#but its like a a character from a childrens tv show

[jgroffdaily]

Karan Soni and Jonathan Groff are well-known for their blockbusters – but their latest project, the critically acclaimed indie A Nice Indian Boy, marks a welcome gear change.

The guys discussed their new film, currently rated 100% Fresh on Rotten Tomatoes, with Attitude alongside director Roshan Sethi at last night’s BFI London Film Festival screening at the Curzon Mayfair.

Asked to sum up the film’s plot, Karan said: “My character meets Jonathan’s character, we fall in love, and then I have to introduce him to my very traditional Indian family. He has to win them over before the wedding.”

Added Jonathan: “I just watched the movie for the first time a couple of days ago; I wanted to see it in a theatre, not a link on my laptop. And I was so overwhelmed by the power of this movie.”

“I’ve been saying the movie is for everyone – for queer people, for not queer people, for Indian people, not Indian people,” Roshan meanwhile told us.

Sharing feedback he’s received from parents at screening Q&As, Karan said: “They spoke about their own journey, with not going to their children’s weddings. They’ve come to peace with it years later, but they’ve missed chunks of their lives with their children. A lot of them spoke about, if they had a version of this movie earlier, maybe would have bridged that gap sooner.”

Jonathan, of course, is known for his work in the two Frozen films and 2021’s The Matrix Resurrections, plus popular TV shows like Glee and Looking. The Tony Award-winner is also a stage veteran, with credits including Hamilton and Merrily We Roll Along.

“That would be amazing if that happened,” said Jonathan of the possibility of fans of his studio films supporting this title. “That, in some ways, is out of our control. But in my gut, I feel like great work and great art finds its way. I believed in this script and this team. … Happily, if there are people who are Glee or Frozen or Mindhunter or musical theatre fans, I’m so happy to bring them this story. But I think the movie is powerful enough to bring people on its own accord.”

Describing the plot of the film, Roshan said: “We shot a dance sequence that appears somewhere in the movie. It was tremendously difficult, but very memorable!” And asked for standout feedback to the film, he said: “Probably from my mother, who said she understood me in a way she hadn’t before! It was very sweet, very moving.”

Reflecting on the importance of film criticism, Roshan said: “It’s the most important thing. This is my second independent film, and third overall. In each case, independent films in particular, … survive on the critics’ response. That’s what gets the attention of distributors, who are all reading every single review and looking at the Rotten Tomatoes score. It [makes it] easier to make the next movie as well. It makes a huge, huge difference. Also, people at the distributors often don’t believe there’s an audience for a movie. Critics often prove that there is.”

[batcavescolony]

just saw someone say Rick Riordan making a TV show is just as bad as anything JKR has done. BFFR you're comparing Rick Riordan trying to make his world more inclusive, changing some parts because of money/time constraints, or just making changes cus he thinks they're needed, to JKR being a terrible person!

[metanarrates]

What Are your thoughts on cinna

***ALL OF THIS ANSWER IS PREDICATED ON BOOK 1. IF THIS IS ADDRESSED IN LATER BOOKS I WOULD BE THRILLED.***

cinna's job, his literal livelihood as presented in these novels, is packaging and selling children up to a live audience for eventual slaughter. it is horrifying. he is complicit, perhaps the most complicit a person could be, in all the exploitation that occurs. this at bare minimum should make him misguided, at worst horrifically sinister. he is not presented as either.

as of right now, he is being presented as a complete good guy. katniss is pleased and flattered by the nice clothes he dresses her in, his "girl on fire" image is treated as a gift because it gives her an edge, and his attempts to provide emotional comfort seem to be very genuine. katniss is not made uncomfortable by his efforts to package her into a palatable concept - she is glad that he is nice to her.

in a subtler work, I would take this to mean that katniss has been taken in by his outward image and is blind to the ways that he is using her to further his career. but the hunger games is incredibly unsubtle when katniss' viewpoint is meant to be unreliable, and the rest of the time, her viewpoint is always confirmed to be 100% factual even in situations where that makes no sense. it is not a work that hides it when a character is meant to be sinister. which is fine, because this is a story for middle schoolers. but it ruins a lot of the story's alleged societal critique if cinna is never treated as even remotely culpable for his role in the games. I don't have much faith in the story's ability to reckon with that, considering how many other interesting moral dilemmas the book tends to gloss over.

[lottieurl]

me realizing some people were emotionally hit by the twist that it's a dream sequence while i was watching it the whole time absolutely sure it wasn't real but still worried it might be and thinking about how the true horror was shauna being all touchy feely towards the baby

[winepresswrath]

people will watch a woman have her finger cut off because her boyfriend's husband has demanded that he kill her as a show of contrition and conclude that she is the villain in this scenario.

[yuujispinkhair]

Tribe leader/Viking Sukuna headcanons

After seeing this fanart, a sweet anon sent me this prompt: "Imagine that you are a simple girl in another tribe who attracted the leader Sukuna who at that moment came to negotiate with the leader of your tribe, he became interested in you and decided to make you his wife and cooperate with your people. So you left with him and began to live with him and give birth to his heirs."

Thank you so much for sending me this! When I saw the art, I was thinking of something along those lines, too! The picture reminded me of the tv show Vikings, so the following headcanons take place in that time.

Pairing: Viking!Sukuna x Reader (female) Genre: Smut + fluff Word Count: 2.5k Warnings: 18+, smut, arranged/forced marriage, virginity loss, blood, breeding, pregnancy, slight lactation kink, having children, miscarriage (Sukuna comforts reader afterwards. He doesn't just want her because of the heirs she can give him), general mentions of violence and human sacrifices. All characters are of age. This story is 18+. Minors don't interact.

There is art now for this fic by the lovely @sweetlandspos! Thank you so much Émilie, for bringing Viking!Sukuna to life! He's so beautiful!

+ Tribe leader Sukuna, who is feared for his ruthlessness in battle and his strength that seems almost god-like. All the other tribes try to stay on his good side and forge alliances with him instead of giving him a reason to burn down their towns.

+ Tribe leader Sukuna, who looks so intimidating when he comes to visit your settlement. Tall and broad-shouldered with all those buff muscles on display and the bones of his enemies decorating his clothes.

+ Tribe leader Sukuna, who you can't take your eyes off when you and the rest of your tribe gather in your leader's throne room and watch the negotiations. He sends shivers down your spine, but not just in a fear-inducing way, if you are honest. He is so enticing. Powerful and intelligent, and so attractive.

+ Tribe leader Sukuna, who is such a beautiful man. His face is too pretty for a warrior. Not even his scars and tribal tattoos can hide his beauty. A smug smirk lifts the corners of his lips, and his voice is calm and confident. He moves gracefully like a big cat, beautiful but deadly. He is the most stunning man you have ever seen, and you hang on every word that falls from his lips as if he carries ancient magic in his voice.

+ Tribe leader Sukuna, whose icy blue eyes scan the crowd slowly, glittering like two precious jewels in the firelight illuminating the crowded room. Your breath catches in your throat when that intense gaze lands on you. You feel like a small animal trapped in the gaze of its hunter. Should you lower your head to show him your respect? Or will he take affront if you dare to look at anything else but him?

+ Tribe leader Sukuna, who takes the decision away from you when he smirks at you and laughs softly before he turns his attention back to your leader.

+ Tribe leader Sukuna, who announces his conditions for a peace treaty in a confident, demanding tone. The voice of a man who is used to getting what he wants. A man who knows he is too powerful to get turned down.

+ Tribe leader Sukuna, who suddenly points a long tattoed finger at you and speaks the words that will flip your whole world upside down, "And I want her."

+ Tribe leader Sukuna, who makes your heart drop with his demand, but all you can do is stare at him in a mix of fear and excitement. A murmur runs through the crowd, and already, several hands are pressing against your back, shoving you towards Sukuna, making you stumble and screech as you are about to fall at his feet.

