the fans themselves, although whiteness also figures prominently in said fandoms: I mean that the source materials themselves feature very few POC, and the ones who are there tended to be done dirty by the creators.

Periodically, this has led POC in fandom to point out, extremely reasonably, that even where non-white characters do get central roles in various media properties, they’re often overlooked by fandom at large, such that the popular focus stays primarily on the white characters. Sometimes this happened (it was argued) because the POC characters were secondary to begin with and as such attracted less fan devotion (although this has never stopped fandoms from picking a random white gremlin from the background cast and elevating them to the status of Fave); at other times, however, there has been a clear trend of sidelining POC leads in favour of white alternatives (as per Finn, Poe and Rose Tico being edged out in Star Wars shipping by Hux, Kylo and Rey). I mention this, not to demonize individuals whose preferred ships happen to involve white characters, but to point out the collective impact these trends can have on POC in fandom spaces: it’s not bad to ship what you ship, but that doesn’t mean there’s no utility in analysing what’s popular and why through a racial lens.

All this being so, it feels increasingly salient that fanwriting culture as exists right now developed under the influence and in the shadow of these white-dominated fandoms – specifically, the taboo against criticizing or critiquing fics for any reason. Certainly, there’s a hell of a lot of value to Don’t Like, Don’t Read as a general policy, especially when it comes to the darker, kinkier side of ficwriting, and whether the context is professional or recreational, offering someone direct, unsolicited feedback on their writing style is a dick move. But on the flipside, the anti-criticism culture in fanwriting has consistently worked against fans of colour who speak out about racist tropes, fan ignorance and hurtful portrayals of living cultures. Voicing anything negative about works created for free is seen as violating a core rule of ficwriting culture – but as that culture has been foundationally shaped by white fandoms, white characters and, overwhelmingly, white ideas about what’s allowed and what isn’t, we ought to consider that all critical contexts are not created equal.

Right now, the rise of C-drama (and K-drama, and J-drama) fandoms is seeing a surge of white creators – myself included – writing fics for fandoms in which no white people exist, and where the cultural context which informs the canon is different to western norms. Which isn’t to say that no popular fandoms focused on POC have existed before now – K-pop RPF and anime fandoms, for example, have been big for a while. But with the success of The Untamed, more western fans are investing in stories whose plots, references, characterization and settings are so fundamentally rooted in real Chinese history and living Chinese culture that it’s not really possible to write around it. And yet, inevitably, too many in fandom are trying to do just that, treating respect for Chinese culture or an attempt to understand it as optional extras – because surely, fandom shouldn’t feel like work. If you’re writing something for free, on your own time, for your own pleasure, why should anyone else get to demand that you research the subject matter first?

Because it matters, is the short answer. Because race and culture are not made-up things like lightsabers and werewolves that you can alter, mock or misunderstand without the risk of hurting or marginalizing actual real people – and because, quite frankly, we already know that fandom is capable of drawing lines in the sand where it chooses. When Brony culture first reared its head (hah), the online fandom for My Little Pony – which, like the other fandoms we’re discussing here, is overwhelmingly female – was initially welcoming. It felt like progress, that so many straight men could identify with such a feminine show; a potential sign that maybe, we were finally leaving the era of mainstream hypermasculine fandom bullshit behind, at least in this one arena. And then, in pretty much the blink of an eye, things got overwhelmingly bad. Artists drawing hardcorn porn didn’t tag their works as adult, leading to those images flooding the public search results for a children’s show. Women were edged out of their own spaces. Bronies got aggressive, posting harsh, ugly criticism of artists whose gijinka interpretations of the Mane Six as humans were deemed insufficiently fuckable.

The resulting fandom conflict was deeply unpleasant, but in the end, the verdict was laid down loud and clear: if you cannot comport yourself like a decent fucking person – if your base mode of engagement within a fandom is to coopt it from the original audience and declare it newly cool only because you’re into it now; if you do not, at the very least, attempt to understand and respect the original context so as to engage appropriately (in this case, by acknowledging that the media you’re consuming was foundational to many women who were there before you and is still consumed by minors, and tagging your goddamn porn) – then the rest of fandom will treat you like a social biohazard, and rightly so.

Here’s the thing, fellow white people: when it comes to C-drama fandoms and other non-white, non-western properties? We are the Bronies.

Not, I hasten to add, in terms of toxic fuckery – though if we don’t get our collective shit together, I’m not taking that darkest timeline off the table. What I mean is that, by virtue of the whiteminding which, both consciously and unconsciously, has shaped current fan culture, particularly in terms of ficwriting conventions, we’re collectively acting as though we’re the primary audience for narratives that weren’t actually made with us in mind, being hostile dicks to Chinese and Chinese diaspora fans when they take the time to point out what we’re getting wrong. We’re bristling because we’ve conceived of ficwriting as a place wherein No Criticism Occurs without questioning how this culture, while valuable in some respects, also serves to uphold, excuse and perpetuate microaggresions and other forms of racism, lashing out or falling back on passive aggression when POC, quite understandably, talk about how they’re sick and tired of our bullshit.

An analogy: one of the most helpful and important tags on AO3 is the one for homophobia, not just because it allows readers to brace for or opt out of reading content they might find distressing, but because it lets the reader know that the writer knows what homophobia is, and is employing it deliberately. When this concept is tagged, I – like many others – often feel more able to read about it than I do when it crops up in untagged works of commercial fiction, film or TV, because I don’t have to worry that the author thinks what they’re depicting is okay. I can say definitively, “yes, the author knows this is messed up, but has elected to tell a messed up story, a fact that will be obvious to anyone who reads this,” instead of worrying that someone will see a fucked up story blind and think “oh, I guess that’s fine.” The contextual framing matters, is the point – which is why it’s so jarring and unpleasant on those rare occasions when I do stumble on a fic whose author has legitimately mistaken homophobic microaggressions for cute banter. This is why, in a ficwriting culture that otherwise aggressively dislikes criticism, the request to tag for a certain thing – while still sometimes fraught – is generally permitted: it helps everyone to have a good time and to curate their fan experience appropriately.

But when white and/or western fans fail to educate ourselves about race, culture and the history of other countries and proceed to deploy that ignorance in our writing, we’re not tagging for racism as a thing we’ve explored deliberately; we’re just being ignorant at best and hateful at worst, which means fans of colour don’t know to avoid or brace for the content of those works until they get hit in the face with microaggresions and/or outright racism. Instead, the burden is placed on them to navigate a minefield not of their creation: which fans can be trusted to write respectfully? Who, if they make an error, will listen and apologise if the error is explained? Who, if lived experience, personal translations or cultural insights are shared, can be counted on to acknowledge those contributions rather than taking sole credit? Too often, fans of colour are being made to feel like guests in their own house, while white fans act like a tone-policing HOA.

Point being: fandom and ficwriting cultures as they currently exist badly need to confront the implicit acceptance of racism and cultural bias that underlies a lot of community rules about engagement and criticism, and that needs to start with white and western fans. We don’t want to be the new Bronies, guys. We need to do better.  

[octaviasdread]

one thing i really appreciate about dead poets society is that the boys are awkward teens and that is shown over and over again in the little details.

We get to see a largely 18-21 yr old cast with acne and awkward hair cuts. We see them in pyjamas and we see them in the showers but none of this is sexualised. Instead of gratuitous bedroom shots we get cosy flannel pyjamas, and where the boys are shirtless the focus is drawn to Charlie combing his hair into a ridiculous style, or the contrast of Todd sitting fully dressed in the changing room and no one giving him shit for it. In fact, not one of the poets makes fun of Todd’s anxiety. They make accommodations for his preference not to read.

We get normal levels of teens exploring their sexuality through crude jokes and crushes and pining and the beginnings of first relationships (excluding that creepy Knox scene). There is no hypersexualisation and by the end of the film there is only one canonical relationship. Oh my god, do you know how rare that is? Yet the majority of teens in a friendship group irl are single. Usually only one or two people are in relationships yet media has us believing everyone has consistent high school romances.

And adventures? The dead poets have plenty of those but you know what else they do? Study. There are so many scenes of them in class and then voluntarily in study group while other students play darts or chill. How many films set in school actually show the characters keeping up with homework or not running out half-way through class? These are the grounding details that make this film so real, like we could actually go to that school and make these friendships and have these adventures in an old cave.

And the party? Well, we all have a friend who jumped into drinking without knowing their limits. The portrayal of Knox and his behaviour (as is the case with many 80s romance harassment plots) is wrong for many reasons but his naive approach to his first - ultimately disappointing- party is something worth considering.

Media hypes up teen house parties as a wild and essential part of the high school experience. But to be honest, very few big parties were thrown in my town and they usually turned out to be over-hyped or solely for substance use. Enjoyable house parties, in my experience, are more of a university thing or a smaller gathering with only friends. Rewatching with this knowledge makes me appreciate Knox having a terrible time (his behaviour aside) and his awkwardness navigating interactions with the drunk football team. I didn’t realise when i first watched dps, but it’s one of the few times alcohol and underage parties haven’t been over-glamourised.

Also the theme of rebellion. As much as the film is a warning about the impact of stifling individuality and dismissing the autonomy of teenagers, it explores what the teens can do in secret to free themselves and to educate themselves outside of the prescribed curriculum. It recognises that not everyone is willing to get expelled and it recognises that sometimes dysfunctional environments and strict authority has to be lived in (however wrong it may be) as a minor. Not all teens are in a position to, or are comfortable, taking drastic action to assert themselves; for example, the difference between Charlie and Cameron, but also the other poets who still sign the document. Even without drastic action that would get them kicked out it’s made clear that these teens are now thinking for themselves and developing as individuals, even as they live under the authority of Welton and their parents.

We, the audience, love these boys and these actors. We barely notice the acne and the imperfections erased in social media/ads/movies and we enjoy the goofiness and the cringe moments. We flock to the nyc home movie to see more of the cast just existing as young people being silly and having fun. I’m not saying stuff like ‘Skins’ or ‘Euphoria’ are bad (i love that too) but we need balance in the frequency of these portrayals. So give me more content like dps. ‘Derry Girls’ and possibly ‘Stranger Things’ are the only current example i have of this softer and more goofy portrayal of teens and people love it. So why is it so rare?

[unwhitewashthebadbatch]

Disney Email Draft 2

(going under a cut because it's much longer. Here is the Google Doc link for anyone who would like to comment directly)

Reminder that we are encouraging critiques and comments regarding this email!

To Bob Iger, Kathleen Kennedy, Dave Filoni, Jennifer Corbett, and the creative team of Star Wars: The Bad Batch:

We hope this email finds you all well. We are fans of color, disabled fans, neurodivergent fans, and Jewish fans writing out of concern for the portrayal of our communities in the Disney+ series Star Wars: The Bad Batch. For several months now, we have been campaigning on social media to spread awareness about these concerns through #UnwhitewashTBB, a movement we began to raise awareness about the ways in which the series has poorly represented several minoritized groups of people.

Just like the creators of Star Wars: The Bad Batch, all of the creators of #UnwhitewashTBB grew up with Star Wars as the backbones of their childhoods, and for many of us, Star Wars: The Clone Wars was crucial to our development as artists, writers, creators, and lifelong Star Wars fans. We are all firm believers in the phrase “Star Wars is for everyone”, and we would like to see Disney support that message by hearing our plea.

As fans of color, as disabled fans, as neurodivergent fans, and as Jewish fans, we’ve seen ourselves on screen in both good and bad ways, but recently it has been more the latter than the former. One such reason is Star Wars: The Bad Batch, a show whose premise piqued many fans’ interest, but whose main cast has left an increasingly sour taste in the mouths of those who watched.

The series follows an elite squad of clone troopers who have named themselves The Bad Batch, due in part to their series of mutations that gives them an edge over regular clones on the battlefield. These mutations drastically altered the appearance of each of the members to a generally lighter, more Caucasian appearance--one that is inconsistent with how the original Jango Fett actor Temuera Morisson looks. Fans take issue with the implications in the writing and design of The Bad Batch: that in order to be elite, special, and better than one’s contemporaries--in order to have a story worth telling--one must also be white or as close as possible.

Merriam-Webster defines whitewashing as “to alter (something) in a way that favors, features, or caters to white people: such as to alter (an original story) by casting a white performer in a role based on a nonwhite person or fictional character” The #UnwhitewashTBB movement comes with two carrds explaining the grievances of the fans. A summary for each character is given below:

Sergeant Hunter, the leader, closely resembles Sylvester Stallone’s Rambo character, despite being a clone of a man of color. The importance of his character, the fatherliness he has with Omega, and his centrality to both their Season 7 appearance in The Clone Wars and the series itself sends the message that important people look

Wrecker is the demolitions expert, and he’s the only member of The Bad Batch with features similar to that of a Maori man’s, like Temuera Morrison/Jango Fett. He’s large with broad features, brown skin, and is a stereotype of men of color. His personality as first introduced to the audience was that of a loud, aggressive, impatient, slow man who called frequently for violence/destruction. He falls into the “Loveable Brute” trope, an observation that is supported by statements from supervising director Brad Rau and voice actor Dee Bradely Baker that Wrecker is like a little boy and has a heart of gold.

Crosshair is the sniper on the team, and he’s the most derisive of the “regs”--the regular clone troopers. Taken in conjunction with his appearance (inspired by Clint Eastwood), the various messages being sent by the writing and appearance of the other team members, and his comment about the regular troopers--the he and the Batch are superior and thus should join the Empire--his character pushes forth a message that there is superiority inherent in whitened or fully white features.

Tech, the technology specialist, has incredibly light skin and hair compared to the regular clones. His mutation made him a genius, with an IQ that outpaces that of any other clone in the Republic. Fans of color are upset that Tech’s genius mutation apparently also affected his skin color, as now this creates a direct link between intelligence and appearance/race. Contrast Tech with Wrecker, who is the exact opposite in every way, and this harm becomes only more apparent. In addition to this, many Autistic fans of The Bad Batch have noted that Tech, being “on the spectrum” (according to Dee Bradley Baker) is a popular stereotype of Autistic people: a nerdy-looking white man with a formal way of speaking who’s a genius but dismissive of others’ feelings. Baker also plays Tech with a British accent, further cementing the harmful message that intelligence is in some way connected to ethnicity.

Omega is the newest member of The Bad Batch. Despite being a pure Jango clone, she’s come out looking nothing like Boba Fett--she has lighter skin than he does, as well as blonde hair. Fans are concerned about the connection between genetic purity and light skin/blonde hair, as this is directly harmful to the people of color who don’t sport those features.

Echo is the ARC Trooper of the team, but many fans--disabled fans especially--fear that his series of disabilities have reduced him to the “droid sidekick”. Echo does not have a prosthetic, instead sporting a scomp-arm attachment that allows him to plug into computers but would otherwise hinder him greatly in daily tasks. He rarely is the focus of an episode, and the series has not given him as much attention as it has given characters like Hunter and Omega. Disabled fans worry about the lack of attention given to his medical trauma, and fans of color note that his skin color goes beyond what a brown man who’s been without sunlight for a few months would look like.

The issues do not stop here. Asian fans noticed and were harmed by a Tiananmen Square parallel in 1x10, “Common Ground”--a recreation that was led by an Eastern Asian-coded woman. Jewish fans are hurt by the antisemitic stereotype in Cid the broker, a greedy lizard woman who speaks with an accent commonly associated with New York Jews--and who is played by Jewish actress Rhea Perlman. Black fans were harmed by the whitewashing in Saw Gererra and the one other Black character in The Bad Batch being a Black woman who works for the Empire and burns civilians alive.

The full analyses can be found in the official #UnwhitewashTBB carrd: unwhitewashthebadbatch.carrd.co. We respectfully ask that you read this carrd and give a public statement in response to these criticisms.