+ Tribe leader Sukuna, who catches you before you hit the ground, his muscular arms holding you easily, an amused smirk lighting up his handsome face, light blue eyes glittering in amusement as he drawls teasingly, "Aww, someone's eager to become my little wife, huh?"

+ Tribe leader Sukuna, who makes you sit on his lap that evening when a big feast is held in his honor and to seal the peace treaty with your tribe. You barely dare breathe, full of fear as you sit on his strong, muscled thighs, gasping when one of his large hands wanders under your skirt to squeeze your thigh possessively.

+ Tribe leader Sukuna, who has two of his men stand guard in front of your door so no one will attack his future wife or maybe to prevent you from sneaking away. But you aren't even sure you want to run from him. Who are you here in your current tribe anyway? Just another orphan who grew up to help on one of the farms. Isn't this new role much more important? To be the bride of Ryomen Sukuna? To be a means that allows your tribe to prosper and ensures peace and trade with Sukuna?

+ Tribe leader Sukuna, whose large hand has a firm, unrelenting grip on your arm as he leads you to his horse the next morning. But he lets you say goodbye to all your loved ones, taking their blessings and well wishes with you before your future husband helps you onto his horse.

+ Tribe leader Sukuna, who is such a rough man, but whose hands are surprisingly gentle when he lifts you onto the back of his giant horse. He sits behind you, his firm muscles pressing against your back, rippling with every move he makes. His muscular buff arms cage you in, keeping you captive or keeping you safe. You can't tell which one of the two it is.

+ Tribe leader Sukuna, who makes a conflict rage in your chest. On the one hand, you are scared of this dangerous big man who has the power to just demand to have you as if you are some cattle. On the other hand, you can't deny that small hidden part of you that feels excited that such a powerful and attractive man desires you enough to want to make you his wife.

+ Tribe leader Sukuna, who makes your pulse flutter nervously when you feel his strong arms around you and hear him order his men around with his low, velvety voice, telling them to find a good resting place for the night.

+ Tribe leader Sukuna, who kisses you roughly on that first night. His large hands that cup your face are calloused, but his lips are warm, and his tongue is soft and so skilled when he pries your mouth open and licks into it. It's nothing like the shy, clumsy kisses you shared with the boys in your settlement. Sukuna is a feared warrior, a powerful tribe leader, someone who people believe is actually the son of a god. And you can feel all that in his kiss. Deep and intense, making your head spin and your body brim with a desire you have never felt before.

+ Tribe leader Sukuna, who rides with you again the next day and trails teasing kisses down your neck to pass the time during the long ride. You are sure he is fully aware of what he is doing to you. How he makes your heart race and makes a mix of fear and arousal throb in your veins. Especially when he grabs your chin to tilt your face up and capture your lips in a heated, wet kiss, licking unashamedly into your mouth in front of his men, showing everyone that you are his.

+ Tribe leader Sukuna, who whispers in your ear, "Are you scared of me, my little wife?" and then breaks out in loud, barking laughter when you exhale shakily and tell him, "Only a fool wouldn't be scared of you... but maybe I am also flattered that you picked me, my lord."

+ Tribe leader Sukuna, who still chuckles while his tongue licks a lazy stripe up the side of your neck, and he huskily tells you, "I am not a lord. I am a god. And I saw a goddess right there in that shabby throne room. I had to take you with me. It was a sign from the gods. You will give me such strong and beautiful children. Together, we can conquer the whole world."

+ Tribe leader Sukuna, who forces himself to keep his hands off you before your wedding night as a show of respect to the gods, but who lets you feel his desire for you when he hugs you from behind and presses his hardness against you once you have moved into his house.

+ Tribe leader Sukuna, who has you dressed in the finest garments for your wedding day. A beautiful red dress lined with gorgeous white ermine fur that was specifically made for you. Your neck, wrists, and ears are decorated with glittering gold and precious gemstones.

+ Tribe leader Sukuna, who makes you squeal when he swoops you up into his muscular arms and carries you into the ceremony hall, accompanied by the loud cheers of his people. Your hand is shaking when you exchange wedding rings with him, but you stay brave, speaking your vows and taking Sukuna's heavy sword when he offers it to you as his promise to protect you.

+ Tribe leader Sukuna, who sacrifices several of his enemies to the gods to ask for their blessings for your marriage and your fertility. He looks scary with the pattern painted onto his face with fresh blood. But at the same time, it makes him look feral in a way that makes an unknown heat throb between your legs.

+ Tribe leader Sukuna, who shares his food and mead with you on the decadent feast held after the wedding ceremony, where you sit on the throne next to his. One of his strong arms stays wrapped around your waist the whole evening, and the deep glances he sends your way make your skin tingle with anticipation.

+ Tribe leader Sukuna, who takes your virginity that night, making you cry out in pain when his thick cock splits you open for the first time. But his lips silence your cry, and soon you make other noises. Loud moans of pleasure fall from your lips as your new husband moves inside you with deep and sure thrusts that hit a spot inside you that makes you scratch the broad muscles of his back and arch up against Sukuna's huge body. Your cunt throbs around his cock as you find the sweetest and most intense release you ever had.

+ Tribe leader Sukuna, who afterward pushes two of his long fingers into your used cunt to push his seed back into you, leaning down to kiss you savagely and murmuring in your ear that he wants to see your belly hard and swollen with his heirs.

+ Tribe leader Sukuna, who paints his clan symbols on your face with a mix of your virginal blood and his cum, telling you that you are his forever and that you are blessed by the gods now too after taking his seed into you.

+ Tribe leader Sukuna, who is so proud when you show the first signs of pregnancy.

+ Tribe leader Sukuna, who becomes extremely protective and possessive now that you carry his heir. Who worships your body every night, cupping and kissing your swollen breasts, licking at the drops of milk that already spill from them, telling you it tastes like the nectar of the gods.

+ Tribe leader Sukuna, whose large rough hands caress your swollen belly gently, who kisses it, and talks to your unborn child, telling his son, as he predicts, that he will be born under the blessing of the gods. That he will become a great leader and a god himself one day.

+ Tribe leader Sukuna, who is triumphant when your first child is a boy with pink hair and a strong build and loud voice. A future leader just like his father. The first heir of many more to follow.

+ Tribe leader Sukuna, who is feared by everyone but treats his wife and newborn child with a gentleness that surprises you. He asks you to let him hold your baby and carry him in his strong arms. And the way Sukuna looks at your child tells you that he doesn't just see little Yuuji as an heir but as someone who has Sukuna's heart.

+ Tribe leader Sukuna, whose hungry and proud gaze follows you for days until he has you under him again, fucking you with hard, deep thrusts, moaning loudly, and pumping you full of his seed over and over again. "You gave me such a strong heir, my love. I know you'll give me so many more."

+ Tribe leader Sukuna, who rushes to your side when you have a miscarriage during your second pregnancy. Who hugs you to his broad chest, wipes the sweat and blood off you, and cradles you in his arms.

+ Tribe leader Sukuna, who kisses your tears away and reassures you when you are scared he will kick you out if you won't give him more heirs.

+ Tribe leader Sukuna, who shakes his head and tells you, "I mourn our unborn child, but I thank the gods for not taking my beloved wife away from me too. You are more to me than just a vessel that gives birth to my heirs. You are my wife, my companion, the one who the gods sent to me as my soulmate. I love you. Even if we have no more children, I will never take a new wife."

+ Tribe leader Sukuna, who you see in a new light after the reassurance and love he gave you on that day. And suddenly, you find yourself falling in love with your husband, too. You treat him more tenderly. You caress his soft hair when the two of you cuddle in your bed to keep each other warm. You kiss the tattoos on his face and smile at him, your heart fluttering when Sukuna smiles back at you and pulls you into a slow, tender kiss. You will never forget the happiness in his eyes when you tell him you love him too.

+ Tribe leader Sukuna, who fucks you thoroughly that night until the two of you are sweating and rolling around on top of the warm furs, kissing and caressing each other needily while he fills you with his hot seed until you are overflowing from it.

+ Tribe leader Sukuna, who is delighted when you give birth to your second child, and that child looks like the perfect mix of the two of you. He grins at you and tells you that this is clearly a child of love, conceived on the night you confessed your love to him.

+ Tribe leader Sukuna, who is actually a caring husband who truly treasures you. Who likes to spend his nights with you wrapped under the warm furs, making slow love while he kisses you deeply, rolling his hips with those slow, languid moves that make you sob his name and come undone so sweetly on his cock. 

+ Tribe leader Sukuna, who likes to hold you in his strong arms afterward, with your head resting on his broad chest and your small fingers tracing the tattoos on his chest and abs. He loves to talk to you for hours every night, telling you all about his day, about his current worries and plans, about political things and battle tactics, trusting you with all his secrets.

+ Tribe leader Sukuna, whose love fills you with warmth even on the coldest winter days. Your heart is held securely in his strong hands. And you know that no one will dare lay a hand on you or your children in fear of Sukuna's wrath. His strength and power make you feel safe here in your new home.

+ Tribe leader Sukuna, who teaches you how to enjoy sex to the fullest. Who teaches you how to ride his cock and his face. Who teaches you how to take from him too. Because he is your husband, and that means he belongs to you just as much as you belong to him.

+ Tribe leader Sukuna, who trusts you with ruling in his place during his absence. Who declares that anyone who disrespects you will get sacrificed to the gods.

+ Tribe leader Sukuna, who keeps you on his thick, strong cock all night before he has to leave for one of his various exploration trips or battles, savoring you to the fullest. Making sure to fuck you so good that you will still feel him for days after he set sail.

+ Tribe leader Sukuna, who pulls you into his arms one last time before he boards the ship, kissing you deep and long. And there is this burning love in his blue gaze when he tells you, "I will do anything in my power to come back to you, my love. I have the gods on my side. But if, for whatever reason, they should decide it is my time to enter Valhalla, then I want you to know that I will wait there until you join the afterlife, too, and I will come find you, no matter where you are."

+ Tribe leader Sukuna, who luckily doesn't go to Valhalla and always comes back to you with more scars on his gorgeous body but with the same love in his eyes.

AAAHHH I AM IN LOVE WITH HIM!!! This became much longer than I intended, but I really miss the show Vikings, and I love Viking!Sukuna to an insane amount, so it is what it is ;) This was, once again, very self-indulgent, but hopefully, some of my fellow Sukuna lovers will enjoy it too! Thank you so much to the nice anon who sent me that prompt!

Please let me know what you think. Comments and reblogs would be very sweet.

[fruity-phrog]

Okay, I saw someone say that Nimona, while being good representation, “didn’t take the big step forward in queer rep that everyone says it did”.

That is wrong. So wrong, my dude.

Yes, an explicit and open queer relationship in children’s cartoons is not new, per ce. Hell, just this year, two popular kids’ cartoons had the main character in an open, adorable, plot-based queer romance. But this is different for a few reasons.

Reason number one, it isn’t left in suspense. Yes, they had that split for three odd weeks, but they started the film as a couple. One of the very first scenes is them together as a couple, Ambrosius saying he loves Ballister, them holding hands, Ballister leaning on Ambrosius’ shoulder. Ambrosius says he loves Ballister three times during the film, and none of them are any more than halfway in. It’s very clear, from their very first interaction, that they are an established relationship, which isn’t something I’ve seen...at all in other animation.

Secondly, they are the plot. Ambrosius not believing Ballister, Ambrosius cutting off Ballister’s arm, Ballister trying to get the video to Ambrosius - this is what drives the plot. In any other children’s animation with queer relationships, the relationship is not the main focus. Even The Owl House, which is so amazing with its constant representation, would still make sense if Luz and Amity never happened. But Nimona’s plot wouldn’t make sense without Ballister and Ambrosius’ relationship. It, quite simply, can’t be erased. It could work as a friendship, yes, but that’s the point. They could have just been two close friends that fell on opposite sides of a fight, but they weren’t. They were two lovers that fell on opposite sides of a fight. 

Thirdly, they aren’t sanitized for “family viewing”. An emerging trend in children’s animation is to only have mlm relationships as fathers to make them seem more “family friendly”. With the exception of Kipo, there really isn’t many tv shows or films that places light upon an mlm relationship. And if it does, it'll be a teen relationship because teenagers being queer tends to come across as less “dirty” and more “innocent”. But Goldenheart is none of these things. They are adults without the mollifying aspect of having a family. And on top of that, they fight. They wield swords and they get bloody and they shoot at things and get angry and yell. They aren’t “clean” and “innocent”.

As well as this, they are in a film. Films are far more accessible than tv shows. You have to watch twenty seven episodes before Lumity in toh is canon. Troy kisses Benson on the eleventh episode of Kipo. And there are two hundred and eighty three episodes of Adventure Time before Marceline and Bonnie kiss. But with a film, the queerness is much more forward - especially in Nimona, where it’s literally the second scene. Animated films hardly ever display queer relationships, but Nimona did.

Finally - they aren’t perfect. I don’t know about you, but three weeks of thinking your boyfriend/maybe ex is a murderer? Doesn’t sound like a healthy few weeks to me. I have only seen big relationship arguments portrayed in straight relationships in cartoons - think Star Vs The Forces Of Evil - whereas queer relationships either have the massive fight prior to being canonically gay - She Ra - or have conflict, not arguments, that are dealt with quickly - Dead End/The Owl House. But Goldenheart? Goldenheart suffers. Their relationship is pushed to such extreme boundaries as for them to be pretty much exes throughout most of the movie. And yet, they are clearly healthy, happy and very much in love at the end. 

TL;DR - Nimona is amazing with the queer representation, and it is a milestone for LGBTQ+ cartoons. Not only is the relationship romantic for the entire movie, the plot is driven by Ambrosius and Ballister’s sort-of-break-up. In short, they are treated the same way straight people are. They have flaws, they have massive arguments, they have plot importance, they have backstory. They are in love. And that’s what matters more than anything else. 

[hazard-symbols-that-fuck-hard]

Okay time for the PBS Kids essay

Read it under the cut!

:readmore:

In 1968, before there was PBS Kids proper, there was Mr. Roger’s Neighborhood. While it came several decades before the children’s block, it laid the foundation for the themes and values present in every facet of the network’s history.

Mr. Roger famously hated children’s programming at the time. To him, it all was droll and useless. But he didn’t dissuade the medium entirely— he saw potential. Potential that led to a few smaller television jobs, and eventually the creation of Mr. Roger’s neighborhood.

Rogers didn’t invent educational TV for children, but he did perfect it. He poured real heart and soul into probably the most sincere, heartfelt program in history.

Honestly, he could have his own essay. The more things you learn about the real man of Mr. Rogers, the more you’ll like him.

Anyway, the biggest thing that makes PBS different is the fact that it earns money through grants, fundraisers, and private donors— not through sponsorships and merchandise sales. This way, PBS Kids can push programming that it feels is important, rather than programming that merely sells well.

This also means PBS is less afraid of pushing social boundaries. Money doesn’t go away when their shows become subjects of debate— and Mr. Rogers took full advantage of this.

For context, this was 1969. The Jim Crow era had just barely, barely ended. Pool segregation was still very much legal.

Mr. Rogers sharing a pool and a towel with the Black Mr. Clemmons was a pretty big deal at the time— especially on a show made for children.

Rogers was far from the untouchable sacred cow of today. When he was alive, he had a large number of detractors. Let’s just say that scene didn’t fly nicely by everyone.

Just one year after the debut of Mr. Roger’s came Sesame Street.