Our movement has only gained traction since its inception on March 30th, 2021. A few months later, we wrote and released an open letter on Change.org to be signed by supporters of #UnwhitewashTBB, and every day it gains new signatures and draws nearer to the next milestone. A survey we released over a month ago has received over 1,100 responses and also continues to climb. The latter displays a range of opinions regarding The Bad Batch, but one sentiment stands out: Hunter, Crosshair, Tech, Wrecker, Omega, and Echo are written in stereotypical and actively harmful ways. Respondents were shocked at outdated portrayals of Autism, sickened by antisemitic stereotypes, and confused at how, in this current social and political climate, a family-friendly corporation like Disney could greenlight a series that sends a message that is the complete opposite of “Star Wars is for Everyone”. Some sample responses are below:

“I would just like to elaborate on the ableism aspect. As a amputee myself, I don’t like how Echo’s trauma has been ignored. The whole reason he is with the BB is because of what he went through. Losing one limb, never mind multiple, it’s extremely difficult. They made it seem like just because his prosthetic can be of use on missions, that means he isn’t grieving the loss of his actual hand. There is no healing or evolution. It also feels wrong to only address the fact that echo uses prosthetics for the sake of hacking into machinery. Prosthetics are so personal and become a real part of who you are as a person.” - Respondent 130

“...I can't believe Star Wars is still doing this, and that an entire team of animators with a huge budget can't get skin tone right. I didn't even know the clones were supposed to have a NZ Māori accent until a friend told me. That's a big deal, since I live in NZ and hear it every day…” - Respondent 209

“As someone who is neurodivergent myself, Tech and Wrecker just. sting, you know? in a “is that really what you think of us” kind of way. I grew up in an environment where intersectional equality was heavily discussed, and I can still miss things. Having Jewish friends does not mean that Cid’s antisemitic implications can’t go right over my head until someone points them out (thank you).” - Respondent 87

“As a fan of color, its irritating and painful to watch and be brushed off as "lighting issues" and see justifications made by white fans and producers...It also feels very bad to me that TCW spent 7 seasons with several arcs emphasizing that the clones were all as individual as a 'normal' person, but then undo all that with TBB, which centers a group of "special" clones (who are suspiciously white) and have them treat the "regs" as a homogeneous group who are lesser than them, and then expect us to find it within ourselves to put that aside to enjoy the MCs. The way the treat "regs" is very offputting and it made me dislike them since their introduction...Star Wars is no stranger to racist and antisemitic media, but I must say, the blantancy of Sid, a greedy lizard who essentially financially enslaves the protaganists, being Jewish-coded and being protrayed by a Jewish voice actress is really next-level even for Star Wars. As a Jewish fan, it really grates on me.” - Respondent 40

“I’m disabled and autistic, and the ableism is appalling to watch. Watching Echo be treated as subhuman for needing machinery to survive makes me feel like having implants to keep my spine from breaking itself would have me be the pitied member of any group. I am disgusted by the blatant antisemitism, as a fair number of my friends are Jewish and it hurts me to think that people can so easily hate others based on internalized stereotypes. Me and my friends have also critically analyzed the fact that, despite being clones of a character portrayed by Temuera Morrison, for some reason the bad batch look nothing like him in any way. No resemblance in any way: just a bunch of someone’s badly worked characters fraught with disgusting writing decisions and design choices that make no sense. It makes me angry to think that the writers for this show, and to an extent any modern writer, would believe that using harmful tropes to make a story is acceptable and someone brings in profit. I tried to watch it out of fact that my family likes Star Wars and we all grew up watching it, but all of these unhealthy assumptions and terrible choices in terms of writing and design leave a bitter and nauseating feeling.” - Respondent 605

In the survey, various questions were asked about fans’ feelings about The Bad Batch. Before reading the carrd, 34.7% of fans answered that writing was their least favorite aspect of the series, with the next being the main characters. Elaborations in the following free write made clear that the whitewashing and stereotypical writing were huge factors of these opinions. One a 1 to 5 satisfaction scale, 68.1% of respondents rated their satisfaction at a 3 or lower--again, due to the whitewashing and other issues respondents perceived in The Bad Batch. When asked to analyze pre-post carrd-reading feelings regarding the above issues, every category saw a marked increase in awareness of the issue at hand. The perceived prominence of the whitewashing went from 81.3% to 91.4% in respondents. The awareness of ableism jumped almost 30%, from 52.6% to 84.4%. The majority of respondents (59%) were not aware of the antisemitism in the series, but after reading the carrd, that statistic flipped to 80.5%, a near 60% increase from the original 26.7%. Regarding the other racist issues, the respondents went from 63.1% to 83.7%.

Fans of color, neurodivergent fans, disabled fans, and Jewish fans have been waiting for the day where we can see ourselves on screen a level of attention and care that makes us feel even more at home in the Star Wars community . If Disney’s message is truly family-friendly, if Star Wars is for everyone, then Disney needs to support these views with not just words, but with actions. Resolve the racism in Star Wars: The Bad Batch, take out the antisemitism, and treat your nonwhite, disabled, and neurodivergent characters--and fans--with the respect and dignity they deserve.

This will not be a benefit solely to the fans who are asking to be represented properly. In today’s time, popular media is facing a reckoning; media that is inclusive of and respectful towards minoritized groups ends up with leagues more popularity, high ratings, and good reviews than those that don’t. A recent and prominent example is Shang-Chi and the Legend of the Ten Rings, a movie for which the inclusion of Asian-Americans at nearly all levels of production boosted its image and aided in its successful box office release. Black Panther is another prominent example--a movie spearheaded by Black people that completed its box office run at more than five times its initial budget in total revenue. The proper representation of people of color is a two-fold benefit.

Star Wars: The Bad Batch already has beautiful animation that reminds many longtime Star Wars: The Clone Wars fans of their childhood.

It is our hope that you will take our concerns as well as the concerns of others into account, and address the issues that we have outlined in order to better reflect the Walt Disney Company’s commitment to inclusive, diverse entertainment for audiences of all ages. Thank you for your attention to this issue.

Respectfully,

Fans of The Bad Batch

[lynkhart]

MAJOR spoilers for the C2 finale of Critical Role so read at your own risk of you haven’t caught up!

I have so many feelings regarding Caleb and Essek’s intertwining character arcs I needed to explore, so strap in folks, you’re in for a bit of a ride! (But seriously though, this is like 4000 words long, I basically wrote an essay 😂)

At the start of the campaign, Caleb Widogast was dripping in guilt and self loathing and refused to believe he could ever absolve himself of his sins. Essek Thelyss was a cold, aloof individual who betrayed his people for selfish goals, and their differing yet mirrored narratives have been an absolute delight to watch unfold.

In the beginning Caleb truly hated himself. He shot down any attempt at a compliment, described himself as a ‘disgusting person’, outright rejected the idea that he was worthy of love, and never let the blame shift from him for what he’d done. When Beauregard and Veth/Nott pointed out that he was coerced and manipulated into killing his parents, he reacts in an incredibly visceral way, and I’ve seen several comments likening it to a victim of child abuse who was groomed into believing they were as responsible as their abuser, and I think that’s exactly how it was meant to be read. He doesn’t see himself as a victim, only a murderer, and punishes himself for it every day. We see this in the way he presents himself, dirty and unkempt because in his mind he doesn’t deserve to feel good about himself in any way. Other than Nott/Veth and Beau to a certain degree, he purposefully isolates himself from the rest of the group and it’s a long time until he feels relaxed enough in their company to drop his defences a little.

(Speaking from a purely meta point of view, Liam did an absolutely phenomenal job of showing this through body language and I’d love to see someone do a compilation video of it. He starts off very hunched and guarded, leaning his body away from the closest person to him and avoiding eye contact and physical touch; but by the end stands tall and sure of himself.)

Early on there were a few moments where he had the option to do some pretty dark shit, and I’m sure there’s a possible timeline where he gave into his desire for revenge and really lost his way, but I’m glad he stuck it out and worked through his trauma in the way he did. His PTSD and disassociation when casting with fire was tragic, but over time he was able to work through it thanks to the constant love and support of his friends who kept him from going off at the deep end.

Molly’s death was the catalyst for change in a lot of the party, and Caleb is no exception. On the verge of leaving the group prior to his death, the grief they shared, combined with their frantic attempt to rescue the other half of their party put things in perspective and gradually he learned how to be a person again, to care.

Altering time to save his family had been Caleb’s only goal in life, and so when Essek and by extension, dunamancy was introduced, you could see his eyes light up at the possibilities.

A huge turning point for him is aligned so closely with Essek’s redemption arc which feels quite apt I think. When Essek confesses to his crimes, Caleb delivers a beautifully iconic piece of dialogue where he acknowledges their similarities and how much he himself has changed as a person since meeting the Mighty Nein. (Source - CR wiki)

‘You listen to me. I know what you are talking about. I know. And the difference between you and I is thinner than a razor. I know what it means to have other people complicate your desires and wishes. And I was like you. Was. I know what a fool I have been for years. You didn't account for us. Good. That is life. Shit hits you sideways in life and no one is prepared. No one is ready. These people changed me. These people can change you. You were not born with venom in your veins. You learned it. You learned it. You have a rare opportunity here, Thelyss. One chance to save yourself, and we are offering it.’

This is not the same Caleb we met back in the Nestled Nook inn way back in the first episode. While not yet fulfilled or entirely convinced of his own worth, he knows he’s on the right path. That alone is progress enough, but that he uses his own experiences to help another escape those same chains of guilt says such a lot for his development. When he tells Essek that his ‘venom’ was learned, he’s also talking about himself and his own history of being manipulated and gaslit, with the implication being that it can be un-learned just as efficiently.

Caleb Widogast is selfish no more, or at the very least, doesn’t let his goals undermine anyone else’s anymore. Contrary to what he himself might still think, he is in no way a bad person. He loves fiercely and cannot abide seeing those he cares about in pain.

Early game Essek is what Caleb could have been if he’d rejected his friends and focused solely on his own selfish goal to undo his mistakes. Both are impassive at first and see the Mighty Nein as means to an end...until they get to know them and then their fate is sealed. The Power of Friendship wins once again!

At the beginning Caleb said he wanted to ‘bend reality to my will’ (sic) and in the end he does just that, though not in the way he originally intended. Destroying the T-Dock, and by extension the one thing he’d been building towards from the start, the chance to go back and change time, for me personally was the absolute peak of his journey. I rewatched the scene where Caleb revealed the truth about his parents death today, and it was really jarring to see just how far he’d come since then. It made me oddly proud actually.

I always felt like his plan to save his parents was the one thing holding him back from truly accepting their deaths, which is why the final scene of him in the cemetery with the letters for them hit so hard. He never truly gave up hope that they’d be reunited, but ultimately he realised he was merely postponing the inevitable and never allowing himself to live his own life. While time travel shenanigans would have been incredibly interesting to explore in game, choosing to let the past lie and not go back for them finally allows him to grieve and move on, and perhaps most importantly of all, to forgive himself at last.

I know some people were annoyed by Caleb’s decision in the finale to spend the rest of his life teaching rather than continuing to adventure, but I see it as the natural conclusion to his whole arc and his own personal victory.

He looked Trent Ikithon in the eyes, a man who he’d spent years wanting to kill and run from in equal measure, stripped him of his power and his voice (and ultimately his ability to harm anyone else) and finally spared his life so he had to live with the indignity of his defeat for the rest of his miserable existence. You couldn’t have asked for a more damning rejection of everything he’d been brainwashed into believing as a child. His dismissal of Trent’s position in the Assembly played into that as well. He never really wanted power for the sake of it; he had no desire for politics, he just wanted his family back, and while he didn’t get the one he started with, he made a new one for himself in the end.

As Caduceus once very wisely said:

‘Pain doesn’t make people; it's love that makes people. The pain is inconsequential; it's love that saves them.’

Caleb gets to break the cycle of abuse and teach a new generation of mages the way he should have been, with kindness and respect, and I’m pretty sure he’d have introduced a handsome drow as a guest lecturer from time to time. 😉

Speaking of...

Essek described himself as selfish and as a coward, forever putting his own wants and desires first, yet over the course of his journey with the Nein we see his priorities change drastically.

Having friends gives him people to care about, something he’s never had before, and it changes his outlook on life completely. For me, the first time we really see this is when he joins them for dinner in the Xorhaus and stops levitating. It’s a subtle thing, but meaningful. He explains that it had become an expectation of him, a quirk he’s known for, and so to feel comfortable enough around the Nein to drop that pretence is quite bold I think.

Much later, when he chooses to destroy the mini beacon they discover in Aeor in order to give everyone a long rest before the final confrontation with Lucian, he’s essentially giving up everything he betrayed his people for, just to keep his friends safe. The existence and context of that single artefact could have had an earthshattering impact on the Dynasty’s entire culture, forcing them to reevaluate their entire belief system and attitude to the Luxon, something he’d wanted from the start, something he helped start a war for, but he offered it up as a sacrifice without a second thought.

I’d say that’s a pretty big morality shift, and I’m super interested to see if Matt reveals if his alignment changed in the post campaign Q&A. I have a feeling he set him up as a potential BBEG but the party was like ‘no, you can’t have him, he’s ours now’ and that was the end of that. 😂

I think it says so much about the other characters too, that they befriended this person they barely knew, and when he was revealed to have done such terrible things, their first reaction was to give him comfort and an opportunity to atone. Jester held his hand while he confessed, and afterwards, while they didn’t immediately forgive him, they saw the good in him and wanted him to be better, which ultimately feels like what the entire campaign was about, leaving places (and people) better than they found them. It’s obvious that he’s never really had many friends before and has therefore never had the opportunity to be emotionally open with anyone, so seeing him gradually warm up to the Nein and allow himself to soften around them was really lovely to watch.

(Obviously, from a realistic moral perspective, he still fucked up big time. He’s still a godsdamned war criminal and really should have been put on trial for what he did, but I think from a narrative and personal point of view, his redemption arc was far more satisfying, so I’m glad it happened the way it did. (And not to derail but the rest of the gang have done some pretty horrific stuff as well, though perhaps not quite on the same scale)

He has a few moments towards the end that I absolutely love because they show that beneath the guilt and anguish, there’s an incredibly sweet and sensitive soul in there, just wanting acceptance. His dry jokes which often don’t quite hit, (the ‘I will punish the bakery’ line is such an under-appreciated one 😂) his simple joy at learning to garden in the Blooming Grove, and realising that he’d never been asked what his favourite food was before was actually kind of heartbreaking, because it highlighted how lonely his life must have been until that time. There was a moment pretty early on I think when he cast disguise on the party and Jester asked if he could cast it again to change the look of her outfit a bit and while he seemed to find it amusing, he refused, not wanting to waste a spell on such a frivolous request. Cut to their time in Aeor where he burns a fly spell just so he and Caleb can flirtatiously swoop around each other for a couple of minutes, all the while trying to beat Lucian to the city.

His breakdown when Molly’s resurrection failed really cemented to me how much he’d grown as a character. He never met Molly, his only knowledge of him was secondhand, through the eyes of his friends, but seeing it fail just broke him because he knew how much it hurt them to go through it all over again.

His comment to Caleb about not admitting defeat and wishing he could do more did get me wondering at the time if he was going to try and do something crazy, perhaps sacrificing himself via the Temporal Dock to make amends or somehow forcing another reroll, but I’m glad he didn’t. The conversation following that with Fjord was one of my favourites- he shows him acceptance and belief in his potential for the future, something he’s lacked for a long time, and when Caleb bluntly affirms afterwards that he is indeed an official member of the Mighty Nein, it’s the start of the rest of his life, and something he’s exceptionally grateful for.

It all leads to that final moment in Aeor with Caleb, when, presented with the opportunity to alter time and undo everything, he chooses to accept his decisions and carry the weight of his sins for the rest of his long life. That’s...huge.

He’s essentially choosing to live the rest of his existence as a fugitive, forever on the run, with no guaranteed peace or safety. He chooses to spend his life making up for his deeds, rather than looking for an easy way out.

I think that may have had a big impact on why Caleb ultimately made the same decision, as if Essek had been up for altering his timeline I think he’d have struggled to resist it himself. The conversation they had earlier in Aeor about their priorities and resisting temptation really comes to mind as well.

Now, to the relationship.

It was subtle, and not as ‘in your face’ obvious as the other characters, but I’ve been watching and hoping for a long time and I must say, it feels good to be vindicated.

(And if you have any doubt, both Matt and Liam confirmed on Twitter that their post finale relationship was 100% romantic)

I’d been hoping that Shadowgast would be a canon endgame relationship for a while, so the finale, and the aforementioned T-Dock scene in particular had me quite literally shaking with emotion as I watched live. Here you have two men, both damaged and guilt-stricken in their own ways, who find in each other a kindred spirit and a path to redemption.

They’re both very guarded and closed off people, but Essek in particular has a definite shift in the last arc of the campaign especially when it came to his interactions with Caleb. At the start he was quite aloof and stoic, though charming, and they had an instant connection through their shared love of the arcane, (anyone who couldn’t see them making heart eyes at each other when Essek was describing the different types of magic he could teach Caleb was clearly blind) but by the end he was incredibly open to showing his vulnerabilities and that takes a lot, especially for someone whose primary focus was to stay in control of every aspect of his life. The ‘Caleb, I’m scared’ moment during the Trent fight in particular made my heart ache.

No, we didn’t get a dramatic declaration of love or a cinematic mid-battle kiss, but I’d argue that their relationship was just as, if not more intimate than any of the other main characters were. They understood each other in a way the others didn’t, their shared guilt, feelings of inadequacy and their obsession with magic forged a deep connection from the get-go. Neither of them are big fans of PDA I think, though Caleb is tactile as hell (forehead touches and kisses, oh man, I’m so weak for those 😩👌) and some of their most iconic moments have them putting themselves in harm’s way to protect the other. Essek shaking off his forced guilt trip immediately after the now infamous forehead touch in ep140 was beautifully poetic, as was using his fortune’s favour to pull Caleb out of the rubble moments before. Caleb trying to include him in his Sphere of Invulnerability in the finale and Essek staying close to him the whole fight despite being obviously terrified of Trent was the icing on the cake. It’s clear that they care for each other a great deal; whether by the finale they’d consider it love is up for debate, but we know that’s eventually where it ended up and honestly, I love that. I deeply appreciated the fact Matt and Liam both emphasised that they took their time with their relationship, letting each other heal in their own way before they took the next step. All too often in media, and real life too sadly, a romantic relationship is seen as some kind of quick fix, and that a lover will somehow complete you or make all your problems vanish. They knew this wasn’t the case here, and that made it all the better.

While I would have *loved* to have seen them together as a couple right to the very end, the change in their relationship felt right, if bittersweet. I doubt they ever stopped loving each other, and if anything, choosing to shift to a deep and lifelong friendship over a romance that would cause them both so much pain is one of the kindest things you could do for someone you love. After all, friendship isn’t a downgrade, just another way of experiencing that same love, and it wasn’t as though they broke up and never saw each other again, it was pretty strongly implied that they remained a major feature in each other’s lives, they just changed their label slightly. Caleb would hate to have forced Essek to watch him wither away, and although his eventual passing would hurt Essek regardless, incompatible lifespans being what they are, having a period of time to adjust to it, to give them a buffer between the inevitable heartbreak was actually really sweet.

Their romance was no accident, they knew going in that it had a time limit, that it wasn’t going to be forever for one of them, and the fact they did it anyway says so much. They began their adventure wholeheartedly believing that they were both, in their own way incapable of love, only to later find it with each other. Whether their relationship lasted for a couple of years or multiple decades is irrelevant, what matters is that while it did they had a happy and fulfilled life together.

I know some folk wanted Caleb to use the transmogrification spell on himself so he could live on with Essek as another elf, or make him human instead, but that would have been way out of character for both I think. If they could have backwards engineered one of the rejuvenation stations in Aeor and used it to extend Caleb’s life by a hundred years or so, so he’d have a similar lifespan to Veth, now, I could have seen him possibly doing that, so he could spend more time with his best friend too, but nothing further I think. He longed to be reunited with his parents too much to postpone death unnaturally like that.

That both Caleb and Essek ultimately chose to live with their mistakes and make peace with themselves was incredibly cathartic, and I couldn’t imagine it playing out any better.

The fact Matt has explicitly stated Essek is Demi too means so much to me personally because the latter is a label I’ve been identifying with a lot recently, and it’s so rare for aspec relationships to get any representation! It has honestly given me a lot to think about over the last few days, and I really appreciate it.

To conclude, here’s a bit of shameless self promotion. I wrote this after watching the finale and honestly feel like it sums up my feelings on the nature of their relationship pretty well.

‘A casual hand on a shoulder, a waist, a wrist; a gentle kiss placed on a forehead is common between them now, an intimacy born of trust and mutual affection. Over time it grows, like a fire born of seasoned timber; gradual and steady, no spluttering kindling that flares and sparks, but a slow burn, one which lasts.

Their love is embroidered into every aspect of their lives together. Acts of service, of comfort, of understanding.

Sometimes a kiss leads to more than a kiss, sometimes it doesn’t. Either way they are content.‘

So yeah, I love these two wizard boys so very much and I couldn’t be happier with the conclusion of their stories. ❤️

[duchezss]

Buckle in folks cause I’m about to put more effort into this than an english assignment Presenting Why Jurassic World Camp Cretaceous is actually an amazing show

Now what defines the term amazing you might ask? I’m talking about a show that goes above and beyond in plot, characters, storytelling, and overall experience. Nowadays most adult shows don’t meet my standards much less a kids show so if that gives you an idea how good this show is stop right now and go watch it if you haven’t. Spoilers ahead ofc but as an aspiring film major I will be diving into just about everything I love and this is gonna get long. 

For your convince I will start with a simple bullet point list and then extend on them below, so if you only wanna see the big points and not my thoughts behind them this first parts for you. 

Black mc 

Diverse main cast (4/6 are poc) 

Actual plot lines and a lot of suspense 

Very dark for a kids show 

Complex characters that develop 

Fits in with the main Jurassic World series beautifully 

Body language and facial expressions are top tier 

Have genuine relationships (platonically and/or romantically) between all of the main 6

Phenomenal camera angles and use of special effects 

Great with details 

Amazing VA’s 

Continuity 

So the nose dives begins 

Black mc: To some people this might not matter that much but holy cow this is so important and such a big step. The people complaining are just weird middle aged white people, like do you know how big of an impact a black mc can have on young black children. It’s so important and it makes them feel happy because someone actually looks like them. Clear evidence of this was Into The Spider Verse (which is also an amazing movie oml). Come to think of it the only black mc I think I’ve ever seen in an animated kids show is probably Static Shock (also an amazing show ily). Somehow representation has got swept under the rug in this day and age which is ironic really, but this show does an amazing job with tackling that and I love it. 

Diverse main cast: I can’t think of any recent kids movies/tv shows, live action or animated, that have this much representation. In animation is also very easy for the show runners to make a character poc and then have a white VA, but jwcc is quite the opposite. Honestly the characters look so much like their VA’s that something tells me the animation team based the characters off them and not the other way around. Not only that but their names actually match with their ethnicities. So for reference or just anyone that doesn’t know, Ben and Brooklynn are white, Sammy is hispanic, Darius is black, Kenji is asian, and Yazmina is middle eastern. Sammy’s last name is Gutierrez, Yazmina’s is Fadoula, Kenji’s is Kon and Darius’s Bowman. Gutierrez is a common last name in Mexico and Latin America in general. Fadoula is found throughout upper Africa and the Middle East, Kon is rare name of Japense origin, and Bowman is a common last name among black folks in the US. So not only do they have a poc cast, voiced by poc people, but all the characters have realistic names. Not to mention they are very good on skin tone in the show, personally I think Yaz should’ve been just a bit darker but hey I’ll take it and run. 

Actual plot lines: This seem like stating the obvious but work with me here. Most kids and even adult shows have a very episodic format, there’s nothing wrong with that per say but having a plot and conflict build up and having little things matter is much more satisfying in my opinion. Most kids shows have some conflict but its very PG which is also fine that’s what it’s meant for. But every once in a while you’ll find a show that had plot wise beyond it’s years and those are the golden ones. Easily and rightfully the most famous is Avatar the Last Airbender or ATLA. This show to this day is still one my favorites and truly nothing will ever top it, but in my years of watching kids shows after it jwcc might just be second. We can argue all day about what’s the best and it’s truly a matter of opinion, but to me atla and jwcc just achieve such a level of complexity that 99% of kids and even adult shows don’t reach. 

Very dark: While this might not be exactly the best for kids it’s great for an olderish audience. Honestly it having a much darker element makes the show enjoyable for all ages while still keeping it chill enough so that children may watch. But come to think of it it’s hard not to make a show about dinosaurs dark, the show runners do a wonderful job at keeping it intense and exciting, but still kid friendly, and to me thats incredibly impressive. Not to mention since the show isn’t afraid to go dark they can do more (such as ben’s “death”, the hunters etc) which makes it go from good to great. Reminds me a lot of atla and I know I keep mentioning atla but know that is the biggest compliment ever. atla is easily the best animated/kids show of all time so the fact that a bring it up so much is huge. There have been shows in the past that have tried to replicate what atla (such as voltron..) and it just hasn’t worked. I think this show nails the boundary between too dark and not dark enough. 

Complex characters: Oh yes. If there’s one thing I love more than an ensemble cast it’s a cast that grows and develops as the series progresses. Sure the main 6 might start off as typical character tropes (Darius the super fan, Yaz the loner, Sammy the extrovert, Ben the underdog, Kenji the arrogant, and Brooklynn the influencer.) but they become so much more than that. I’d say at least half of them are completely different people between the 1st episode and the latest one. An easy example being Ben and Kenji. Ben started off as a naive, timid, and terrified person and has become confident, independent, and brave. Kenji started off as arrogant, selfish, and apathetic person and became compassionate, driven, and concerned. All of them have had some sort of change even if it’s not super dramatic and that’s important. It makes the storytelling better because they grow as they go. 

Fits in with JP/JW beautifully: In terms of shows connecting to movies this has gotta be some clone wars level s-tier stuff. Personally I have never watched clone wars but my sister has and she always raves about how well this show connects to the movies, and from what I’ve seen I completely agree. A youtube channel by the name of Silverscreen Edits actually put together the scenes from every time they overlap, mainly in S1 but also the cold open from Fallen Kingdom. I’d advise you to watch it because it’s just incredible. The show runners nail ever detail of these scenes and it truly feels like you’re watching the same scene from a different perspective. The set up is beautiful and I cannot rave enough about how amazing it is, my favorite easily being the dome scene because of all the small details. Not to mention this show actually connect JW and FK because it shows us that the cold open was 6 months later while the rest was 3 years later. Quite honestly I had no idea these two scenes were that far apart from each other, I thought the opening was from a years or two later not 6 months, so this show really connected the dots between these two movies and made them flow together much nicer. And I love all the countless references too old and new JP/JW movies. Overall this show is a great addition to the franchise. 

Body language and facial expressions: You might be thinking to yourself, hmph that is a really odd point to make, let me tell you it’s not and I’ll explain why. When analyzing films I usually tend to stick to live action because one of my favorite parts of films is how characters react to things, and we animation we really don’t get that. Most of the time even if shows get this complex they won’t use both the way jwcc. What impressed me so much was how amazing they are at this, the animation team seriously needs more praise. Jwcc is great at facial expressions which I will say other animated shows know how to do as well, but they are also so amazing at body language which is rare rare when it comes to animation. It’s because it’s so hard and often times it just doesn’t fit, but they do an amazing job with this and it makes the characters feel so life-like. When a character is sad or closed off their shoulders hunch, when they feel scared they stiffen up and cover their ears (which is another detail I love so much, I never realized till this show that hardly anyone ever covers their ears and it makes a lot of sense because these dinos are very loud) and when they feel hopeless their shoulder sag and their head drops, do you see what I mean? You can quite literally tell what these kids are feeling and thinking without them saying anything that is so impressive and it makes the show that much better. It makes it easy to analyze and if it wasn’t clear around I love to do so. 

Genuine relationships between all of main cast: I will not budge at this point at all, gonna say it right now if you disagree argue with the wall. I might have some bias on this but one, if not my favorite, part of any media is an ensemble cast. It’s something I actively seek out, and when I say ensemble cast I don’t mean a trio, I mean a full cast, my favorite being 6 but 4 or 5 will do. So when I found out this show had 6 main characters I was immediately interested. Not only because I love ensemble casts but I also wanted to see how they handled it. Ensemble cast are so rare because they are extremely hard to do and do well. I will even criticize atla on this. At one point they had 6 main characters and they never elaborated on more than a handful of the duos and just focused on the group as whole. But this is typical and easiest to do without giving up individual character development so I get that. But jesus christ jwcc does a phenomenal job with this, and I mean phenomenal. Out of the 15 different duos you can get between 6 characters then have elaborated on 11 of them, and it could easily be more this is just from memory. I might make a post elaborating on this specifically because it’s just amazing. This time they take to flesh out these relationships truly makes them feel like a unit and a family, instead of just a group of people all working towards the same goal. This is easily the most impressive and rewarding of any of the points on this list in my opinion. (coming from #1 squad lover right here)

Camera angles and special effects: This shows downfall for some was that it had strange animation, honestly it never bothered me and since I’ve watched dragon prince and rwby, it’s clear that bad animation never stops me from watching a show. But I think people just won’t give it a chance, because when you do you’ll see it’s actually very good. To me the coolest part of the animation is the dinos. They look incredible and so so similar to the cgi used in JW. That’s hard to do so more claps for the animation team I love y’all. They also have to work around the PG side of this show and do a great job at implying what happens but never actually showing what happens. This is all angles, not to mention they do a great job at showcasing the park and the scenery so that magic from the movies really translates to the show. Finally my favorite scene of the show from an avid slow mo lover has got to me when Ben falls of the monorail (idk why it is cause he’s literally my fav and I was so upset) The scene is just beautiful and the set up before hand makes it that much more heart breaking. The use of slow mo is amazing I literally cannot rave about this scene enough. It builds so much suspense and they used just the right amount, to much and the scene would move to slow, and to little the scene would be to fast. I need more great scenes like this in S4 (idk if I want the angst that comes with it too I’ll get back to you)

Details: To me details, in any show in general, is what makes it go from great to fantastic. An example of this is Harry Potter, something that hooked me into this franchise was how much small details mattered and it’s the same with jwcc. There are so many throw away lines that end up coming back and all us are hitting ourselves for missing it. Such as Ben saying early on he knows where the tracker beam is and when he “dies” and the crew can’t find it it shows how important he was. Those are details I love to see. Or the three dinos, one of which Sammy released, coming back all season. Of course toro as well and he always kept his burns. Not to mention the animation team always kept Ben’s scar in and I think that’s an important detail because he shaped who he is. Keep up the good work animation and writing team because I love what you’re doing with this (also I’m 90% sure the compass is another one of these details I’m calling it rn) 

Amazing VA’s: Honestly VA’s in general do not get enough credit and they really should. But these 6 are pretty amazing let me tell you. If I’m not mistaken Ryan Potter (Kenji’s VA) is the only one with a notable history of voice acting as he played the title character in Big Hero 6. (fun fact I had no idea and when I found this out I quite literally screamed). But the others have also done things as well, most of it being live action though, and voice acting is much different. Honestly I just need to make a post about the various roles they’ve had cause looking into this has been an experience. Anyway all of them do such an incredible job with this ahh. I think the times where you can really tell how different they all are is when they lash out. This happens quite often and honestly it’s expected, I mean they’re 6 teenagers in a stressful environment of course they’ll last out. But all of them have such a different way of doing it, Darius is hopeless, Kenji is nervous, Yaz is emotional, Ben is harsh, Brooklynn is stern, and Sammy is level headed. Usually everyone lashes out the same way so the fact that they’re so different in just one aspect shows you how good they are. Each character is so individual and all of them have different goals and morals which is not only realistic but it makes way for conflict which is always interesting. 

Continuity: Now this could arguable go with details but it’s slightly different so I’m making this a separate point. Continuity to put it simple it basically not have the show be episodic. Honestly that completely what I expected from this show because that how most kids shows are. In this show the plot not only progress each episode but so do the characters and their trauma. Most of the time the plot will progress but anything bad that has happened to the characters will not show and is hardly talked about (COUGH VOLTRON). To me it’s something that has to be addressed because if the characters don’t grow what was the point of it. And they’ve shown that characters grow based on the events that happen and I love that. Another thing about continuity is when show runners stick a pin in something and actually go back to it (COUGH RWBY). Jwcc is amazing at this and make a point to bring back just about everything that gets sidelined in the first place. It’s so impressive and make the show that much more enjoyable. There have been countless times where I get so caught up with the pins that shows just leave there and it makes me so mad, but jwcc is good at for the most part because of course some things will slip through. But they always get back to the important things. 

The conclusion: Overall this show is phenomenal and if my essay hasn’t convinced you I’m not sure what will. The show is amazing at storytelling and plot and the lovable main cast makes it that much better. It is so much better than a good chunk of kids shows and honestly part of me wishes it was rated PG-13 cause I really wanna see that. But they do an amazing job and keep it kid friendly enough while still discussing mature topics. It’s the next atla to me and something that many kids shows now days try to be and fail. It’s impressive and complex and truly one of the best shows I’ve ever watched. Film major mara out, and if you actually read all of this ily mwah. 

[rainydaydream-gal18]

The Mandalorian: Imagine Din Being Protective (Part 2)

(Author’s Note:  Someone requested this, so here it is!  

Here is the link to part 1!  This could also be read independently.  I hope you enjoy!

Warnings- fighting, blasters being shot, reader gets injured but nothing gruesome)

   You inhaled deeply as the enemy drew closer to your hiding spot.  The child was out of harm’s way.  You didn’t have to fear for his safety, at least.  Din was engaging the enemy elsewhere, and you were hiding behind some ruins just outside the Razor Crest.

   Footsteps crunched louder and louder in the brush, and you clutched the blaster with an iron grip, closing your eyes to gather your courage.  You may not have any formal training, but Din taught you a few things about shooting.  Perhaps you could hold them off for a while.

   You peeked around the corner, aiming the blaster at the first sketchy character that approached.  He caught sight of you.  You fired before he could react.  You hated the strangled cry that echoed in the air, but this was a matter of self-defense and to protect the child.  One of his companions stared for but a moment before running at you with a holler.  You fired off a few shots, jumping to your feet.  This one went down, and another leapt at you.  He knocked the blaster from your hands and brought down the stock of his weapon on the weak spot of your shoulder.  You yelped, reeling for a moment before throwing a punch.  Another set of hands grabbed you from behind.

   There were only two of them left, but it was enough to subdue you.  Even so, you struggled and fought and tried to wrestle your way free.

   “This one’s feisty, but obviously untrained in combat,” the one hissed.  “Perhaps we can take her with?”

   This made you struggle even more, managing to elbow him in the chest.  “In your dreams,” you spat.

   Suddenly, there was blaster fire, and the one set of hands left your shoulders as the owner crumbled to the ground.  The other one let out a battle cry and left you to attack whoever fired, but they were thrown to the ground.

   You turned around, panting, to see Din with the child in one arm.  The child’s expression lights up when he sees you, and he reaches toward you with eager little arms.  A small squeal leaves his mouth, and despite the pain from your recent injuries, you smile.

      “How did he…?”  you walked over, opening your arms.  “He was supposed to be on the ship.  I put him there so he’d be safe.”

      “He was worried about you,” Din said matter-of-factly.  “He came to find me, and I’m glad he did.”  He angled the child in your direction so the little one could make the transfer to you.  Everything seemed to fall into place the second you held the baby in your arms.  It was a feeling of overwhelming relief- like you found something that you didn’t realize you were missing.  As the child looked up at you with those big eyes and placed a hand on your cheek, you released a small gasp at the emotion that hit.

   Boy, this kid had really grown on you.

   Din’s visor stared in your direction, and though you weren’t sure exactly of the kind of expression he had under that helmet, you figured it was one of curiosity.  You embarrassingly turned your face away so he couldn’t see the emotions that played out on your face.

   “He’s okay,” Din assured you, modulator crackling.

   You nodded, but didn’t say anything.  The Mandalorian took another step forward, and you were forced to meet his gaze.  A shiver ran down your spine at the man under the helmet that seemed to see past your attempts at a wall.�� It wasn’t meant to keep others out. It was meant to keep others from thinking you were weak.  The last thing you wanted was for Din to see just how shaken up you were from your first fight with an enemy.  Your shoulder hurt from the blow, and you most likely had some bruises blooming on your skin here and there.

   “I know,” you said finally.  “And I’m glad he’s okay.”

   The child stared at you, watching the exchange with piqued interest, as you hugged him just a little tighter.

   Din gave a nod, probably realizing you weren’t going to elaborate.  He’d been awfully protective before even at the possibility of anything hurting you, so how could you tell him that this fight had not only left you bruised, but also scared?  Not just scared for you, but the child as well.

   When the three of you boarded the Razor Crest, you let the little one get settled down for a much-needed nap before hunting down the medical kit.  You shrugged off the jacket with a hiss so you were left in a tank top, and the area where you’d been hit with the stock of the blaster was already darkening.  Trying not to move the injured area, you rifled with one hand through the med kit in hopes of finding a bacta patch.