While Mr. Roger’s was made for all children, Sesame Street had the explicit goal of supplementing the education of underserved communities— especially inner-city Black (and later Latino) children.

While it was made to be accessible to children of all races and income levels, they definitely went the extra mile to make it something special for inner-city Black and Brown kids. (Why do you think it it’s “Sesame Street” and not “Sesame Cul-de-Sac”?)

At the time, a wholesome, sweet show set in a brownstone street was practically unheard of.

Jon Stone, the casting director, deliberately sought to make the cast as rich with color as he possibly could, bringing on a huge amount of Black talent such as Loretta Long, Matt Robinson, and Kevin Clash, as well as featuring Black celebrities as guest stars. Later, the show would expand its horizons, bringing on actors from Latino, Asian, Native American, and many more backgrounds.

White actors were and still are a minority on show.

In addition to letters and numbers, the purpose of Sesame Street is clear: make kids of color know that they’re smart, beautiful, and loved.

It doesn’t get more explicit than this.

I want to point out this comment because it’s funny

You’re telling me this bitch isn’t Hispanic???

Anyway, these two were followed up by Reading Rainbow in 1983. And guess what?

That’s right. Non-white focus.

These three shows, (along with other, lesser-known programs like Lamb-Chops Play Along, Newton’s Apple, and Shining Times Station (who featured Ringo Starr himself?? seriously how did that happen and why does no one talk about it) and some other nostalgic favorites like Bill Nye the Science guy, The Magic Schoolbus, Arthur, and Thomas the Tank Engine) aired on the new PTV block, which evolved into PBS Kids in 1999, bringing along Between the Lions, Dragon Tales, and many more.

Arthur is another stand-out that I’d like to talk about— it doesn’t have the same racial focus of Sesame Street, but it does focus on different income levels. The characters have various housing situations, from apartments to mansions to no home at all.

It also takes cues from Sesame Street and Mr. Roger’s in regards to talking about tough topics, though as Arthur has a slightly older target audience, it discusses things through stories rather than talking directly to the audience.

Cancer, religion, workplace discrimination, along with current (at the time) events such as 9/11 and Hurricane Katrina are all discussed on the show.

Another big focus on Arthur is disability. For once, they don’t stick a character in a wheelchair and then pretend he’s not in a wheelchair. A striking number of major characters either develop or get diagnosed with physical disabilities and/or neurodivergences, such as asthma, severe food allergies, and dyslexia, and they deal with them in very realistic ways.

A handful of minor characters have more obvious disabilities, and THANK GOD they go beyond the trite messaging of “disabled people can do everything abled people can do! everyone clap now!”

One episode in particular has the awesome message of “holy shit stop trying to help me all the time— it’s patronizing as fuck. I can get around just fine without you stepping on eggshells and trying to be the hero all the fucking time”

There are sooo many other shows I could talk about, but I can’t write about them all. I’m definitely gonna point out some more standout ones, though.

Sagwa, the Chinese Siamese Cat

Created by Chinese-American woman Amy Tang

Dragonfly TV

Features a multitude of female and non-white scientists to foster an interest in science with kids in those groups

Maya & Miguel

One of the network’s first Hispanic-led shows

SciGirls

I shouldn’t have to explain what the goal of this one was.

Molly of Denali

When was the last time you saw a show that treated Native Americans as people? Much less a children’s show? 90% of the cast is Athabascan, and the show revolves around Athabascan culture, not shying away from topics like boarding schools and modern-day racism. Most of the writers are also Athabascan, and the show even has an official Gwich’in dub!

It’s this commitment to real, authentic social justice that makes PBS Kids so much different from its competitors. Could you imagine the Paw Patrol dog looking at the camera and earnestly discussing what happened to George Floyd? I don’t think so— but Arthur talked specifically about it, Sesame Street did an hour long special about race in general, and the network itself made a 30 minute special.

Disney Jr. could never. (Other than trying to teach colorblindness, of course.)

I’m gonna have to cut this into two parts, since I just hit the image limit

[bulbabutt]

okay. lets bite the bullet and talk about 2012. lets talk about child abuse, familial abuse, generational abuse, toxic family units, whatever you wanna call it. lets talk about it and whether it exists in this show. i actually encourage you to read this no matter what your take is, just to hear it out. let me be FUCKING clear: i love this show, but i get scared to talk about it seriously. everyone on every side is defensive all the time but i love every turtles show to no end.

this post is going to go over so well and not controversially at all.

precursor: every splinter is some level of shitty dad. he always has been. the fucking bare bones of the character is that he raised his children to kill the man who killed his own father. thats inherently fucked up. every splinter has some level of fucked up about him. maybe hes inattentive, or neglectful, or strict, or secretive, maybe hes just not very good at dealing with his kids. splinter is supposed to be far from perfect. thats what makes him splinter. maybe he grows over the course of a series, maybe he doesnt. maybe hes supposed to be shitty his whole life, maybe hes not. thats just splinter. each is adapted differently depending on the story being told.

and 2012 has a very interesting tone to its story.

lets start at the beginning, back in japan. this is season 3, was this story what they intended when they started writing the show back in season 1? probably not, theres probably things they would have written differently had they known this was where splinter's story started. thats kind of the way tv works, you add the details later. but for our sake of analyzing the character of splinter as a whole, it seems best to start here as if its all intentional.

hamato yoshi is a member of the hamato clan. theyre a very traditional old ninja clan in the modern world, they have old feuds and theyre trying to keep their culture alive. they're literally the last of a clan of ninjas like this, having (supposedly) defeated the foot clan (their generational enemies) back when yoshi was a baby. hes set out to lead next, and its very important to him. and yet hes married to a woman who works in the city, a modern woman who doesnt live the life he does. she even moved to be with him. i feel the need to compare this to how men in the real world who want traditional wives never go for women who are willing to be their housewives, always try to break down the independent ones. splinter seems unconcerned with how his wife wants to live. with how she wants their daughter to be raised.

im not necessarily saying this is how this comes off in the show, but i find it interesting to think about. this is absolutely the most rounded version of tang shen as a character (thus far) it stops her being just a name on a page "hamato yoshi's love and the object of his enemies affections who died" and turns her into a woman who has a stake in the story. gives her more agency.

its very interesting that this show implies an actual relationship between tang shen and oroku saki, albeit a one-sided one that didnt work out, but they do seem to have parted on equal ground. the pair of them discuss yoshi's inattentive duties as a husband and father, that he's too obsessed with the tradition and lineage of his clan. honestly, if this woman just took her baby and left no one would blame her! he has his priorities set, and it leaves no room for her and their newborn baby. if she ran away with saki at this point, the story would make just as much sense.

but then disaster strikes, saki learns the truth about his family, that he was actually a child of the foot clan (honestly i wish we saw this play out instead of jumping ahead in the story but thats not what this post is about) and he kills he and yoshi's father. revenge for him having killed his. cycles of abuse and revenge that never end. the pair of them were raised in this society that values lineage like this, that would kill for it. its no wonder they both grew up this way.

anyway, tang shen is killed by a blow meant for yoshi, and saki takes their child and raises her. based on splinter's lack of desire to be a father so far in the story, its honestly not one you can blame him for. its fucked up, but it makes sense. saki does to miwa exactly what his father did to him. cycles of abuse and revenge.

yoshi loses everything, and moves to america. he's turned into splinter the mutant rat, and gains four turtle sons.

so as established, he's not exactly grown up with a stable family life. he obviously, while human, wasnt acting as a stable father for the child he intended to have. so how good is he at this?

ive talked before about how the 2003 show treats the turtles as kind of one whole unit. they don't have individual relationship arcs, they dont have overarching storylines where they grow apart or closer, they're always in each other's corner.

2012 makes this more dynamic. here we see that 15 years seeing no one but each other, growing under this splinter has come with its own quirks. these brothers dont understand each other that well. they get jealous of each others treatment, some are left out, some are misunderstood. raph resents leo, none of them appreciate what donnie does, mikey bothers everyone else for attention, etc. it creates a really good starting place for this show.