   In the midst of your search, you hadn’t heard anyone approach.

   The Mandalorian stood next to where you were seated.  Your eyes snapped up to look at him as you quickly rested a hand over your shoulder.  He shifted his stance, leaning so that his hip jutted to one side as he took in your attempt to hide the injury.

   “It’s nothing,” you said.  “Just need a little fixing up, is all.”

   Din’s gloved hand left his side and paused closer to you in a silent request.  You nodded, and Din removed the glove from that hand before doing the same with the other.  His fingers found yours with such care for a warrior.  He lifted your hand away from your shoulder to better inspect the injury.

   The words seemed to fall from his mouth immediately. “I’m sorry.”

   You shook your head.  “It was bound to happen.”  When he didn’t voice a reply, you added, “seriously, you can’t expect to be everywhere at once.”

   Din’s hand ghosted over the bruise, causing you to wince.  He remained silent as he sifted through the med kit and pulled out a bacta patch. Your shirt strap was moved to the side with care so the bacta patch could be applied.  You averted your gaze, heart racing, and sucked in another breath at the brief pain from the contact.

   “It should heal quickly,” he said.  You pulled your strap back into place, standing to your feet.  “Are there any others?”

   “That was the worst of them.  Everything else was minor.”

   His visor never left your face as he stood there and studied you for a minute longer.  No doubt he knew something was still off about you.  Finally, he spoke up about it.  “Something’s wrong.”

   You hesitated.  “It’s just…”

   He tipped his head slightly.  “You know you can tell me.”

   “I’m just worried.  Like I said, you can’t expect to be everywhere at once.”  The words came spilling out.  “It’s too much to look after the kid and me.  Even he’s a better fighter than me.”  You gave a humorless laugh, recalling how the kid used some mind trick to defend himself and others on occasion.

   “You handled yourself until I arrived,” Din pointed out.  You thought back to the first enemies that you managed to take out before being overwhelmed.  “You protected the little guy.  It was very admirable.”

   “Well of course I protected him,” you said quickly.  “How could I not?  But what if you hadn’t gotten there when you did.  What if…?”

   “You must know by now that I wouldn’t let anything happen to you.”  The words were spoken so evenly, but they carried a weight that left you speechless.  “Or him.”  He nodded in the direction of the baby’s little makeshift hammock.  You merely nodded, and Din continued.  “But maybe it would be a good idea if I made your training a priority.”

   You looked up at his visor with wide eyes.  “Really?”

   “Yes, we start tomorrow.  I should have done this sooner.”

   You gave a small nod, feeling a bit of relief replace your mood.  Things would improve.  Soon, you would have some training behind you and feel a little more secure in contributing during these risky missions.

   A warm, glove-less hand reached up to hold your chin, tipping your face up to the Mandalorian’s visor.  You wondered if he’d say something else, but he remained silent for a minute or so.  Meanwhile, you felt your heart pounding once again from the vulnerability in the moment, and also because you had indeed developed feelings for the stoic warrior.  It went beyond the initial attraction when you saw his gentle side; how patient he was with the kid as well as you, when you caught him chuckling at something the little one did on occasion, or how he would sometimes watch you with a silent, protective air about him- as if at any moment he’d jump to your defense.

   It was a strange thing to want to kiss a face you’d never seen.  It was strange to be drawn to an individual but come face-to-face with a helmet.  Or to want to be held in arms that you’d rarely seen in anything but beskar armor.  It left you unsure of what to do in these moments.

   “I, um, I’m getting cold,” you said, gently pulling your chin back from his hand.  Din was quiet as you slipped your arms into your jacket, wincing when you moved the bad shoulder.  You flashed him a small smile to break the tense moment.  He packed up the med kit and put it away.

   “Remember, training tomorrow.”  He pulled his gloves back on, and you thought you heard a smile in his voice as he cast you one last look over his shoulder.  “Try and get some rest.”

   “Yes, sir.”  Once he left the room, you muttered. “Yeah, yeah... just make my heart beat and expect me to go right to sleep.  Thanks, Mando.”  But as you got comfortable in your cot, a smile tugged at your lips.  You’d be officially training with him, and you were intrigued to see a whole new side of him.

PART 3

[rainbuckets8]

Why you should watch RWBY

TL;DR:

Summary: RWBY is an epic fantasy with themes like found family, the struggle to remain hopeful, the younger generation growing up, villain redemption, and systemic evils.

Strengths: RWBY has unique and memorable characters. The show is smart. It has excellent cinematography and animation. It has representation. It tackles hard topics. It’s got incredible music and it’s free on RT’s website.

Weaknesses: RWBY has some early growing pains, specifically volume 2’s finale, as well as budget and polish. Later on, volume 4 is weaker than the rest. Volume 8's finale is extremely distressing for a lot of viewers (and we haven't seen the follow up to those events yet). The fandom can be bad at times.

Misinformation: The early volumes being bad, the racism plot line, and the animation (not the same as “budget and polish”) are not as bad as you may have heard from YouTube.

Suggested viewing order

Red Trailer, White Trailer, Black Trailer, Yellow Trailer

Volume 1

Volume 2

Volume 3

Volume 4 Character Short

Volume 4

Volume 5 Weiss Character Short, Volume 5 Blake Character Short, Volume 5 Yang Character Short

Volume 5

Volume 6 Adam Character Short

Volume 6

Volume 7

Volume 8

(I did my best to make this spoiler-free. When there are spoilers, they’re worded ambiguously enough that someone new to the show would never guess what’s going to happen just by reading this.)

What to expect

The world of Remnant is filled with monsters called the creatures of Grimm. Warriors called Huntsmen and Huntresses defend humanity. Ruby, Weiss, Blake, and Yang go to school to become the next generation of heroes. Together they make Team RWBY (pronounced, “Ruby”)! Joining them is team JNPR (“Juniper”), made up of Jaune, Nora, Pyrrha, and Ren. But evils even more dangerous than the Grimm are ready to make their move, and school quickly becomes an afterthought…

(I mention these next two topics specifically bc they can immediately turn someone away based on bad expectations.) There is a fantasy school setting, but RWBY is not a show about school. School topics are not a dominant idea: it seems to resemble a setting like Harry Potter, but the actual focus of the show rarely touches on things like classes or homework or tests, and we quickly move on. There is romance and it has a role in the plot, but RWBY is not a romance show. On the scale of romance in FMAB to She-Ra, RWBY falls somewhere in the middle.

What is RWBY about, then? RWBY is like an epic fantasy or high fantasy, despite first appearances. Perhaps not every genre convention is followed, but at its core, RWBY is about an epic struggle of good and evil.

RWBY contains themes such as found family, the struggle to remain hopeful, the younger generation growing up, villain redemption, and systemic evils.

Strengths of the show

The characters are unique and memorable. One of the cool things is that they all draw inspiration from a real life fairy tale, myth, or something else. They designs are all top notch. One character who died with extremely little screen time even got so much fandom love, they included the character in a mid-hiatus short later. The characters have unique weapons, too; in the world of Remnant, a weapon is an extension of ones’ soul, and they reflect the variety of their owners. They’re also just plain cool; Monty was famous for following the “Rule of Cool.” And their individual stories are all compelling and interesting.

The show is smart. As a fandom, we generally pick up on the narrative hints the creators are dropping. And our predictions usually come true, but not in a way that makes the show predictable and boring. We very rarely guess exactly what will happen, but we have some similar idea of it. It’s just excellent foreshadowing.

RWBY also likes to play with tropes, as an extension of this. Often it will challenge them, or subvert expectations. In other cases, RWBY uses tropes to avoid showing us what we already know will happen. This occurs in both characters and plot. For example…

SLIGHT SPOILERS FOR VOLUME ONE FOR THE REST OF THIS PARAGRAPH: Jaune’s entire character arc is about trying to be the anime protagonist, and learning that he doesn’t have to do things alone, and it’s ok to be a support main. The show sets up the narrative in a way that looks like, oh of course the direction it will go is him becoming the main character, but then it destroys toxic masculinity instead.

Our characters are smart, too. Plot-induced stupidity generally doesn’t happen. (A few big mistakes or errors in this regard aren’t actually the fault of the narrative, either, but animation and miscommunication and failure to execute. And those aren’t common.) It goes beyond just “not being dumb,” however. The villains’ plans are incredibly clever, and our heroes sometimes even guess at the usual “plot twists.”

The cinematography is just incredible. There are numerous freeze frames with extreme attention to detail that reveal character motivations or arcs or foreshadowing, there are many effective cuts and moving parts, there are soooo many parallels and callbacks, and visual cues such as lighting and color all are used appropriately to convey emotion and assist the narrative. It is one of the biggest overlooked strengths of the show, imo, simply because a lot of people in the fandom don’t notice these things as much for whatever reason, or else don’t give as much praise about them.

The animation is extremely good as well. Budget issues and technology issues aside (which means a lack of polish), the actual animation? The fight choreography, and all the other parts of animation that aren’t just “expensive CGI” are all wonderful. You can have very shiny, polished turds after all, and RWBY is like the opposite: not very polished, especially early on, but very well animated. All the trailers, volume 1 episode 8, the volume 1 finale, the volume 2 penultimate episode, and basically everything else hold up extremely well even today. If anything, the worst fight animation was in volumes 4 and 5 because of Maya growing pains, and those are an example of being more polished, but not necessarily better animated. Animation of faces has always been good, animation of characters has always felt lively. Aside from a few small actual hiccups (that one person running across rooftops for instance), it’s well done.

There are LGBTQ+ characters. The treatment of one of the recent trans characters, in volume 8, was nothing short of amazing. They worked with a VA who was trans. The moment of canon confirmation was important to the character for backstory, because of course that affects the character’s life, but not the only important thing about the character. The representation is not in-your-face or pandering. And there is a split of representation among the main cast and the minor characters, with promises of more to come (notably they’ve said they’re working on more mlm for future volumes, too).

RWBY is not afraid to tackle hard topics. It deals with things like mental illness, systematic racism, and cycles of abuse. It’s not because the show is trying to earn “gritty and dark” points, it’s because those are some of the topics that real people have to struggle with as well. And the show handles most or all of them very well, in a way that shows respect and an honest attempt to depict these things as best they can. (NOTE ABOUT VOLUME 8: THERE IS A VERY DIFFUCLT CONVERSATION CURRENTLY HAPPENING. I am on the side of, let’s wait and see what happens next because the story isn’t over, so we haven’t really seen the fall out. But I understand why this paragraph feels really difficult to agree with if you've seen the volume 8 finale. I trust the track record of the rest of the show, personally.)

As an example, the show has a theme that villains are rarely evil just because. A lot of villains choose to do bad things because they were hurt in some way. Some lived in poverty; some were hurt by racism; many of them are victims of abuse. But the show doesn’t make excuses for them. It’s possible to be both sympathetic and still choose evil over and over again (that’s called tragic). The ones who eventually do try to do good again are not always forgiven, either.

The music is amazing. I can probably count on my hands the number of times I’ve heard someone say otherwise, which is astonishing when you consider this fandom.

It’s also free on RT’s website. (A paid, “FIRST” subscription removes ads and lets you see new episodes one week early, but they all eventually release for free.)

Weaknesses of the show

Early volumes’ growing pains exist, much like most or all other shows. (Even some of the greatest were not immune to this, like ATLA.) In this case, however, it’s a little bit rougher. A large reason why is that this was kind of the first big thing from RT to ever come out. If you remember back almost a decade ago, their only other big thing at the time was RvB, which was machinima. They pretty much started from scratch with everything, from assets to VAs to animation to writing. Imagine if a random twitch streamer, like Ninja (idk who’s popular these days) said one day, “OK let me just direct something that’s intended to be the next great movie series of all time, like Star Wars, with a $4 bill and an iPhone camera.” Then went out and actually made something. Of course it would be rough…but then it turns out the movie is actually really good. And then you get to watch over the next several years as everything gets better and better until it’s honest-to-god comparable to the MCU. That’s kind of what happened with RWBY.

One specific growing pain was the volume 2 finale. Pretty much everything else up until that point, I love about the show. But the finale just fails to deliver on the build up of tension from other episodes. Some of it is because of later plot developments that we didn’t know at the time; some of it is because of just not great writing; some of it is because of just not great animation; and yes, some of it is budget. Regardless, it’s a low point for the show.

Speaking of, the budget for the early volumes is super small. The infamous volume one shadow people, the infamous person jumping across the rooftops in volume two, and just production quality isn’t high compared to a major release from some established studio. These are real weaknesses of the show that for some people, make it unwatchable, and if that’s you, that’s ok.

One last weakness of the show, the screen time per episode, especially early on, is NOT a full 20 minutes like you may expect of an anime (or anime-inspired-western-media, for those of you who will die on the “RWBY is not an anime” hill). This is a trend that has stuck with the show, a shorter run time per episode, for generally the entire lifetime. On one hand, it means it’s a little less daunting to catch up or rewatch than the number of episodes might imply. On the other, early on, some episodes have a little weird pacing. It also means the writing had to adjust for this, so while RWBY got really good at telling a story within a shorter amount of time, there’s also challenges with that too. Perhaps one of the notable ones is the pacing, with slower moments sometimes feeling like it takes up too much screen time, or not enough. Volume 4 was a particular struggle for the crew, both because they switched animation engines and also for the story.

Common complaints that I don’t agree with

I don’t agree that the early volumes were actually bad overall. Growing pains, yes, but not bad. I attribute that complaint to overly focusing on one character’s storyline, back when it wasn’t clear there was so much more to come and before people realized the show would challenge the tropes instead of falling into them. It’s pretty much just volume 1 when people say this anyway, most of them I’ve heard admit that volume 2 was a lot better (except the finale) and almost everyone loves volume 3. And looking back on it, I do think volume 1 holds up.

Tying into this, the racism plot line is another common complaint. I don’t think it’s actually executed quite that badly. I think it makes sense for there to be regional differences in the amount of racism we see, it just so happened that we only saw a very small and isolated environment, Beacon, for much of the early volumes. (Incidentally, that’s actually similar the environment I myself grew up in.) It’s not perfect, though. But there’s no doubt that the later volumes do a better job portraying this. Again, I attribute it mostly to people not knowing how long the show would run for at the time, so of course if that’s all we saw, it would’ve been bad. But it’s not. I have a lot of respect for Miles and Kerry for even attempting to handle the racism topic in the first place. And for the faults that DO exist in this plot line, I credit them for learning and growing past that too, and doing better in later volumes.

The animation is not bad. I’ve already touched on that earlier, but people confuse “budget and polish” with “animation.” Give me RWBY any day over Michael Bay’s Transformers: no matter how much polish those robots have, they’re still a confusing mess to try and follow. And the polish isn’t even an issue once we get past the growing pains of Maya and get a bigger budget, because wow does this show look good now.

Between these three complaints I hear about often, I think those are the biggest ones. And they’re all generally done in bad faith, based not on just those but on other more provocative statements people also make with them. That’s part of my issue with the fandom, specifically the vocal but small parts of the fandom, because they’re just repeating these things from early days that aren’t true. But YouTubers gotta get those rage and hate clicks somehow, right? Unfortunately it discredits the show a lot and influences other people’s opinions into not giving it a fair chance, because it’s become a narrative of “RWBY IS BAD” when they all won’t shut up about it. So yeah, fandom can be bad, join at your own discretion. (Of course, all fandoms have annoying parts, and my interactions with the fandom have been good overall, otherwise.)

Onto other complaints, some say the cast is bloated. I don’t agree, but I don’t think this one is in bad faith. I think we get the important characters as much screen time as we can, and the minor characters don’t actually detract from that; one of the differences between good minor characters and bad ones, is that bad ones take up too much time. RWBY has a ton of characters but many of the minor ones don’t actually take up too much time. So it appears bloated, but actually I don’t think it is.

Finally, a small word on the no-no topics. Adam, and Monty. Adam is like the champion of the Monty topic. Which essentially boils down to “Miles and Kerry are ruining Monty’s vision for the show.” Toxic fandom is truly awful and I have no respect for anyone who says anything like that. Shame on all of you. This isn’t really anything negative about the show, but the fandom, and tbf all fandoms have toxic parts. But toxic fandom can be a real and valid reason to not watch a show. Thankfully they seem fewer in number these days, but I think they’ve evolved into hiding behind other characters or topics, so you know. Beware. Again, it's not too hard to avoid them or block them, and my interactions otherwise with most fans have been good.

[prinxlyart]

just any individual toh character hc would SLAP. mebbe ur thoughts on the twins idk this is vague

Nah it’s cool, I can dig it let’s do this

I only put this under a line break cuz it got so long oops lol

Emira:

Defo has a stutter that she went through a lot of intensive and grueling speech therapy sessions for (when she was about 7 years old) that she hated. Amity and Edric both know this and know it’s a sensitive topic for her. They’ll tease her lightly about it, but never in front of anyone else and they know where to draw the line. In my last Vinera post, I mentioned how much Viney adores her stutter. She absolutely loves getting Emira flustered enough to start stuttering. She’s incredibly patient and understanding when it comes to Emira’s stutter and Em’s feelings about her stutter, and she helps Emira learn to be okay with it again. It’s nothing to be ashamed of (and it’s cute).

My girl likes carrots. Like, really likes carrots. As in she’ll eat them straight out of the ground if she’s given a chance to wash it first. She really loves carrots. This is only an issue later on after she and Viney start taking care of beasts together and Emira’s been caught eating their entire stock of carrots that’s meant for the beasts. Viney has to keep the carrots in a secret box away from Emira after that point.

Emira actually really loves beasts/animals but has never been good at handling them. Any time she’d try to approach an animal to pet it, it would try to bite her. She’d get extremely pouty whenever this happens because beasts/animals love Edric. It’s not until after she and Viney start dating that Viney actually starts teaching her how to approach different creatures and her love for creatures reignites.

Emira’s a giant pushover for Amity. Only Edric knows this because he’s also a pushover for her. If Amity ever found out what power she actually holds over them, they’d be in so much trouble. They mask their love for their sister with constant teasing. Yes of course they get annoyed by her, that’s how siblings are, especially when Amity tattles on them, but at the end of the day, they’d help Amity hide the body if she asked. (The few times they witnessed her crying by someone other than their parents, they had gone on a warpath. Nobody hurts Mittens.)

Defo had a brief infatuation with Luz for like 5 minutes before she realized how head-over-heels Amity was. As long as they’re both happy, that’s what matters. She’ll take that secret to her grave though.

L O V E S having her hair played with, but like, only with people she’s super comfortable with. She has so much hair (mostly due to her mother’s wishes) and any time they all have attend some fancy gathering, Emira has to be seen by a stylist in order to get all her hair into whatever wild fancy shape her mom wants for the event. That she hates more than life itself, but whenever she’s upset, Edric or Amity grabs her hair brush and just gently brushes her hair out until she’s chill again. (She absolutely melts when Viney starts playing with her hair). In an act of defiance and because she needed this Change, the moment she and her siblings leave the Blight Manor permanently, she cuts off all of her hair. It’s very reminiscent of Audrey Hepburn in Roman Holiday. Viney loves it. Everyone loves it actually, but the biggest reactions come from Viney and Luz (they both love running their fingers through the newly cut hair because it’s so soft).

She likes to sing to herself when she’s alone. It’s rare that it ever happens because if she knows there’s other people in the same building as her, she won’t chance it. But when she knows she’s alone and no one will notice if she casts a silence bubble around herself so she can sing at the top of her lungs? You better believe she closes any doors or curtains in the area, locks everything, casts that spell and goes nuts. Her voice isn’t all that great, but it’s lovely when she’s singing quietly to herself while she does homework or something. On especially bad nights, Amity will ask her to sing to her. Emira sang to her once when they were like, 3 and 5 respectively, and it’s been their secret thing ever since for especially rough nights/nightmares.

Edric:

Yknow how James from Pokémon is just super good with Pokémon ?? Like, he knows how to treat them, he knows what they like, he asks them gently if they’d like to join them, etc. That’s exactly how Edric approaches creatures. He’s a natural with them, but he and his sister’s natural affinity for illusion magic kept him from pursuing that track of magic.

He’s always wanted a pet, but every time he brings it up to his parents, he’s met with the same firm No as always. He’s definitely gotten in trouble for trying to sneak wild creatures into the house to keep in his room. Thank Titan for Em’s cool new girlfriend who’s not only a multi-track student, but studying the exact subject he wants to study and is super eager to teach him everything she knows. He learns vicariously through her and helps her study for her tests. At first, Emira is suspicious of them, but she knows her brother wouldn’t be so cruel as to try to steal her girlfriend away from her. He’s just a dork.

My boy’s got a sweet tooth. He loves desserts and sweets and fluffy baked goods and often tries to sneak candies when he thinks no one is looking. Chocolate is a big weakness for him. When Luz introduces him to Human Sweets, he’s practically bouncing off the walls. Cotton candy??????? Flan?????? Dulce de Leche en Tabla??? He nearly passes out when Luz busts out what she calls a “chocolate fountain” and turns it on. Y’all remember that one image of a bird bathing in a chocolate fountain from a million years ago? That’s Edric.

Edric Blight LIVES to see his sisters laugh. He would pull all sorts of silly faces and dumb tricks to make Amity laugh when they were little. He still tries to make her laugh, but usually those have grown from giggles to disgruntled mumbling. He’ll never admit how much it breaks his heart and it’s not until he sees her laughing at something Luz has done that he has hope he may still be able to get her to laugh again (it’s also the first time he’s heard her laugh in years and it makes his heart soar in relief. He was almost certain their parents had stamped any concept of laughter out of her).

My boy Edric is so full of love and passion; actually quite similarly to Luz. What makes them different though is that Edric is Aromantic. He’s never had a crush in his life. He’s happy with his sisters and all of their friends and their family as it grows in the future. He has some best friends that he lives with for a while (after his sisters move in with their respective partners), but for the most part he’s chill. He loves his family, he loves spoiling his sisters’ kids, and he’s content with himself. It takes him a super long time to be content with himself, but he gets there. I will literally never get over the fact that his biggest fear is “being alone forever”. He’s never alone. He will always have his friends and family. And, thanks in large part to Luz, he has his parents back. His parents that actually were excited when he cast his first spell and tucked him in at night when he was a toddler, giving him kisses goodnight and pleasant dreams. Not the parents he’d run away from; those were the cold, uncaring, obsessed with fake concepts of popularity and status people he ran away from with his sisters. It took years, but Luz helped bring his real parents back. He loves getting to know them for who they are now that he’s an adult too.

He and Gus become best friends. Like, dumb buddy cop movie levels of best friends. They get into so much trouble when it’s just the two of them and they have the time of their lives. At first, he and Em just sort of took Gus under their wing because he was a little bit of an outcast in their homeroom for being so much younger than everyone else. But he’s a friend of Luz’s and a friend of Amity’s after a while, which automatically makes him cool in their book. They soon find themselves actually enjoying his company, rather than just protecting him from stray bullies, and they find his ability with illusion magic exciting. They themselves are considered prodigies so having another prodigy to show off practice with is super stimulating for all of them. As the years go on (and Emira spends more time with Viney) Edric starts calling more and more often for “Bro Time” where they go do stupid teenage stuff or test the limits of their magic or even just hang out and talk for hours. It’s actually all this time hanging out with just Gus that Edric discovers he’s aro; somehow it comes out that Gus has developed a crush on Edric and (major age differences aside) Edric realizes he’s never had a crush on anyone before. It’s a conversation that sucks a lot, but they’re besties and they manage to get through it. Gus maybe needs to take a day with his original gal pals to just cry about it, but he gets over it just fine. He also helps Edric understand what it means to be aromantic. Well, with the help of Luz and Willow as well; Luz is a walking dictionary for lgbt terminology and Willow’s super good at helping dissect feelings (when they’re not her own cough’outofsightoutofmind’cough).

I genuinely don’t know what he might pursue for a career. Part of me wants him to be independent and do his own thing, but a much stronger part of me wants him to just be part of Viney as Emira’s business. He loves creatures so much and he loves taking care of them, but I don’t want him to feel like a third wheel around his twin sister either. Maybe he becomes a dual track teacher at Hexside specifically for healing and beast keeping so more students can learn about Service Creatures. He can substitute for the Illusion track homeroom when needed, but he’s super passionate about the Service Creature sub-track he and Viney pitch to Principal Bump.

[ripjaws]

Ben 10 Survey Results!

Huge thank you to everyone who submitted a response, it was really fun looking through them all and I was genuinely surprised by the results of some of the questions.

Hopefully this will work under a read more because it's quite long and I don't want people to have to scroll a hundred years to get past it.

If anyone has any questions or anything please feel free to ask! :)

Thanks again!

General

Q1. How would you describe your gender?

36% - Female 25.3% - Male 24% - Non-binary 8% - Prefer not to say 4% - Agender 2.7% - Genderfluid

Q2. How would you describe your sexuality?

32% - Bisexual 20% - Heterosexual 20 % - Asexual 8% - Lesbian 6.7% - Prefer not to say 5.4% - Pansexual 4% - Gay 1.3% - Demisexual 1.3% - Questioning 1.3% - Polysexual

Q3. Current age

48% - 20-24 39% - 15-19 13.3% - 25-30 1.3% - Older than 30 1.3% - Younger than 15

Q4. Age when you first became interested in Ben 10

86.7% - Younger than 15 9.3% - 15-19 2.7% - 20-24 1.3% - 25-30

Episodes and season

Q1. Which series did you watch first?

88% - Original Series 9.3% - Alien Force 1.3% - Omniverse 1.3% - Reboot

Q2. Rank the series in order of preference

[IMAGE ID: Five separate groups of five vertical bar charts. The individual columns for each group are coloured in the same order and corresponds to what ranking they recieved on that question of the survey. According to the key at the top of the image the order is; blue = 1, red = 2, orange = 3, green = 4 & purple = 5. The Y axis of the graph goes from zero to thirty in intervals of ten.

The first group is labelled ‘Original Series’ and shows that it got twenty votes in blue, seventeen votes in red, sixteen votes in orange, ten votes in green & twelve votes in purple.

The second group is labelled ‘Alien Force’ and shows that it got nine votes in blue, eighteen votes in red, twenty-one votes in orange, twenty-two votes in green & five votes in purple.

The third group is labelled ‘Ultimate Alien’ and shows that it got thirteen votes in blue, ten votes in red, fourteen votes in orange, twenty-two votes in green & sixteen votes in purple.

The fourth group is labelled ‘Omniverse’ and shows that it got eighteen votes in blue, fifteen votes in red, seventeen votes in orange, fifteen votes in green & ten votes in purple.

The fifth and final group is labelled ‘Reboot’ and shows that it got fifteen votes in blue, fifteen votes in red, seven votes in orange, six votes in green & thirty-two votes in purple. END IMAGE ID]

Q3. Favourite season (Original Series)

40% - Season 1 18.7% - Season 2 18.7% - Season 3 17.3% - Season 4 5.3% - Don’t like/Haven’t watched

Most popular episodes were Ken 10 (S4E10) & Kevin 11 (S1E7)

Q4. Favourite season (Alien Force)

52% - Season 2 28% - Season 1 16% - Season 3 4% - Don’t like/Haven’t watched

Most popular episodes were Alone Together (S2E2) & Save the Last Dance (S2E4)

Q5. Favourite Season (Ultimate Alien)

36% - Season 1 25.3% - Season 3 20% - Don’t like/Haven’t watched 18.7% - Season 2

Most popular episodes were Forge of Creation (S1E16) & Duped (S1E2)

Q6. Favourite Season (Omniverse)

18.7% - Don’t like/Haven’t watched 18.7% - Season 2 16% - Season 5 12% - Season 6 10.7% - Season 1 9.3% - Season 8 8% - Season 4 5.3% - Season 3 1.3% - Season 7

Most popular episodes were And Then There Were None (S6E1) & And Then There Was Ben (S6S2)

Q7. Favourite Season (Reboot)

60% - Don’t like/Haven’t watched 17.3% - Season 4 10.7% - Season 3 6.7% - Season 1 5.3% - Season 2

Most popular episodes were Omni-tricked (S1E37) & Innervasion (S2E36)

Q8. Which live action movie did you prefer?

40% - Alien Swarm 22.7% - Race Against time 22.7% - Didn’t like either 14.7% - Haven’t watched either

Characters and aliens

Q1. Favourite main character

45.3% - Ben Tennyson 28% - Kevin Levin 17.3% - Rook Blonko 9.3% - Gwen Tennyson

Some ‘Why’ responses:

Ben -

I know it's a really basic pick but I enjoy Ben alot as a character. Even though I feel like he took an extremely sharp turn into immaturity in the final season of Alien Force onward (from what I've heard it was due to ratings), it still fit well after a bit of time of adjustment. Him being rash and selfish at times while still having a good heart feels...very human. I'm a huge fan of flawed protagonists and Ben is a prime example of such, imo! Plus I hradcanon that he has autism and it's a big comfort for me :)

I love his potential as a character and the way he hands having such power and responsibility thrust upon him. Ben has done so much for the people in his life and the universe, and I absolutely adore him.

I think of him like a kind person who tries his best to the right thing, he's pretty chill and optimist and in my mind he's a chaotic bi and i can relate to that

Kevin -

I like that he's always been an antihero in the original series. And in the reboot I really like the direction the showrunners are taking his character. He has a different backstory, motivations and I'm really enjoying his character development. It's a fresh take on his story and they're treating it with care, which I really appreciate. His Antitrix aliens also have some really incredible designs.

Cool powers, uncommon character in children's media, especially as a primary character often cast in a good light (ex con, high school dropout, masculine, not emotionally mature). His character development is some of the best in the series.

Gods, we could be here forever... Okay, short version- 1) I can relate to him on a mental health level, especially in the OG series we seemed to have similar issues and to handle them in similar ways 2) there's a lot of depth and variance to his character, he's angry and aggressive and dangerous but also a dork, a sweetheart, and very affectionate once he lets his walls down, he loves cars and supernatural romance, violence and magical girls, he'll rescue an aggressive dog for no reason other than it needed help but also he might consider how much he could get for selling you, he's a complex character and he's allowed to be in a way the Tennysons can't because of how firmly they sit in the Hero seat 3) for all of this, we never really know all that much about him and his experiences, at least in comparison to what we know is there- we never learn about his time traveling the galaxy, we haven't heard anything about his time stuck in time, it's only in the reboot we're getting trustworthy information about his background and even then it's rare tidbits- he's ripe for exploring in fic, headcanon, and so-on 4) his powers in the OG series, his status as mutant or alien or both who knows anymore leaves a lot of doors open to play and to look at the world through different angles 5) dude has turned into six different monstrous chimera forms over the course of the franchise and honestly you have to support that sort've shit in media otherwise they might stop

Rook -

Alien catboy with a glorious voice and have you seen those arms??? And he's so polite while also being hilarious when he gets a little rude/snarky and his character development is amazing!!

While I would normally say Ben himself, Rook is his only friend that hasn't tried to kill him. Additionally, he provides Ben with guidance as well as support the Gwen and Kevin are fickle about.

Having an actual alien joining the cast and serving at Ben's foil worked well to me.

Gwen -

Smart, talented, funny, snarky, confident, and super cute. Jock-prep-nerd energy all in one. Deserves the world. Criminally ignored by the majority of the fandom. Knows karate and judo?? College at 16?? Icon.

Angel, can do no wrong, was capable of so much more than the show let her do, potential to be the most powerful member of the team if they'd just let her go a lil feral sometimes :/

She was a good voice of reason most of the time. Her powers were really interesting and overall I think she had a lot of wasted potential having to be sidelined since the series was about Ben ultimately

Q2. Favourite minor characters

40 votes - Paradox

22 votes - Max Tennyson

18 votes - Tetrax

17 votes - Argit

16 votes - Julie Yamamoto

15 votes - Azmuth

12 votes - Ester

10 votes - Looma Red Wind

9 votes - Glitch

9 votes - Kai Green

7 votes - Alan Albright

6 votes - Jimmy Jones

4 votes - Cooper Daniels

3 votes - Eunice

3 votes - Helen Wheels

2 votes - Elena Validus

2 votes - Manny Armstrong

1 vote - Cash Murray

1 vote - Driba

Other votes went to Penny Bennyson, Kenny Tennyson/Spanner, Lucy Mann, Rook Shar, Eddie Grandsmith, Myaxx and Pakmar.

Q3. Ship or Zed

64% - Ship 36% - Zed

Q4. Favourite main antagonist 

20% - Albedo 13.3% - Kevin 11 12% - Vilgax 10.7% - Charmcaster 10.7% - Zs’Skayr 9.3% - Malware 5.3% - Forever Knights 5.3% - Eon 4% - Highbreed & DNAliens 4% - Aggregor 1.3% - Servantis & Rooters 1.3% - Khyber 1.3% - Dagon & the Esoterica

Some ‘Why’ responses for top 3:

Albedo -

When I first saw him during the airing of Good Copy, Bad Copy, I was scared that Albedo might be a one-and-done evil clone that doesn't get much development. These fears went away, and I was pleased to find out about his backstory and motives, just a sour soul in an unpleasant situation. Even in Ultimate Alien with his reappearance episode, he tries to work on his own to cope in a horrid human world. He isn't necessarily malicious until Ben gets in his way, he just wants to return to his own body and leave, even stating that he wasn't going to fight Ben anymore while he had temporarily returned to his Galvan form. I know DJW stated in some interview that Albedo could never be redeemed, but I believe there's some hope if he gets help. And I'm a sucker for those redemption arcs :)

Tragic frog man that could have been helped but nobody helped him and he doubled down on his hatred which led to him getting stuck in a cycle of revenge and punishment and it's the tragedy of how much better things could have been for him if someone just helped him that I love so much!!

Kevin 11 -

He’s very dangerous and has a terrifying power to absorb electricity and living DNA to have the same powers of who he absorbed it from and even turn himself into a mutant with all those powers combined leading to destructive power 

Kevin was a good antagonist and a good protagonist, although i feel the transition was rushed. Anti-hero kevin in the reboot is great!

Vilgax -

He was always the endgame villian for Ben, despite how many battles they've had, despite countless losses, he always tried to stay one step ahead, and plan everything.

"Speak with care, Psyphon. Your counsel is valuable...not irreplaceable."

Q5. Favourite minor villains 

38 votes - Animo 20 votes - Hex 18 votes - Michael Morningstar/Darkstar 14 votes - SixSix 13 votes - Zombozo 9 votes - Vreedle family 9 votes - Vulkanus 8 votes - Rojo 5 votes - Inspector 13 5 votes - Billy Billions 5 votes - Will Harangue 4 votes - Fistrick 4 votes - Nyancy Chan 3 votes - Lord Decibel 3 votes - Simian 3 votes - Subdora 3 votes - Viktor 2 votes - Addwaitya 2 votes - Fistina 2 votes - Kraab 2 votes - Psyphon 2 votes - Steam Smythe 2 votes - Sunder 1 vote - Liam 1 vote - Ssserpent

Other votes went to Maurice & Sydney, Bugg Brothers, Alternate evil Bens, and the Mummy.