(the issue i have with this show is more that they never really open or close any of these beats, at least not in ways that last. but boy does it make for some good dramatic scenes)

we see over the course of this first season that splinter treats his children just as he was, as little ninjas more so than sons. he raises them to follow his traditions, the ones tang shen never cared for. but this is all he knows how to be! you cant really blame him.

most people bring up mikey as the quintessential example when they talk about this, i dont want to do that cuz i know you've all heard it. while i think his father does disrespect him and i think it is paid forward and his brothers do too, i'd rather talk about raph for a change.

in one episode, raph loses his temper. to teach him a lesson, splinter makes his brothers pelt him in training while insulting him any way they can, and tells him to just... not lose his temper. this is a terrible lesson in general. instead of trying to coax out why he might be angry, it just plays up that if he loses his temper bad things happen.

splinter in this episode basically encourages bullying. this comes up a lot when it comes to raph. to compare, in 2003 when raph loses his temper, hes told to blow off steam which he does. his brothers don't blame him for having emotional outbursts, they know thats just how he is so they know how he needs to cope with it. he's given the physical space to let it out.

im not saying this show needs to be like that show, im just saying thats a version of this story where the outcome is better for raph as a whole. since this outcome is not as good for him emotionally, you can tell why he's still got these emotional issues. splinter never helps him more than that. thats more why this raph differs from that one, if that makes sense. one has his family in his corner more than the other.

speaking of. raph has a pet turtle. this turtle is the only one he can talk to about how he feels. why might that be? it's the only thing hes kind and gentle to, and he refuses to let his brothers make him feel weak for being kind to it. where did he learn to be ashamed of being kind and gentle? thats a learned behaviour. in a house full of other men... yeah, that would happen. but whos values start that?

when this turtle gets some mutagen spilled on it, it tries to get revenge on his family. there is such a resentment going on here, its extremely juicy. the show chalks this up to "post mutation insanity", but its just as easy to think that everything raph has experienced has made him seem angry and resentful and perhaps scared to his pet, and that former pet wants raph to himself so they can be free. the frustrated venting of a child complaining about how no one understands him in such a big way turns slash into a vengeful monster, cuz thats all he's ever heard. it makes sense, he went from a little turtle to a fully cognizant adult aged being in an instant. emotionally no one would handle that well, and definitely not someone whos only ever heard the worst about people.

he comes around later. notably by being on his own, away from the hamatos.

again, im not saying the show is writing this intentionally, but i think tonally its in the zone where you could see this analysis as being canon. that these little pieces of narrative fit the worldview of a toxic family unit that isnt dealing with its problems in a healthy way.

there's other small aspects. leo slaps mikey early on, having seen it on his favourite show be used as a way of getting someone to calm down. mikey questions this behaviour, leo seems to feel bad about it when questioned. if we know that that behaviour was bad, what other things might he emulate in a similar way?

there's things like donnie's predatory behaviour towards april. in a world where all they ever knew was splinter's stories of the outside world (and perhaps television from decades earlier), hearing splinter's story of his love for tang shen, his rivalry with his own brother over her, you could actually see why he would behave the way he does, why he claims her the way he does. not as an excuse, but as a reason he learned the behaviour. and there's multiple opportunities for his father to tell him off. he never does. why would he? he knows no better.

this splinter, unlike every other, is not old or disabled. he doesnt require a cane (at the start, but also was never a good cane) and its interesting that despite being like... a 40 year old man in the peak of his life he does not accompany his sons on missions. he sits around doing nothing and disproves of his sons heroic actions. april literally calls him out for this at one point. the show is actually telling us some of this man's behaviour is wrong.

one of the more upsetting things that happens in this household is a lot of physical hitting. "theyre training" you might say. understandable. but when you see a lot of hitting come from the father in this show, played for a laugh, when you see splinter play the "drunk master" bit it makes you think. is that okay? isnt that a bit much?

the end of the muckman episode is a freeze frame of splinter (after having knocked out all of his sons to punish them for leaving while grounded) turning his anger on april and her running away. idk thats just not funny to me. this is a bit of the dating of the show, 2012 was a time where character's in shows were meaner, less affectionate, more bullying in nature. that was the sense of humour at the time. that isnt me making a judgment, it's just kind of the era. a pre steven universe world, if that makes sense. so many of the jokes that end in a hit aren't funny in 2024. especially not when they come from a parent.

when this splinter speaks about his kids to their brothers he often ends up insulting them. "you should be like mikey, he never overthinks because he doesn't think", this would be a big reason the boys speak about each other the way they do to their faces. puts forward a bit more of that bullying thing i mentioned earlier. if their own father talks about them like this, of course their brothers do too. so of course they join in and give payback.

again. splinter wasnt raised in a normal family. he was raised in a ninja commune with a bunch of murderers. he wasn't great with his wife and baby daughter. its not surprising that he's bad at this.

so, ive just said a bunch of things about what's wrong with this household as a whole. i think ive explained why the family unit behaves the way it does: generational teachings of feuds and traditional values. i dont think this makes the show bad! i, in fact, wish there was more of it. i think theres so much low hanging fruit that the show kind of wants to play with, but cant fully bring itself to.

specific example: during the space arc on a planet thats driving all the characters emotions against each other we get this amazing scene where raph screams at leo for being splinter's favourite. leo responds by hugging him. its really well done!

however its never brought up again, never actually getting into the nitty gritty of why raph feels like that is exactly what i think makes this show resonate with so many people

its dark! it pulls at your heart strings! it makes people feel seen! we go in mikey's head at one point and see such splintered (lol) personalities in his head. he has a huge anger problem (much like raph) in there. he retreats into imagination land when stressed. the show kind of toys with "these kids are fucked up!" but never lets those character moments go anywhere. i love how fucked up this family is. its so complex, it feels real. at least real to me. i wish it went that little step further and let the characters talk about these things a little more.

maybe you have a different experience, and thats fine! but i wouldnt brush off people like me who look at 2012 and say "these dynamics make me uncomfortable". to excuse it by saying "my family is like that and we're fine" sometimes i just wanna say... <:/ are you? have you talked about that? and if that's your read on it is that its fine, thats great. but some people notice patterns and those patterns can make them uncomfortable. i hope ive explained the patterns here.

i think thats why the fandom is as big as it is. this show would lead to the most amazing deep introspective fan-works youve ever seen, it lays the pieces out so perfectly for you to draw your own conclusions about why they are this way. you cant really blame people for talking about it as if its got a way higher rating than it does. it feels like it does.

i should say, i dont even know if i blame the show on its own for leaving those pieces laying there, it was on nickelodeon. i sense studio meddling in the tone. i mean, given that the show wanted to end with the big mutant apocalypse storyline, and yet the network wanted to end it with the big 87 crossover..... yeah i think its safe to say nick would rather they keep it light.

which is funny, because i think the most controversial thing i can say is i personally love the finale arc as the mutant apocalypse. it so encapsulates my favorite part of this show. to end this show in the darkest timeline and say "even though these characters are so far removed from who they used to be and even though the entire world is over they still have each other in the end" and i find that so perfect.

so. i understand that this is always a touchy topic. i know people want to brush it off as "people say the 12 brothers are abusive to mikey but mikey is fine", and i think thats a really skewed version of it from both sides. first of all. mikey is not fine, look in that boys head. look how he copes. he's not. but also, mikey is not the only victim. they all are. these turtles are victims of their upbringing, victims of generational war. of men who didnt know how to be good fathers in the first place. and thats good writing! it feels deep! it connects!

for more context: any fucked up way you can think of karai being raised by shredder? its probably the same way here. splinter and shredder were raised the same way.