Q6. Favourite canon relationship

66.7% - Gwen & Kevin 13.3% - Max Tennyson & Verdona 5.3% - Ben & Kai 4% - Rook & Rayona 1.3% - Julie & Herve 1.3% - Max & Xylene

Q7. Favourite non-canon ship

36% - I don’t have one 30.7% - Ben & Rook 6.7% - Ben & Kevin 4% - Ben & Julie

Other responses included Ben & Rex, Kai & Julie, Looma & Attea, Alan & Cooper, Ben & Looma, Kevin & Manny, Gwen & Cooper, Ben & Ester, Max & Phil, Azmuth & Paradox, Cooper & Elena, Kai & Ester, Ben & Zak Saturday, Ben & Eddie, Ben & Albedo, Ben & Kevin & Gwen, Kenny & Devlin, OC & canon, and Ben & a therapist. 

Q8. Favourite alien introduced in the Original Series

18.7% - XLR8 17.3% - Upgrade 13.3% - Ghostfreak 10.7% - Diamondhead 9.3% - Heatblast 8% - Wildmutt 6.7% - Ditto 2.7% - Blitzwolfer 2.7% - Snare-oh 2.7% - Grey Matter 1.3% - Cannonbolt 1.3% - Four Arms

Q9. Least favourite alien introduced in the Original Series

22.7% - Eye Guy 18.7% - Spitter 8% - Articguana 8% - Frankenstrike 6.7% - Upchuck 6.7% - Stinkfly 5.3% - Buzzshock 5.3% - Snare-oh 4% - Four Arms 2.7% - Blitzwolfer 2.7% - Ditto 2.7% - Wildmutt 2.7% - Grey Matter 1.3% - Cannonbolt 1.3% - Diamondhead 1.3% - Ghostfreak

Q10. Favourite alien introduced in Alien Force

46.7% - Big Chill 17.3% - Rath 8% - Goop 6.7% - Lodestar 5.3% - Swampfire 4% - Chromastone 4% - Spidermonkey 2.7% - Alien X 2.7% - Echo Echo 1.3% - Humungousaur 1.3% - Jetray

Q11. Least favourite alien introduced in Alien Force

18.7% - Lodestar 17.3% - Brainstorm 13.3% - Alien X 10.7% - Humungousaur 10.7% - Spidermonkey 8% - Jetray 8% - Chromastone 5.3% - Goop 5.3% - Echo Echo 2.7% - Rath

Q12. Favourite alien introduced in Ultimate Alien

18.7% - Juryrigg 16% - AmpFibian 14.7% - Clockwork 12% - NRG 8% - Armodrillo 8% - Shocksquatch 8% - Terraspin 8% - Water Hazard 2.7% - Chamalien 2.7% - Fasttrack 1.3% - Eatle

Q13. Least favourite alien introduced in Ultimate Alien

30.7% - Fasttrack 18.7% - Eatle 13.3% - Juryrigg 9.3% - Chamalien 8% - Shocksquatch 6.7% - Terraspin 5.3% - Water Hazard 4% - Clockwork 1.3% - AmpFibian 1.3% - Armodrillo 1.3% - NRG

Q14. Favourite Ultimate Form

38.7% - Echo Echo 24% - Big Chill 10.7% - Swampfire 9.3% - Way Big 8% - Wildmutt 6.7% - Spidermonkey 1.3% - Cannonbolt 1.3% - Humungousaur

Q15. Favourite alien introduced in Omniverse

29.3% - Feedback 13.3% - Pesky Dust 12% - Gravattack 9.3% - Ball Weevil 8% - Bullfrag 6.7% - Whampire 5.3% - Bloxx 4% - Atomix 4% - Walkatrout 2.7% - Gutrot 1.3% - Crashhopper 1.3% - Kickin Hawk 1.3% - Toepick 1.3% - The Worst

Q16. Least favourite alien introduced in Omniverse

24% - The Worst 14.7% - Bloxx 12% - Mole-Stache 8% - Bullfrag 6.7% - Astrodactyl 6.7% - Kickin Hawk 5.3% - Atomix 5.3% - Gutrot 4% - Crashhopper 4% - Walkatrout 2.7% - Toepick 1.3% - Ball Weevil

Q17. Favourite alternate Ben timeline

29.3% - No watch Ben 24% - Gwen 10 17.3% - Ben 10,000 8% - Mad Ben 6.7% - Dimension 23 6.7% - Eon 4% - Nega Ben 2.7% - Benzarro 1.3% - Bad Ben

Misc.

Q1. Favourite watch design

37.3% - Original Series 29.3% - Omniverse 17.3% - Alien Force 9.3% - Ultimatrix 6.7% - Reboot

Q2. Favourite alternate watch design

29.3% - Biomnitrix 20% - Gwen 10 18.7% - Negatrix 17.3% - Antitrix 8% - Power Watch 6.7% - Hero Watch

Q3. Favourite planet visited

32% - Anur Transyl 20% - Revonnah 13.3% - Mykdl’dy 10.7% - Galvan Prime 9.3% - Vilgaxia 6.7% - Piscciss 5.3% - Petropia 2.7% - Khoros

Q4. Favourite locations

34 votes - Undertown 23 votes - Ledgerdomain 23 votes - Null Void 22 votes - Bellwood 19 votes - Friedkin University 18 votes - Mr. Smoothy 16 votes - Forge of Creation 15 votes - Los Soledad 7 votes - Burger Shack 7 votes - Plumber Headquarters 4 votes - Incarcecon 2 votes - Mt. Rushmore Plumber base 2 votes - The Perplexahedron 1 vote - Plumber Academy

Q5. Favourite Vehicle

33.3% - Kevin’s car (Original) 25.3% - Rustbucket 18.7% - Proto-TRUK 13.3% - DX Mark 10 5.3% - Kevin’s car (Omniverse) 4% - Glitch

Q6. Favourite Kevin mutation

40% - Original series 20% - Ken 10 future 12% - Ultimate Alien 8% - Omniverse 8% - Alien Force 6.7% - Omniverse flashback 5.3% - Reboot

Q7. Favourite Omniverse redesign

66.7% - Ben 26.6% - Kevin 6.7% - Gwen

Q8. Least favourite Omniverse redesign

76% - Gwen 18.7% - Kevin 5.3% - Ben

Thoughts

(Putting every single response here would make this insanely long so I’ve just put the most detailed/most echoed responses & include all sides of opinions when possible.)

Q1. Thoughts on the Osmosians retcon?

Okay, first up, do you know how much work I had already put into building shit surrounding those fuckers by the time of the retcons? I had been working on this crap since AF season 2! But no, they gotta go ruin that in one fell swoop, thank you, much appreciated. Second up, I wibble on it? Like, working with mutants is fun and interesting and I've done plenty of shit with them as well, but in the end I'm always going to be a pro-Ossys person. Mostly the retcons left more questions than they gave answers (how, if Osmosians never existed, did everybody and their mother know Kevin was an Osmosian? why, if Osmosians never existed, did none of the people not-involved in this whole disaster with Servantis's mindfuckery look at Aggregor being reported as an Osmosian and go 'wtf that's not a thing'? do they really mean to tell me that not only did Kevin never bother to look into his heritage, but neither did research-happy Gwen? or am I expected to believe the Rooters made enough fake information and put it out publicly that they fooled literally everyone? and if they did then why? when it would've done the same thing with less effort if they'd just, let Kevin be a mutant with a Plumber father who died) and I feel like they didn't really give enough to justify them. One of those cases of 'making your work less interesting to make it more 'accurate''. Personally, I forever keep working on Osmosians (where's the line where it just starts becoming your shit, I think I may be heading there) and I love on mutants and I flip between or combine the two as needed for whatever story I want to tell.

While the fake memories plot isn't great I think it's for the best because the original series meant for Kevin to be a mutant while UAF changed it to alien. I like him better as a mutant human. Too much alien connections in UAF.

I could scream for hours. Easily one of the worst decisions they ever made. Omniverse picks and chooses what canon to follow from AFUA + the original run and throws it in without care or concern to what it means for the timeline. Retconning something and keeping the effect it had is just bad writing. Kevin coming to terms with not being human and that’s okay was important to me when I was a kid. Knowing that he’s just been on an unending series of brainwashed nonsense all his life deprives him of his agency. I hate this decision more than several dozen essays could ever convey.

I wasn't mad about it. Mainly because I liked the idea of Kevin being a mutant than an alien. Alien Force really was pushing that aspect even with Gwen. To the point where she called her powers 'not spells' because of her heritage. Stupid that the rooters and fake memories were a thing, but necessary.

I was never a big fan of the Rooters Arc, but this doesn't bother me too much. It makes UA a little weird with Aggragor, but again, it doesn't really bother me, as most of Omniverse didn't explore Kevin (While UA Did), and was mostly about Ben.

Osmosians were such a cool idea, and it would've allowed for more exploration into what Mike Morningstar was as well, but just writing them off as mutates is so boring. As well as it makes Aggregors whole part not really make sense, like who is he then.

While well executed, it was unnecessary. You could have had the same story line where Kevin was used to mutate other kids and still had him an Alien. You could have had it where it was another alien species that used Osmosians to morph other species to theirs; a call back to the DNAliens if you want.

Q2. Thoughts on how the Ultimate Kevin situation was dealt with in UA?

Terrible. They wanted to go far. They wanted to go dark. But they didn't think their viewership could handle it so they dialed it back. I will always be curious to know what they would have written if they didn't have those constraints. Because the final product was a mess of contrasting tone and unsure footing about how far to go with questioning our hero's moral compass. They wanted to push Ben to see what he would do and apparently, we got that he would kill Kevin and maybe Gwen if she got in the way of saving the universe.... but not really because he didn't. And then the gang is happy all back together like none of it ever happened. They wanted to explore dark themes but have it leave no consequences on the characters. Also... it was so ableist and awful and Kevin deserved better than how Ben and Max (and the writers) treated him.

If they did everything the same but the argument was 'we need to capture him and lock him away' instead of 'we need to kill him'? I would be fine. It's the fact that they slipped so quickly into murder, into murder by his 16-yo bestfriend, that gets me. Like, there's apparently no space between 'recklessly risk our safety trying to talk him down' and 'Ol' Yeller his ass' and that just does not sit right with me.

Ben should have looked for alternate solutions before jumping on the "Let's kill Kevin" train. I understand why he did (this took place immediately post-Aggregor so Ben was still traumatized about having lost so many people and because he failed and "let" Kevin get turned into Ultimate Kevin, he felt as though every person Kevin hurt would be on him) but I wish he hadn't.

Pretty good actually. I like Gwen's emotions becoming a hindrance to the job, I like Ben putting on his big boy pants and I like Kevin going up to Aggregor and saying "y'know, I was a big boy villain once and I'm tried of just getting kicked around" (obviously paraphrasing)

Other than the scenario being overplayed, I think Ben was right. Kevin was eventually going to end up killing Gwen and he'd already put others in the hospital. He needed to be stopped.

Ben jumping straight to murder, yikes. Kevin dismissing Gwen to hang out with Ben almost as soon as he turned back to normal, yikes. Otherwise, it was an interesting plotline.

Really bad. Really shows how awful max and the plumbers really are. I mean , the guy saved the universe and now he clearly needs help but all they wanted to do was kill him.

it really felt like Ben just wanted to murder Kevin because he saved the universe that one time and Ben couldn't stand someone else being the hero for once

The worst, Max straight away wanting to put him down makes u wonder how long he's been waiting for that kind of opportunity.

I'm fine with it, maybe they could have spent some time dealing with the consequences of Kevin's actions, possibly even the ramifications it had on Ben and Kevin's friendship, but overall I'm ok with it.

Q3. Thoughts on the Plumbers

Plumbers ain't shit. Individuals can be acceptable or not but the organization as a whole has too much power, not enough oversight, utilizes child labor, uses a deathtrap of a hellscape dimension as a penal colony, has been shown onscreen sentencing people to imprisonment in said dimension without a trial, and I'm sorry the fact that a Plumber official could walk into a base with his team, assault several members of staff, attempt to kidnap a boy, admit to having and planning to continue to run illegal experiments on him and others, admit to having altered the memories of other Plumber officials, all in front of the entire base, and nothing was done until he tried to kill the golden child Ben 10 and failed, got his ass kicked by one of his victims, and in a place where presumably there were security cameras? And that the response was, again, to sentence him and his team without trial, take all the evidence, and peace out without so much as looking at nonetheless apologizing to his victims? Yeah, that don't fly. Doesn't sound like an organization that has it's shit together. Either the Plumbers don't have their shit together or the higher ups were in on it until it became something that could actually damage their reputation, and either way I Do Not Approve.

They're pretty cool. I know everyone's talking about how Plumbers are space cops and therefore absolutely corrupt and bad but this is a fictional universe in which corruption in organized forces isn't a necessity. Plumbers don't function the same way real cops do, they don't follow they same chain of command, they don't have the same motivations and they definitely don't have the same biases. Plumbers perform an essential function in the Ben 10 universe, which is to capture and contain aliens who aim to hurt anyone (or those who Ben defeats).

My knowledge of the Plumbers' unfortunately doesn't go beyond UA. They're not my favorite thing ever. Some of my least favorite episodes were the ones where the Plumbers or Plumbers' kids are involved, except for the episode "Everybody Talks About the Weather". The way Alan is introduced is really cool and very X Files-esque, and it ties into the DNAlien plot very well. But throughout the series I stopped caring about the Plumbers in general and I think that concept was given too much attention.

They don't do what they're meant to. They act like heros yet I don't think I've ever seen them do anything heroic. The DNAliens situation, the aggregor situation, dagon etc etc. Where were they??? Why did they leave the fate of the universe in the hands of a 16 year-old boy? Ben has the omnitrix sure , but he's still just one guy, how much can he fight? They showed up every once in a while but that's it. They were useless.

Of course the Plumbers have their problems, but looking at most characters we've met that were plumbers seem to be pretty good people. Max, Patelliday and Rook (and even Kevin, technically) are great examples of Plumbers, Servantis being a bad example of one.

Honestly liked it when it was disbanded. It’s cool they introduced Rook but like there’s so much wrong with how they run most things. My favorite version of the plumbers was tbh the first live action movie. Where it was just a bunch of old people watching out for Ben cause they actually cared about the people they protected (in this case Ben).

Q4. Thoughts on Grandpa Max

(The responses to this one were way more divided than I thought they would be omg)

He said Kevin was a mad dog that needed to put down. He's terrible. Military. Secretive. Kept his kids out of the loop and probably told the grandkids not to tell them about a huge and extremely dangerous part of their lives. Thus creating a gap between them and their parents that didn't need to be there. Child endangerment. Other than that....? He's important to Ben and Gwen so I tolerate him and he had some good life lessons to share. Also legendary adult figure in a kids cartoon who had relationships with multiple aliens.

He’s incredible, he worked in the Air Force, was going to be one of the first people on the moon (But he refused because he joined the Plumbers) had children with an Energy Being, he has a few grandchildren, and not to mention knows how to still kick butt despite him being in his 60s and was there to help Ben grow

He’s a complicated old man. Love him to bits in the original run and I love him in AF! He’s a utilitarian doing what needs to be done and suffering the consequences when need be. He does what he thinks is going to lead to the best possible outcome for the most people in any situation.

Needs to get knocked off his pedestal more often, both in and out of canon. He's got good traits, they're very nice, but there's other shit that gets glossed over, ignored, brushed aside, too easily forgiven, and just. They really needed a character who served double duty being a counterforce to him. Somebody to go 'wtf is wrong with you?' or 'yeah, no'. Ideally this would've been Patilidae, but no. We couldn't be so lucky.

Conflicted. Was he grooming Ben for plumber work, or just trying to support him in a situation he knew would be dangerous? It’s not made very clear...

I think he's got some sort of narcissistic personality disorder. I just can't forgive him for making Ben carry the burden of the Omnitrix at the age of 10 without ever explaining anything, and for not letting Ben and Gwen know he was alive after the Null Void grenade incident in AF. He clearly could have, if Helen could reach Gwen so easily. I think he views Ben more as an asset than a grandson at this point and that's really sad.

I love him! The progression from family hero to questionable old man felt kinda natural, like learning about a family member as you grow older and realizing they aren't perfect

He's awesome. He was a good role model for Ben and he was very supportive to both his grandkids. I hate that they made him mute in Omniverse and changed his design so drastically. I loved Max in every season from the original till Ultimate Alien. After that, he was pretty much just a prop.

Q5. And finally, give me your most controversial Ben 10 opinion!

It seems to be the worst thing to say that Ben isn't perfect and that Kai isn't demonic. And it's pretty standard for the women of color characters in every fandom to get the most hate so to me all the hate towards Kai when her personality is so close to Ben's AND she's also more hated than the ex-villain and the actual villains that tried to kill Ben multiple times just seems- hmmmmmmmmmmmmmmmmmmmmmmmmm. But really, and really I've needed to say this for a long time but I'm afraid of being strangled. Some fans will denounce incest/pedo shippers and people that interact with them and then reblog from a proud Bwen shipper with no self-awareness. Please I have the tags blacklisted are you safe to interact with and you just don't know? Or you're just saying you hate Bwen shippers to give yourself an out for reblogging their content????? Or are you all closeted incest shippers trying to maintain a public image???? I'm at my limit.

I do not think the reboot should have existed tbh :,D I know that it has a ton of fans and all due respect to them, but from what I've seen of it I don't think it was worth tossing away four interconnected series' worth of development and starting from scratch to end up with what we have now. I would be fine with it existing if we got an Omniverse continuation alongside it, but CN screwed OV over by the decisions they made near the end of it's run. So it's probably impossible it would return, even moreso because of the reboot already airing, and it would probably confuse younger audiences that don't know about Omniverse if two Ben 10's were running separately. I just really miss Omniverse, it had more potential and the reboot placed the final nail in for it to ever return.

The Ben 10 reboot is fun and meant more for kids rather than the ones watching for nostalgia. I didn’t like how Gwevin were sidelined and downplayed to make Ben look better. Sometimes it felt like Gwen was a bit naggy towards the two of them. I didn’t like how the fact that she was the only female lead how she had sometimes act like a parent or that they put Gwen and Kevin together just because. Their relationship felt forced and awkward a lot of the time. Omniverse’s designs while controversial were fun and unique but I didn’t like what they did with Gwevin, especially Gwen.

Kevin is totally smart enough to figure out an Omnitrix with the blueprints in front of him, we see him do amazing shit with technology- including the Omnitrix- in the OG series, people just don't notice he's as brilliant as Gwen because the show never made it as big a point that he and Ben were so very smart like it did with her before the reboot, so now they're being forced to acknowledge that Kevin might have two braincells to rub together and they're pushing against the supposed 'change'.

idk if it's controversial but there should've been way more episodes of just gwen & kevin & rook without ben or ben having a very minor role in the episode. just more time for those three to shine and show off how capable they are without ben always having to come in to save the day at the end

Gwen and Kevin aren't good friends to Ben. I mean they were initially, but once he got famous and they didn't, they stopped putting more than a half-assed effort to help him. They also don't really consider his feelings nor really care about the toll heroing takes on him.

The Reboot has the best jokes in the entire franchise and I don't why people give it so much crap.

Kai Green is an abuser and I refuse to find anything redeemable about her character. "Worthy to wield Excalibur," my entire ass. And Ben and Julie's breakup was good for them both, as people, and just as much her fault as it was his.

Ben 10 is an incredibly flawed show and people need to stop getting butt hurt when the blatant misogyny, and copoganda in the show get pointed out or when any even minority critiques Ben's character.

Ben is the worst character in Ben 10 and the whole franchise would be better off without him.

Azmuth is fine for the most part and malware was not exactly the most understanding person

I think Ben should've stayed single. Every episode where romance (or the girl Ben was dating) was the focus of the episode was pretty boring to me, personally.

Ben's parents were right to try to stop him from being a hero, so were Gwen's.

Ultimate alien force season 2 and 3 were amazing.( not comparing the OS since obviously that's the best, or omniverse since I haven't watched all the episodes of that)

Pierce deserved to die for being a boring character. I just wish his death had actual consequences.

The reboot is a genuine improvement over the original continuity in MANY ways!

Oh geez, um, Kai was a good character, just her and ben were obviously toxic. Not everyone needs to like Ben and she isn't an abuser, they just don't get along and that's fine but by God, why did the writers have to force them in a relationship? That's all I could really think of on the spot. Oh! And that the first two season of AF were a watered down version of Ben and the plot focused more on Gwen and Kevin than it did Ben. He felt like a side character and I'm not mad about that, but I don't understand why people praise that characterization of ben when I remember more about gwen and Kevin then Ben. Dude, I've been watching the show for the past week and I can name more about kevin and gwen because they're memorable.

Azmuth's hot af, but y'all aren't ready for that conversation...

----

If you’ve made it this far then thank you!

Again huge thank you to everyone who submitted a response and if you have any questions/comments please feel free to leave them in the replies/send me an ask/dm/whatever ^^

[thequibblah]

⭐ honestly there are so many things that I'd likevto ask which is why I want to ask a broaderish question.. How do you approach the characterisation of your "Main cast"? I think you have created some really great complex characters even though they do not exist in canon or even fanon (Germaine in example)

I hope this isn't too broad lol

no, i don't think it's too broad! just let me know if my answer doesn't actually touch on what you were wondering about haha

character creation for me tends to be spontaneous rather than conscious — i.e. i'm just writing my way through a scene and i'm like anyway, these people are new and they're friends or they're dating or they hate each other, and there's rarely a ton of forethought put into it. the vast majority of the ct cast was like that, i would say, except possibly michael, who was the first love interest i invented so there was a little more intention there

(but other than him i was really pulling things out of nowhere for the rest of the students especially — including with emmeline which sometimes surprises me)

the exception is, of course, the main cast. they and sara were very intentional, and i wrote little bio thingies for them before i started even outlining the fic. i mean the non-canon main cast, of course, lol — mary, dorcas (they're both canon but i've invented virtually everything about them, so), and germaine.

i did actually do a lot of hemming and hawing about how many girls there would be in lily's year in gryffindor. as discussed in a previous "my beef with j/k/r" instalment on this blog, the numbers of the hogwarts population really don't make sense at all, so i knew i could be flexible and kind of hand wave any questionable bits away. but the composition of the gryffindor girls was crucial in deciding lily's characterisation, imo — an easy way to convey implied characterisation is to show someone in contrast to the people around them. so: who is lily within the context of her friend group? is she friends with all the girls she rooms with?

separately, i've always liked writing friends in groups of four. in the planning stage of this i was like urghhh it's four girls, the four marauders, is that like too perfect....... and one thing i HATED was that people could then map on each marauder to each girl (lily = james is a bit questionable, though i firmly believe they're much more alike than they seem, but it kind of works.... mary = sirius, dorcas = remus, germaine = peter). and i didn't, and don't, want to make it seem like i've just made vaguely distinct female versions of each marauder!

i've made my peace with that risk, of course, and i think each of the girls is significantly different from "their marauder" (LOL) that it's actually fine — and, better still, if that thought occurs to anyone i hope that their characterisations will go on to provide interesting nuance to the parallels

but, anyway, tangent aside, i love groups of four because i think basically all my life i've had groups-of-four friendships. to absolutely go to bat for us foursomes, it's nice because no single person is the obvious odd one out, and each combination in pairs brings something different to the table — the role that doe plays in the group of four at large, for instance, isn't exactly the same as who she is in her individual friendship with mary, lily, or germaine.

the three main cast members came of some very clinical answers to those initial questions about lily.

one, i have always liked having mary be one of lily's friends, and in my characterisation of her she's obviously a great foil to lily, as a fellow muggle-born student. so, she was a lock.

two, i wanted to write one other canon order character, but i didn't want it to be marlene because in my reading of her canon mention, lily is unlikely to write a letter to sirius with her full name (paraphrasing but "i was so upset when marlene mckinnon died, i cried for ages") or, indeed, write a letter discussing how sad marlene's death made her, if they were besties and schoolmates. i went with dorcas because why the hell not? in developing her i then added all these thoughts

three, i felt the need to make up an oc so i could have absolute freedom over their fate. i had certain preconceived notions about mary and dorcas and what their stories would be, so there were other things (e.g. playing quidditch) that i wanted to have a friend of lily's do that they couldn't. plus, i wanted to write a massive lesbian.

another little sticking point, though, was that i (for a very SHRUG?? reason) didn't want lily to be besties with everyone she's lived with, but i didn't want to insert a catty rival into her dorm either. (now, don't get me wrong, i do love a good rival. i did, after all, write mary and amelia, and i am a known appreciator of carlotta meloni, and i adore TLE's marlene mckinnon. but i wanted the gryffindor girls to be like lily's safe space — a contrast both to her home life and to her recently-strained friendship with snape, where she's spent some time having to second-guess herself a lot. in my mind her friendships with all three of her besties coalesced at various points organically, until she was like wow wait i do actually have a home base here.)

the compromise was someone who was friendly with lily, but there's no strain on that friendship to be more than it is — which, sara and lily respect each other but have also learned they're not so alike that they need to hang out all the time. sara, to lily, is the girl you do things with because you're schoolmates, and then once you're out of school you amicably drift apart and occasionally leave a nice comment on their instagram

so that was how the gryffindors coalesced in my mind as placeholder figures. i will fully confess i start with tropes and then work out ways to deconstruct them or complicate them — as i've talked about in multiple of these questions, i think a lot of my characters are caught between sticking to their perceived label and acting the way they want to, aka the ripest high school drama fodder known to humankind

Wearing a fake smile and watching her sister’s sickening love life had put things in perspective a little. Why should she always do what was expected of her?

(we construct ourselves in contrast to those around us....)

mary started off as boy-crazy, doe started off as idealistic, and germaine started off as struggling to find her place. then i built up from those foundations, adding in tropey bits i enjoyed and wanted to engage with — i wanted doe to be passionately principled, but the gentler counterpart to mary, and even-tempered where lily runs hot. i wanted germaine to be a little bit thoughtless, changeable, someone utterly herself but still uncomfortable in her own skin. knowing, then, that the other two were going to be, how shall i put it, gentler hearts (LOL), i went back to mary and decided she would have this tough-girl, queen-bee persona.

then doe got her family background, which added in her ambitions and hinted at her future, and made it so her foundation would be threatened by events of the story. obviously i was writing mary in the aftermath of the mulciber/avery incident, so i needed to ask how much her take-no-shit vibe was threatened by it — and if not, why? how? unsurprisingly, even to people like amelia...

“At least I’m not overflowing with insecurity,” said Amelia. Mary laughed. The sound echoed through the courtyard. “We both know that’s not true.”

...the persona is put-on, but the "real mary" is so caught up in the invented mary that even she couldn't hope to uncover an authentic self...nor would she necessarily want to, because her affected self is still her...

wait don't get me started

germaine was already a quidditch player, and i wanted her to be a seeker because that's automatic investment in perhaps the single player with the most impact on the game — crucial for what i knew would be many, many quidditch sequences, where james wasn't always the most important pov! some of that seekery vibe leeched into who she is: she's searching, right from the start, for a sense of self that feels just out of reach:

“This year is going to be a year of change,” Germaine said [...] “Henceforth I will be going by... Gemma.” The girls looked at one another for a beat. Then Lily, Doe, and Mary burst into laughter.

she's more anxious and outwardly uncertain than her friends, and i wanted to consciously engage with that — proper teenage awkwardness, the kind that wouldn't really happen to Main Character lily, I Have No Sense of Shame mary, and I Am Overflowing with Good Sense doe. more than the other three, germaine is a normal person in the context of this world — she's not a muggleborn, so the war has a different impact on her; she's not the child of activists; she's not well-off. an absolutely spontaneous invention that i was really quite thrilled by was having her sister be crouch's secretary, because it's such a sudden, shocking realisation for her that she's got such a close connection in the thick of it

Germaine clapped a hand over her mouth. “Big news soon,” she mumbled. “Big news soon, that’s what Abigail said, only she didn’t say what big news…”

so germaine is really just... living her life, an indie coming of age film in which her friends' subplot is a fucking war LOL

i defined germaine in contrast to the other girls a lot when drawing out the characters for myself, mostly for a practical reason — i didn't want her to overlap too strongly with any of them, since she's the only one who's wholly my invention. i think some of that remains in her characterisation, but i decided to make it conscious instead:

Germaine saw herself as a happy medium, flexible enough to stretch sympathetically between her friends. But— What does it mean that I define myself in comparison to them? Nothing. She was only seventeen and she was finding her way.

i knew germaine was going to get the chaotic sporty romance pretty much right off the bat, but, fun fact, i hadn't actually picked out who her love interest would be until after i started spitballing other sixth years' names and had a basic idea of who emmeline was. wild!

i feel like i haven't said all i want to say but let's stop there or i'd go on forever, ha!

[lilyhandmaiden]

The Things That Have Gotten Me Through 2020

In the last few minutes of 2020, I thought I would share some of the little things that have brought me joy and comfort and, when both of those were in short supply, have dragged me forward through this year.

12 Monkeys (TV series)

I started watching the 2015-2018 SyFy series 12 Monkeys, which revolves around time travel being invented to stop a humanity-ending pandemic, in February or so, right before it became clear that the current pandemic was going to have a big impact on all our lives. It was... weird timing. Nevertheless, in the early days of lockdown, etc., all I wanted to do was curl up in a ball and escape by watching this ragtag group of idiots save the world and, eventually, Time Itself. They were, overall, very bad at it, always getting in their own way, but they won anyway, and that felt strangely encouraging. The show is not unproblematic at times, but its overall message is that, while endings are inevitable, the relationships we form and the choices we make matter. That was something I needed to hear and take to heart. Plus, the series introduced me to Jennifer Goines, one of my all-time favorite fictional characters. As played by Emily Hampshire (Stevie from Schitt’s Creek in a role as unlike Stevie as it is possible to be, at least in terms of self-expression), Jennifer is “brave, impulsive, irrationally rational,” and a force of radical love and compassion for her friends and, ultimately, for herself—even if her brain never works the way she wants it to. May we all try to live in the happily ever now.

 Schitt’s Creek winning all the Emmys

Schitt’s Creek was my big discovery of last year, and its amazing character development in a story about finding oneself and forming connections in the process of starting all over was hugely important to me upon entering into post-academic life. This year, I’ve loved seeing this show’s snowballing popularity, which culminated in its sweep of the Emmy comedy category. Watching the ceremony at home with my cat, I screamed as those wins piled on (not as loudly as Sarah Levy up in Canada, but still). Legends Catherine O’Hara and Eugene Levy with their first acting Emmys! Dan Levy for writing and directing and acting on his first series doing any of those in a major capacity! Annie Murphy, for her hilarious and heartbreaking and inspiring and masterful portrayal of Alexis Rose, after she was told she couldn’t do comedy without comedy lessons and almost quit acting! The COSTUMES. No cast and crew have ever been more deserving. Love that journey for them! And the fan celebrations afterward were such an expression of communal joy at a time when joy and community were not so easy to come by.

 Folklore and Evermore and Taylor Swift

           It took me about a month to get around to listening to Taylor Swift’s first surprise pandemic album, folklore. Once I did, though, I couldn’t seem to stop. There were stretches of weeks when I only listened to folklore. It was for working and driving and writing and cleaning and thinking. It’s sonically soothing and lyrically gorgeous, pulling from literature, history, memory, isolation. I’ve never listened to an album where I can pick out so many favorite individual lines before. I’ve always admired Swift most for her storytelling, so it’s no huge surprise that I love this album, where she embraces the storyteller role. Still, I’d only really paid attention 1989 and her singles before—and not really even to her singles over the past few years. After about a month of only listening to folklore, all the time, like it had me hypnotized, I decided it might be worth listening through the entire Taylor Swift discography.

           I fell in love with folklore as an album for its bittersweet, nostalgic feel that spoke so perfectly to this moment in time, but the exact moment I fell for Taylor Swift as an artist might have been when my jaw dropped at the cutting specificity of, “Don’t you think nineteen’s too young to be played by your dark, twisted game?” in “Dear John.” And then when I cackled as she wrapped up the song with, “The girl in the dress wrote you a song. You should’ve known.” That was when I started to appreciate Taylor Swift for the way she has, from a very young age, understood her power as a storyteller, and specifically as the teller of her own story. “I was there. I remember it,” she emphasizes over and over in song after song, seizing the authority she might otherwise be denied as a young woman (“when you are young, they assume you know nothing”). Plus, her use of imagery is unparalleled. folklore spoke to this moment in time, but there is a Taylor Swift song for every possible moment and mood, and that became a comfort and escape of its own.

           So, by the time evermore came out, I was able to appreciate it as an event. And that, in these times, is no small thing. evermore is the wilder and sadder of the twin albums, and its songs revolve around endings and, on the other side, improbable hope. Here’s to this pain not being for evermore. Take a nap, Taylor. You’ve earned it.

 Writing

At the end of grad school, I felt like I might never write creatively again. I was afraid that creative part of me had withered up and died. But last year, slowly, it started to come back, and this year it’s been one of my main sources of joy. I’ve written thousands of words, and I’m actually enjoying the process of doing it and proud of the outcome. I know and understand why a lot of people have struggled to be creative this year, but for me, writing my way into another world where I am actually in control of what happens has been my favorite way of escaping this one. It’s all I want to do all day while I’m sitting at work, doing official correspondence. I’m even writing original fiction for the first time in ages, and you know what? It’s not nearly as scary or difficult as I was afraid it would be. Plus, I love talking about writing, sharing enthusiasm and working through problems, with friends. I’m not a fast writer, but I hope to do more of it, and find a way to do it more consistently, in 2021.

 Texting with friends

I haven’t been perfect at it, but I made the decision at the beginning of 2020, before All This even really got started, to do a better job at keeping in touch with my friends. In a year when we’ve had to reconfigure so many things we care about, I can wholeheartedly recommend a weekly text with friends as a way of keeping those relationships and those people prominent in your life. Throughout the year, reaching out on a regular basis to the people I love—when I need them, when they need me, just to say hi—has deepened relationships I care about and has been a constant source of comfort, stability, and fun. So much emotional and physical good has come out of it for me and, I hope, for others as well. This is a part of the year I’m really proud of, and I intend to continue, expand, and refine this program in 2021.

 Learning to cook things

At the beginning of the year, I set the modest goal of learning to cook one simple thing each month of the year. When so many other goals and aspirations got blown up, this is one I was able to keep to for the most part. The holidays got in the way at the very end, but I did learn to cook 10 new things this year. For a person who could cook almost nothing before, this is big progress. It worked so well that this is another program I intend to carry on into 2021.

 My nephew

Last year, I was looking forward to the day when this kid would be able to recognize me. Last weekend, he came running to be picked up with a big smile when I came through the door and hugged me when I left. It’s possible that he thinks Aunt Erin With a Mask and Aunt Erin Without a Mask (the latter of whom appears only rarely) are two different people, but he loves both of us, and we love him. I can’t wait to see what he’s learned by this time next year. I hope the world is a friendlier place for him by then.

Happy New Year!