i guess i think about this a lot, cuz i always see things like "oh, rise fans write crossovers where the rise boys love each other and have to teach the 12 boys how to be nice cuz they dont like 2012!" and i just think to myself:

guys. do you understand why a person might do that? why would someone (likely a teenager) want 2012 mikey to be treated nicely by a kinder more openly affectionate version of his own family? do i need to spell that out for you? why do we connect with media at all, why do we write our own stories about it?

if you genuinely dont. i mean, im glad for you. but sometimes you wanna imagine a world in which your own family is more openly affectionate with you. where they hug and tell you theyre proud and love you and you never have to question it, never have to look elsewhere for that kind of approval. its less that they're idolizing rise, and more that they're looking at the two families and saying "this one is emotionally mature and in touch with their feelings more than that one. how would that play out?"

doctor feelings ass response.

look, im not saying everyone understands 2012, that everyone likes or needs to like it. im just trying to say that i think these fucked up parts of 2012 are all around my favourite parts of the show. its an inspiring story about this fucked up little family that has no one but each other, and they're not great about it. they try, but they don't always get it right. i just wish the show would have talked about that part more. but i think that since it doesnt people get to fill in those blanks themselves, and they do it so beautifully. and i really wish people on the internet would be more kind to one another when they wanted to discuss these darker themes they find in it.

these are the reasons i love this show. i think its so very interesting that splinter dies this fucked up father figure who never really apologized for his behaviour. i like that raph needs to be held to stop punching his brothers. that leo doesnt have a good grip on what it is to be a leader, that he tries bad ways of doing it. i like that no one copes well! i like that their relationships are so complex! this show is messy! its good! i wish it was more messy!

and id love if we could be more honest about these things and how they make us feel instead of just brushing each other off as "likes the show" or "doesnt like the show". the things that make me uncomfortable are why i love this show and i'm pretty sure i'm not alone there.

[dandelionjack]

an essay about Rogue, The Chimes of Midnight, and how i believe all this ties in to the overarching themes of the series EVEN IF the inside-a-tv-show theory proves untrue

“Rogue” named himself after a stock character. he is the archetypal Handsome Rogue because there has to be a Handsome Rogue role in a period drama story set in Austenesque Regency England.

it’s all theatre — smoke and mirrors. just like the war waged against imaginary foes in boom (because there needs to be an Enemy in a wartime story) was theatre; the creation of the Bogeyman in space babies (because there needs to be a Scary Monster in a children’s bedtime story) was theatre; The Woman following Ruby in 73 yards (because there needs to be a Ghost in a folk horror story) was theatre. dot and bubble less so, but it’s wise to note — the dots created the slugs after all. they invented the slugs so that there would be a tangible Creature for the finetimers (and the Doctor) to fear, rather than simply being betrayed by their own technology. because that’s exactly what the false, harmful narratives colonialists tell themselves — stories of taming and conquering a wild Mother Nature and her ferocious beasts — have trained them to expect from the world. the dots were telling a story too, or rather putting on a play.

the penultimate episode of any doctor who series, if not always leading directly into the two-parter finale, will typically begin to tie up loose narrative strands that have stretched across the entire season. at a first impression rogue doesn’t seem to be doing that. but then you take a closer look at the antagonists: creatures that play a role for fun without the slightest regard for those around them. lethal LARPers. cosplayers out to kill. to put it pretentiously, a hyper-realistic theatre of cruelty.

to nobody’s surprise, i’m bringing up my favourite eighth doctor audio drama — the chimes of midnight. edward grove gives every person trapped in the time loop a designated role: the chauffeur, the doctor-detective, the plucky young lady of the house, the lady’s maid, the scullery girl, the housekeeper. they keep playing these roles, over and over, until they begin to forget their original identity, until the part they’re playing takes over their entire sense of self. the servants keep dying over and over because they cannot transcend their roles, because they believe themselves to be “nothing but a scullery maid”. they are reduced to the parts they play in the narrative until they become nothing outside of it, until they become confined to a single location.

the chimes of midnight is set in Edwardian-era England, a time of restrictive, prescriptive class, status and social roles which defined a person’s life and career trajectory — this strict delineation is driven to its logical conclusion and deconstructed under the unnatural conditions of Edward Grove. similarly, rogue is set in a Regency-era mansion — another historical period defined in the popular imagination by its complicated social rules, elegant courtship dynamics, strict class barriers, gossip and elitism. these two doctor who stories don’t have any intentional watsonian connection, but they are deeply linked on a thematic level.

high society is forced theatre. a 24/7 LARP. play your part, put on your costume, don’t interrupt the performance. the audience is waiting. they’re oh so hungry for tragedy.

the biggest part of them all, the most sought-after role, of course, is The Doctor. a standard to live up to. a name to wear like a banner, a pledge, a promise. he has to be like this because this is what he’s like.

the Scullery Maid scrubs the kitchen floor. The Detective searches for clues. the Chauffeur starts up his car. the Duchess hosts a glittering soirée. the Rake hides a secret fling with the Wallflower. the Rogue breaks hearts and broods on the balcony.

and the Doctor? the Doctor dances. “onwards and upwards”. forever in perpetual motion, spinning and spinning and spinning across the stars. never pausing to breathe. never stopping.

p.s.: so, pray tell, what is Ruby Sunday in all this? “The Companion”, of course. smart, funny, sassy, quick-witted, brave, cheeky, curious, self-sacrificial. she almost feels generic because she’s meant to be. she wasn’t born. she was written. an essential part of the story too. circling the Doctor like a satellite forever.

[three--rings]

You Should Watch The Spirealm/致命游戏

What is it?

A 2024 cdrama based on the danmei webnovel Kaleidoscope of Death. It's a censored version of a BL novel, with thriller, mystery, and horror aspects, 38 45-minute episodes.

What's it about?

A young man accidentally gets drawn into a virtual reality video game that involves passing tests in a series of doors. Once you start playing, you cannot stop and if you die in the game, you die in real life. He meets a frustratingly mysterious, competent, and attractive man in the doors who recruits him to be part of his game solving team. Well, specifically to be his partner. Lots of gay subtext ensues as they fight through door after door seeking to get to the final door in order to end the evils of the game. (The book is a little different, as it's more supernatural.)

So basically it's a infinite flow deadly game situation, with m/m romance.

Main Characters:

Lin Quishi/Ling Juishi (novel/drama versions of his name)- Our protagonist. A smart graduate in computer science, good at games. Well meaning but a little naive to start out.

Ruan Nanzhu/Ruan Lanzhu - Our love interest. In the novel he crossdresses often and he presents as a woman for the whole first arc. Super intelligent, expert at the game, extremely flirty but reserved at the same time. Got one look at Lin Quishi and said That One.

Other Characters, aka the Found Family:

Ruan Nanzhu's team consists of a pair of twin brothers (one young and dumb and one uptight), a hot doctor vet, a woman whose main job seems to be cooking dinner, and a not-so-stable dude.

Then there's Li Dong Yuan, a rival player who becomes reluctantly-tolerated friend, and his cute female assistant. And Tan Zao Zao, an actress who hires the team to help her in the games and also sticks around persistently.

They're pretty much all delightful and some may start off silly/annoying and end up breaking the hell out of your heart.

Okay, but what's the VIBE?

Big Guardian vibes. The team of lovable scamps investigating weird supernatural (?) type mysteries? While the boss and the guy he fell for have a situationship? Totally. This definitely has more of a horror feel than Guardian, though, even though they tone things down from the novel.

Each door is its own setting, and some are more scary than others. So one is a mental hospital, one is a traditional village, one is a gothic manor, etc. Lots of tragic female ghosts who have been wronged and are getting revenge. The one that really creeped me out was the one with the children with the eggs. It does a lot of creepy rather than really horror. It's not truly gory at all, as it was made to air on Chinese TV and they have strict limits to violence.