[trickstercaptain]

JACK, MASCULINITY & BISEXUALITY.

          so I’ve made absolutely no secret of the fact that one of the big things I love about Jack as a character ( among plenty, plenty of other things ) is how he challenges traditional ideas of masculinity, and I’m gonna use this meta opportunity to elaborate on that and hopefully connect it to Jack’s sexuality ( mostly within his canon verses, though a lot of this does also apply to his modern verse ). the long and the short of it is that Jack is simultaneously allowed to be a badass and admirable to the audience and display selfishness, cowardice, his own quirks and his desire to avoid violence wherever possible. the first two demonstrate the perks of being an anti-hero, but it’s the last one that I’m going to talk about first: Jack does not like violence. he will choose methods of solving a problem that avoid, where possible, the use of brute force, even when it puts him at a disadvantage. he chooses not to shoot Will in order to escape the smithy in CotBP despite that proving to be the easiest way out, and he is told by Barbossa in that same movie that it’s likely the mutiny would not have happened if he hadn’t been such a merciful captain. we are encouraged to like him as an audience because he uses his wits to get out of trouble, and we are encouraged to like him in spite of the fact that he is the worst swordsman of the franchise, relatively speaking, and that he in fact loses every single fight he is a part of ( unless he cheats, which he does frequently ). 

        second, he is also allowed to be quirky. a lot of this links in with the idea that Jack is an archetypal trickster: he is transgressive on purpose because that is what a trickster does. he breaks the rules because it’s fun, he manipulates others because it’s fun, he gets bored easily and uses trickery and deceit to get ahead of his opponents while casting himself as a fool. tricksters also tend to have a very fluid attitude towards gender because, once again, it is another way to transgress boundaries, and there’s certainly an undeniable sense of androgyny to Jack. I’m not here to label him as anything because a) in Jack’s canon any modern ideals just wouldn’t apply and b) he is still a man and, more importantly, still benefits consistently in his narrative from being a man, so this androgyny is purely in how he outwardly expresses himself rather than the result of any internal struggle. he is experimental and individualistic and this is one of many ways in which Jack’s character draws on the rock star tradition ---- particularly the rock star tradition of challenging masculinity with the way they dressed on stage ( think Bowie, Jagger and Hendrix ).

         but this sometimes effeminate expression of his sense of self does make it more difficult to be taken seriously by others, both within his own social strata of fellow pirates and outside of it: he wears kohl that, while practical, accentuates his pretty boy, fey image, he wears his hair long and braided ( which isn’t necessarily a sign of “femininity” in itself, though he combines this with tying trinkets and beads and jewellery into it ), he sways as he walks ( again, a practical response to being on a ship for long periods of time, but isn’t something that Jack ever seeks to correct in order to appear more intimidating ) and is fond of theatrical gesturing which, yes, feeds into a stereotype but means that in no way does he carry himself in a typically masculine way. for instance, the way Jack sits: while yes there are times when he deliberately kicks his feet up on the table to occupy extra space and piss people off, he doesn’t consistently sit down in a way that emphasises his physical power or dominance ---- in fact, in the last multiple Jacks scene in AWE, when Jack is talking to himself in the brig, we see one of the clones crossing his legs with his hands on his lap as he sits on the bench ---- something I would argue is rather reserved and not overly masculine in nature.

        now there’s an argument to be made that Jack uses his effeminacy to his advantage, in the same way that a trickster would bend any rule that benefitted him, and that this isn’t the true him, but I’d argue that, while there is of course an element of using that behaviour to encourage others to dismiss him as a fool of no consequence, it is too consistent for it to be an act, particularly as it causes him as many problems as it does solutions. it’s absolutely in his nature. another great example I want to draw on is in The Price of Freedom, where Jack uses his “sexuality” ( I use this word loosely as it’s really the only way to describe what he does lmao ) to unsettle one of Teague’s lieutenants and jailors and throw him off, both while he’s been searched airport security style and while he’s trying to conspire with Christophe to break him out of Shipwreck’s cells.

“Roger, old chum, unless you want to cause me embarrassment—and yourself a lifelong case of envy—by demanding that I actually produce the goods for your delectation…er…inspection, I’d suggest you desist.” He batted his eyes at Teague’s lieutenant.

[...] Without answering, Jack abruptly turned to confront Mortensen, who was looming behind him, scarcely a handbreadth away. “I don’t care if you’re present, Roger, but must you breathe down the back of me neck?” He rolled his eyes. “Or are you trying to work up the courage to grab me backside and give it a squeeze?” He’d spoken loudly, and his voice carried to all Christophe’s crewmen. The cell-bound pirates laughed, whistled, and jeered obscene suggestions at Mortensen.

        I love this scene because it shows how Jack switches effortlessly between typically masculine and typically feminine behaviour and uses both to achieve what he wants. the seductive act of flirting with Mortensen ( despite the fact that Jack is twenty in this scene and is very likely half the age of the jailor in question lmao ) to throw him off is a very femme fatale sort of solution ( and that is an archetype that Jack plays around with a lot ), but being a man adds an element of what I spoke of earlier too ---- that he’s more likely to be dismissed as an irritating little shit and not someone who is conspiring to break someone out of the cells. he also relies on the hyper-masculinity he is surrounded by when he speaks loudly enough for all of the pirates in the cells to hear and jeer Mortensen in response, further embarrassing him and diverting his attention long enough for Jack to make his intentions to Christophe clear.

        because this is the thing about pirates, friends. yes, they were largely accepting of and/or unbothered by homosexual behaviour, and had crews who operated in a far fairer way than many merchant or naval ships of the same period, but they are still male-dominated environments. female pirates are rare as far as historical records show purely because we only know for sure that a few were women. women would, for the most part, have to adopt masculine traits in order to exist in the same space, and many would and did disguise themselves as men in order to achieve this. Jack is therefore something of an anomaly in his challenge of male gender norms ---- he could act more like your typical brutish, violent male captain and have a far easier time of it because that’s ultimately the sort of behaviour that is rewarded in this hyper masculine space, but he doesn’t, and this is where he stands out and positions himself as an outsider even in the profession he had literally branded into his arm.

        Jack has also been directly hurt by this culture of hyper masculinity, too. it’s clear that his grandmother sees him as an easy target for her abuse because he both struggled to and didn’t want to conform, and he faces similar criticism from Teague because of his non-violent personality. in his attempt to not become like Teague, too, Jack internalises his own anger and aggression which makes him self-destructive as opposed to outwardly destructive to others. Christophe is the most similar pirate in the franchise to Jack in terms of the flamboyant way in which they both present themselves ( and Jack is no doubt influenced by Christophe in that respect, though that’s another meta entirely ), but Jack does not share his ruthless, amoral personality. and he is mutinied against by Barbossa because people are easier to search when they’re dead. I’ve said it before and I’ll say it again, but it speaks to the strength of Jack’s character that he remains a largely good-hearted individual when it ultimately comes down to it, and did not contort his sense of self in order to make his life easier.

        so linking all of this into his sexuality, while Jack is bisexual by modern definitions of the word and does not have any shame associated with it due to the openness of pirates to living outside of the established norm ( and the fact that Jack grew up among these pirates, so would likely have not realised the extent of the prejudice that existed until he joined the merchant service and entered into civilised society ---- and I mean, when he did he was called a molly at one point by Mercer ), he was never properly taught how to have a healthy relationship with another man, whether romantically/sexually or not. Jack doesn’t really have many positive close relationships with other men to draw on ( Robby and Gibbs are of course the exceptions, and they are both extremely important ) and all of the betrayals in his life until Elizabeth come from men. moreover, just because pirates were more accepting of homosexual relations between men, doesn’t necessarily mean that pirates should be held up as paragons of healthy behaviour lmao, both in general and in regards to male on male relationships. ships are male dominated microcosms in the same way that all-male prisons are. and this is why Jack does develop one toxic male trait: the inability to express his emotions in a constructive and open way.

        Jack therefore, for the most part, just doesn’t like men. he knows how to get along with them, he certainly has a brothers-in-arms approach to his crewmates and isn’t beyond liking the odd one or two, like Robby and Gibbs ---- and it is certainly a theme that Jack is drawn to those soft, non-threatening, nurturing sorts of men ( to fill a void of nurturing behaviour in his life, imo ). of course he has trashy taste too thanks to the lingering damage of his crush on Christophe and living and growing up in the sort of environment that rewards hyper-masculine behaviour, but his most successful relationships with men are those he doesn’t perceive as threatening, and those who are happy to compliment rather than challenge him in his position as captain.

       meanwhile, he loves women. absolutely fucking adores them, and I don’t mean this just in a sexual way, but in a genuinely appreciative way too. he craves their company and prefers their company to men ( he is honestly so much happier sat at a table with five other women than he is sat with five other men ), and I think this is because he’s more likely to find acceptance with them than he is men, and historically speaking in his life has found greater understanding and affection and care from women than he ever has from his own sex. and I think in turn, because he too is a very non-threatening sort of man, absolutely a woman’s man like my god, is why he is generally adored so much by the women in his life in spite of his flaws and lesser traits lmao. why do Giselle and Scarlett constantly let him back into their lives?? because yes he’s fun and  good in bed but, if Jack’s list of corrected lies to them at the end of AWE is any indication, he also spends a considerable amount of time just talking to them, spending time in their company and getting to know them.

[pass-the-bechdel]

The Good Place full series review

How many episodes pass the Bechdel test?

96% (forty-eight of fifty).

What is the average percentage of female characters with names and lines for the full series?

49%

How many episodes have a cast that is at least 40% female?

Forty-four.

How many episodes have a cast that is at least 50% female?

Twenty-eight.

How many episodes have a cast that is less than 20% female?

Zero.

Positive Content Status:

Good - you might even say, strong - in the sense that it’s all there, pretty much all of the big representation bells are ringing, particularly the ones for women and racial diversity. That said, the show is generally content to sit pretty and not push the envelope on inclusivity, so if you’re looking for inspiration in-text instead of just in casting, you might be disappointed. At any rate, it’s a solid feel-good time, and not likely to make you mad (average rating of 3.01).

Which season had the best representation statistics overall?

The numbers stay pretty consistent across the whole series, but if I had to call a winner, it’s season four, which has the highest percentage of female characters and the only above-average positive content rating (though that was awarded somewhat cumulatively, and so doesn’t feel particularly well-earned by that season above the others). 

Which season had the worst representation statistics overall?

It’s such a close call, but season three must be the loser here by virtue of the lowest ratio of female to male characters; it also had one of the series’ two Bechdel fails. Like I said, it’s...a really close call.

Overall Series Quality:

There’s so much about it that is fresh and original and interesting, I wish I could love it more. After a magnificent debut season, the show suffers immensely for a lack of pacing and the absence of coherently-planned plot, and at times the stagnating characterisation and pointless filler caked into the cracks in the storytelling can be frustrating and/or tedious. I’m only as disappointed as I am because the potential for greatness was so strong. That said, even at it’s worst The Good Place is still entertaining, and most of it is better than that. It’s irreverent, it’s fun, it’s surprising, and sometimes it’s even as poignant as it is remarkable. I have my gripes, in droves, but that doesn’t mean this show is not worthy.

MORE INFO (and potential spoilers) under the cut:

Imagine. Imagine a version of this show where the first season is basically the same, and the second season is...somewhat similar to how it is, but with more focus and direction, less time-wasting; a second season where figuring out that some fundamental change to their circumstances is necessary comes early, and instead of faffing about with ethical lessons in the fake neighbourhood again while Michael pretends he can get everyone to the Good Place, we get down to business with going on the run and into the Bad Place to find the judge and petition for help. Imagine this show, but the third season has none of that return to Earth crap, and instead, is the neighbourhood experiment from season four, properly fleshed out. And then season four is all about going to the Good Place and solving the problems there, addressing issues with the concept of utopia and the ineffectual bureaucracy of obsessive niceness (used for comedic effect in the actual show, but c’mon, there’s a whole untapped reservoir about morality there). Each season could have (gasp!) a properly-planned and plotted arc, dealing with a different school of ethical considerations, and I dunno, maybe the characterisation could have trajectory too, and the characters could vitally shape the storytelling, and maybe not get their personalities and experiences erased and rebooted over and over again, nullifying large swathes of the narrative which came before? Ideally, they could be reset zero (0) times, or at least have all their reboot experiences dumped back into them in the first few episodes of season two, so that they could proceed from there as whole people. Rebooting everyone’s personalities is not actually necessary to the plot in any way, and is, actually, incredibly detrimental to storytelling and especially, character development. Imagine this show, but just chilling out and actually telling a coherent story? 

I am all the more annoyed by how things turned out on this show because I know that the four seasons were planned for, rather than being the result of cancellation; the idea that the creators sat down and ‘plotted’ (using that term loosely) to make this mess drives me a little wild. The (attempted) avoidance of the dreaded ‘stagnation’ seems obvious, and it leads to major narrative shortcuts and jumps and instances where the show spends an episode or two on what should have been a half-season’s development, minimum, and yet at other times all momentum grinds to a halt for a bizarre bottle-type episode where the characters just talk about a concept for a while or work on some unimportant romantic subplot. The various ethical concepts that the show heavily incorporated as its bread and butter in the first season start to stick out like sore thumbs in season two, seemingly wedged into one episode or another for no real reason other than just to be there, and the fact that the show lets go of the idea of moral choices in the life mattering at all in the end leaves the backbone of the show in a very strange shape. I said in the season four review that I didn’t expect the show to come up with some One True Answer about how people should live their lives, but that I was baffled by the fact that the show side-stepped that altogether; what I expected them to conclude was something in the line of ‘we recognise that life is complicated, not all situations are created equal, and it can be hard to know how to proceed ethically or even to access ethical options within one’s circumstances. Still, it is important to do your best, not only for yourself but for your community, because the more good you put into the world, the more there will be to go around and come back to you. What matters most is that you are doing your best with what you’ve got’. The fact that the show distracted itself with fixing how the afterlife rewards people within the afterlife means that it suggests no incentive to perform moral actions in life, and frankly...who gives a fuck? The real world is the place we’re all living in, and there’s no point starting a conversation about morality in real life if the conclusion is just ‘guess we’ll straighten out all the fascists and bigots and the other pieces of shit after they die, so don’t worry, everyone gets to Heaven eventually!’

Anyway, if that seems like just a reiteration of what I said in the season four review, well. I’m still baffled by it. The other thing I was going to talk about in the season four review but held for the full series instead was that one big thing that I have railed about all the time since season one, and that’s PACING. For all ye wannabe-writers out there, please understand how important pacing is. Even vital plot or character beats can seem like meaningless filler in a poorly-paced story, because your audience’s mind is hardwired to try and follow narrative cues that are being incomprehensibly muddled. Standard structure can be played with, but if you toss it out in favour of ‘stuff just happens, ok? Except when it doesn’t’, you just end up with a soup of disconnected story ideas, and nothing threading it together. Character interactions and especially developments can help to create the through-line you need to keep the story functioning despite itself, but as variously noted with The Good Place...initial characterisation? Strong, excellent. Development? Not so much, not least because they kept getting deleted and rebooted. Also, time skips kept happening, and that’s a great way to fuck over your narrative coherence even more: remove the recognisable constant we call time! It’ll be fine! As with all things, it is perfectly possible to play around with this stuff, but you have to know what you’re doing and be doing it for a good reason, and that’s not what they had going on here. This was narrative soup, and when you have a soup, the pieces all kinda meld together and lose any individual purpose, meaning, or power they may have had. The result in this case was not bad, but it really could have been so much better, and literally all it needed for that was some attention being paid to the story structure via pacing.

So. The good news is, I think I have pretty well exhausted all of my complaints by now, and that leaves us with the good stuff, of which there was no paltry amount. The show was not a hit by accident (even if I do feel that it’s success had a lot to do with people sticking around after the spectacular first season, and not because it stayed strong throughout), and even if there was a lot of soup going on, what comprised that soup was all really fun and unique, and this made for a wonderful piece of light-hearted television that could be as hilarious as it was insightful. It still had a lot of great takes on things, the commentary was strong (even if it pulled all its punches towards the end), and whether the storytelling was ebbing or flowing, it was always delightful. The show also managed to pull a miraculous finale out of its hat, and that’s a rare thing in television; however the story wobbled over the course, the ending provided enough satisfaction to forgive just about any sins, especially if you don’t happen to have been watching with a deliberately critical eye. Do I wish that Eleanor got to hook up with a chick on-screen some time instead of just making a lot of bi remarks? Yes. Do I consider the show to have queerbaited instead of providing genuine rep? No. Is the underselling of the queer content my most significant representation complaint? Yes, it is, and that's good news considering the world we live in and the dearth of quality representation that the industry has brought us to expect. 

There's an important distinction to be made there, regarding the tokenistic representation that is very common these days in tv trying for brownie points and good publicity, exactly that kind of 'political' inclusivity that conservatives are always bitching about. It should not be surprising that I support that tokenism over the alternative of having no representation at all, but it can still be quite disheartening to feel like your identity or the identities that you value are being referenced as nothing more than an opportunity for some shitty producer to perform wokeness for attention, praise, and the almighty dollar. I bring this up because - even though The Good Place never really worked up much of a boost to its content rating - one thing I felt that it did really, really right was providing representation without it feeling tokenistic at all. Eleanor's bisexuality wasn't as prominent as I might have preferred, and as noted through the course of the show, there were times I feared it was more bait than real rep, but reflecting on it at the end, the way it was included feels organic, it never gets in the way in order to ensure the audience notices and is dutifully impressed. The number of women around and the multicoloured casting plays out even better; I never once felt cynical about the gender balance I was seeing, and I've said it before but I'll say it again: the fact that the show was packed with names from across the world gives me so much life. I'm still a little salty about Chidi's Senegalese origins getting the shaft (and we won't talk about 'Australia'), but the nonchalant diversity of naming goes such a long way to embracing the idea that this is a world for everyone (and an afterlife for everyone, too). And where anything else might fall apart or lose its way, that is an affirming thing. If you want feel-good tv, it’s here. This is the Good Place.