The camerawork and set decor is really nice, actually. It looks great most of the time and a lot of the effects seem to be practical. It looks a lot better than Guardian is what I'm saying, if not quite to a film level.

How Gay is It?

Oh MY GOD. Okay look, this show was NOT supposed to be released, but thank whoever put it up for that two hours. It's really incredibly blatant, like really as much as Word of Honor was, although because the plot is focused elsewhere it's maybe not quite as in your face. But the actors UNDERSTOOD THE ASSIGNMENT and there's so much longing and SO much implication. After a while, everyone basically just treats the main couple as a couple even thought it's never talked about.

I mean episode one there's Only One Bed and at the end of their first meeting Ruan Nanzhu gives Lin Quishi a RING. I mean, the flirting is also BLATANT. I also just find this a really romantic show, despite the Not Talking About It thing.

Is it a Happy Ending?

So, It's Complicated. I'm trying not to spoil anything and this show is pretty easy to have spoiled for you. There's definitely a good bit of tragedy in this show in general. Characters die and it's really sad. Like, this is a plot with stakes and if no one we liked ever died, it wouldn't be the same.

I will say I consider this show to have a happy ending, but you do go through some pain first. Essentially the main couple does have a separation, but there is a reunion before the end. There's also a scene that will give Guardian fans fucking PTSD, but the show does a fix-it on its own, okay? I do feel that I have to warn for that, though.

Where can I watch it?

The show is legally available on Viki with a subscription. Obviously there are other ways to find it as well, and links went around before it was picked up by Viki so check tags if you need those.

I really hope this encourages some people to watch this show, as it's really well made and a great time. It's one of a very small number of danmei adaptations we've gotten, but a lot less people have watched it since it's modern and had a weird release. Honestly, it's well written and acted and filmed and you should give it a shot.

(All gifs by @ruanbaijie, thank you very much for allowing me to use them. Check out their blog, there's such gorgeous stuff there!)

[redpillsfortheblues]

I don’t mind the major plot change or the new themes, messages and motivations in the writing of the show. I read the pjo series when I was around 10 or 11 and I raced through the rest into HoO after that. Since then, I hadn’t read them like at all. After ten or more years. Now in my mind, it all felt like a cohesive work, even with the change in perspective for the second series and riordans growth in writing, pjo still felt like a really strong piece of work.

Before the tv series started, I revisited the pjo books and was surprised that I found the writing not that good. I mean, it’s meant for children, so it could only be so complex and it has to be goofy to be entertaining for children. But I had also revisited Harry Potter recently and I didn’t feel the same way about the writing as I did in pjo. Harry Potter and the sorcerer’s stone is meant for children but the writing is wayyyyy different. It’s hard to explain but when you listen pjo you feel like the story is so goofy that it’s very hard to be immersed in the world unlike in Harry Potter.

In this new adaptation, the approach is more serious, the characters motivations and personalities are more polished, and the plot runs smoother with the major changes that riordan makes.

I’m very pleased with the way it’s turned out. This tv series is like a polished version of pjo. I can’t wait for the last ep and hopefully future seasons with even more alterations to the writing to make it an incredible, perfected piece of work that can stand on its own— apart from the books.

[scryarchives]

OMG i just taught of this in my head its alright if ya dont wanna write it but NANAMI AS A FATHER HEADCANON cuz like man will be dedicsted to making sure his child has a goos life (and not be like gojo)

my masterlist !

✭ pairings: platonic - dad!nanami x daughter!reader

✭ warning: nanami's probably out of character, pure fluff, fem!reader

✭ word count: 1.2k words

HII OH MY GOSH, thank you for the ask!! okay so this is my first ever hc request and I ABSOLUTELY ADORE the idea of this!! I hardly ever write 'x reader' content, but I really might just start doing it for the platonic reqs! I really do think Nanamin would be the best dad ever, but Gojo would definitely be a great parent too considering that he does believe that children should be allowed to be happy without having their childhood taken away! Anyway, I've yapped enough, here are the Dad!Nanami Headcanons! Enjoy!

𝐝𝐚𝐝!𝐧𝐚𝐧𝐚𝐦𝐢 | 𝐡𝐞𝐚𝐝𝐜𝐚𝐧𝐨𝐧𝐬

Dad!Nanami who:

✧ Raised the baby left on his doorstep, crying and swaddled in cloth with her heartbreaking screams of hunger and lack of love filled his ears. ✧ Instantly checked on her condition, considering the baby’s cries, he couldn’t tell if perhaps she was injured.  ✧ Once he figured out she was fine, he instantly rushed to the store with the baby in his arms, rushing through each aisle to hunt for baby food. ✧ Bought the food the moment he spotted it, adjusting her in his hold as he quickly paid for it, sitting on the ground outside to open the food and feed the starving child. ✧ Softens the moment he hears her cries stop, her big eyes staring up at him intently with her remaining tears gathered in the corners of her eyes.  ✧ Smiles a little the moment he sees how quickly she devours the baby food, showing how hungry she really is. ✧ Thought maybe parenthood isn’t as bad as it seems.

✧ Feels pride bubble up in his chest the moment she begins to walk, her smile wide as she wobbles towards him, his arms wide open as he speaks to her with soft encouragement, “That’s it, step by step.” ✧ Scoops her up into a big hug the moment she’s a few inches away from her, her little giggles of amusement bringing her so much joy. ✧ Doesn’t mind doodling silly little things with her, scribbling down on a paper whatever she asks, as long as it’s after work hours, despite his urge to bend the rules for his little girl. ✧ Brings her to work as long as he’s not on a mission (because really, who in the right mind would put such a precious being in harm’s way?), just to make sure that she’s safe and sound. At least she’s with him, and he can keep an eye on her. ✧ Knows he can trust his baby girl with Gojo’s students when he needs to go on a mission, and never Gojo, even if Fushiguro did turn out the way he did under Gojo’s care. ✧ Would make the three teens promise not to let Gojo within a five-foot radius of his little daughter because he knows it would mean nothing but trouble (who knows what really goes on behind those blindfolded, blank eyes.) ✧ Is nothing but touched to see how the three students cared for his little girl so carefully, seeing her resting on Itadori’s chest as they sleep on the couch with the hushed noises of children’s cartoons in the background from the TV. ✧ Tucks her away before gently placing a warm blanket over the three students who he clearly cared for (he’s never explicitly said so, but they all know it). He’s nothing short of grateful for their help babysitting the precious little girl in his life, and he sees her as his own, not caring for the fact that she was just left on his doorstep. He can’t wait to see her grow.

✧ Tears up a little behind his glasses as he drops her off for her first day at preschool, his face stoic as ever as he wonders where all the time went as he watches her skip off to class, waving goodbye to him. ✧ Wishes that time would slow down just for a while so he could read her bedtime stories and notice the tiny things she does to try and make his day easier. Always his little helper, she was. ✧ Can’t wait to pick her up, packing up fifteen minutes earlier from work just to collect her on time, turning to Gojo with a glare as the white-haired man smirks, entertained to see his junior so caring and paternal. ✧ Arrives at her preschool just a minute early, waiting at the school’s gates as he hears the bell ring, the cheers of other kids rushing out like water from a broken dam. His eyes immediately rush to find her tiny figure, and he bends down, recognising the top of her head through the sea of children. ✧ Listens to every little thing she tells him, from what she saw in the class to the friends she made – even the tiny ants she saw at the playground during recess. ✧ Smiles the moment he sees the drawing she did in class of a poorly-drawn him and herself (he doesn’t mind it one bit), just proud to have been involved in her growth. ✧ Frames the drawing instantly, and though it’s a little big, it sits on his bedside table, right next to his wristwatch and glasses. ✧ Has no hesitation to put aside whatever housework the moment she asks for help with homework – math specifically. ✧ Is as patient as he can be, explaining the basics clearer for his precious daughter to understand, helping her with the first bit before letting her try it out on her own. He’s positively glowing with pride when he checks through her homework, finding it all done correctly. ✧ Ruffles her hair as she grins with a laugh as he gives her his rare words of encouragement, “Great work, kiddo.” ✧ Sees her with a gold star sticker her homework the next day as she runs to him after school, her maths worksheet waving in the air as she jumps into his arms. ✧ Is nothing but satisfied to see her beaming with pride at her efforts, and relieved to know that he’s doing a good job so far.

✧ Finds himself stuck, struggling to explain where her mother is as she peers curiously up at him, his daughter now up to his hip. ✧ She’s grown again, and her increased height followed her curiosity as she asked more questions, and noticed more things – well in this case, the lack thereof. ✧ He simply replied with a, “It’s always been you and I.” Relief fills him the moment he sees a nod in understanding, but the thought keeps him awake at night. Eventually, he’ll have to explain, it’s always the hardest thing to find out how to do it. ✧ Finds out why she asked as he spots a little worksheet on her desk, his brown eyes widening as he recognises it as a family tree. ✧ Two of the slots are filled, but the rest remain blank, and he feels nothing but pity, a sigh escaping him as he picks up the sheet of paper. ✧ Plans to tell his daughter everything that night, preparing her favourite dishes and desserts, but his nerves are getting to him, resulting in a tense silence as he sits at the dining table, waiting for her to finish her shower. ✧ Notices the moment passes as she sits down, digging into her meal as he clears his throat, finally finding it in him to speak. ✧ Watches every twitch of her eyelid as she blinks, waiting for some sort of reaction from her, hoping that she’d take it well. He’s not sure of what he’d do if it all went south. ✧ Is silent by the end of the explanation, waiting, gauging for her voice to say something, but all he can see are her big eyes staring at him. ✧ Is caught off guard when she says, “I don’t need any other family, because I have you, Dad. I don’t care if I’m adopted or not, you’ll always be my dad.” ✧ Feels his eyes water, his arms spreading open to pull her into a hug. It’s uncharacteristic of him, but for her, he wouldn’t care. She’s his daughter, his little girl, not bound by blood but by bond. ✧ Would want nothing more than to hold her in his arms, wishing to protect her from every little bit of harm because that’s what you do with things you adore, with the things you treasure – and she’s everything to him, his baby girl.

taglist: @mooncleaver @underwateredwrld @mcmisbehaving @neteyamrealgf @khany2026 @tinkerbelle05 @iheartamajiki @sad-darksoul @yunymphs @cindol @rrairey @cheriiyaya @yurislotusgarden @kesshavx

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[antimony-medusa]

The thing with RPF

Okay, I don't tend to engage much with RPF. I have read it, but only when recommended by someone whose taste I trust (I think it's all supernatural aus that I've read, to-date), and my intention is not to write it. Not really my scene.

However, I really think this fandom could stand to stop treating RPF like it is the devil.

If you engage only with someone in the form of like an hour a week of video of them performing for an audience, particularly if that video is edited, like, when you start mentally rotating characters to create with, your brain isn't gonna draw a huge difference between the guy from the scripted thing you watched, and the person from, idk, mythbusters. Love to see my guy make a big explosion.

In both situations, you don't know them as people, you know them as like, personas, characters. You are essentially engaging with them as fictional characters, cause you only see the small segment of their lives that they put into the video, and whatever story they're telling with that. You don't know them as people, because how could you? So your brain going "hehe what if hunger games au" is just one of the ways brains work.

And idk, as long as you know you're doing that, I think that's fine.

It's fiction. You're writing/reading fiction. It's in the name. You know that it's not true, you're dealing with fictionalized versions of like, stage personas, or teaching methodologies, or historical records, and you can make your little fictions, and you show it to the eight people who are also really into *spins wheel* Ancient Egyptian RPF or *spins other wheel* Taskmaster UK TV RPF or *continues to spin the wheel* Polygon (web series) RPF. You all shake each other's hands and go "man I really like [person/character] and I think about them a lot" and someone else goes "I also think about [person/character] a lot and I think that if he was a warrior cat he would be a kittypet" and someone else goes "I think if [peson/character] would boil an egg the egg would explode cause he's really bad at boiling eggs" and you go "go on". You are all silly together, and you are all doing fiction, and you go on your merry way.

Like that is A Thing People Do On The Internet, and that stays in its its designated space, and that's fine. Might not be your jam but it's fine. That is not more weird than inventing an elaborate imaginary religion for a minecraft world, or working out the emotional nuance of an arranged marrige au between fictional detectives, or carefully making an elaborate interlocking series of stories where someone from a children's cartoon is horribly tortured, rescued, recovers, and gets their vengance. All of that looks weird from the outside, and is a fine and honourable thing to do in your little circles on the internet.

The part where this becomes a problem is when you take your fiction (lies we tell recreationally) out of the designated circle of people enjoying the fictions, and you shove it in the face of the person it's based on, and go "do you like this" or "is this okay" or "I found this and I think it's bad is it bad".

When you are doing the fiction you are engaging with the person as a character which is like, fine, and a truthful reflection of how much you actually know them (not at all, you don't know them), but in shoving it in their face you are going "I don't know you but I want you to react to this for my entertainment/justification, because I think this reflects on you, and apparently I think I deserve your time and attention, and also I think I already know how you're gonna react and I'm gonna use it for my callout posts", which is like, so much ruder than just making fictions about people you don't actually know.

Like writing a superhero au about the person you watch video game speedrun— based. Love the imagination. That is making something from nothing, a great creative act. I could not do that at all but I salute you.

Telling the speedrunner about it? No were you raised in a barn. You are not writing it for the person to approve of— they don"t know you— you are writing it for fun and the enjoyment of other speedrunner enjoyers. Keep it locked down.

As long as we're all aware that RPF is fiction, and we keep it in circles where we're circulating it as fiction— ao3 archive locks exist for a reason! this is not something you want to show up on a google search!— this is just a thing people do for entertainment. Don't bring it up to the person it's about, and you're fine.

And I've been thinking about this because like, I don't think what I'm writing is RPF, but BOY from the outside people seem to think it is! Including the creators! Which means that even while I'm doing my best to adhere to character beats from the story and not just streamer personas, and differentiate between the dude in england and the dude in 3rd life, also I should be aware that if the creator hits it, he's probably gonna think that I'm just writing this about him.

Things go SO MUCH BETTER if the creator only finds it if he goes "huh I wonder what people are writing about me" and deliberately goes to look for it, not if he's just going along thinking about disney movies and someone comes screaming into his field of view like "people are writing about you on the internet". And then he's gotta deal with the ways he's percieved, and whatever weird warrior cat situation people were putting him in, and the fact that people don't know him but think he can't boil an egg, and the 3rd life cannibalism aus, and and and— it's a mess. Please don't do that.

All of this to say A) RPF is fine actually that's just like one of the ways storytelling works— we're not writing RPF but it isn't the devil either. B) STOP TELLING PEOPLE ABOUT FANFICTION.

[old-people-like-avatar]

Netflix Avatar the Last Airbender S1 - Overall Thoughts [SPOILERS]

I am a longtime fan of Avatar the Last Airbender. I did not watch it in its original 2005 run, but I discovered it in around 2010 after my good friend R.S. recommended it to me. It's been my #1 favorite TV show ever since and I have rewatched it more times than I can count. I was cautiously optimistic about NATLA.

Now, having watched the whole first season of NATLA, and looking at the season as a whole, I think the best word to describe it is uneven. I can't say that I loved it, and I can't say that I hated it. But there were things I really liked about it and things that really did not work for me. Overall, I enjoyed watching it -- if only to dissect what did and did not work about the adaptation -- and would want to watch more.

WHAT WORKED

Everything to do with Zuko and Iroh. I found myself going back through just to rewatch all of the Zuko and Iroh-related scenes. I thought Dallas Liu really nailed Zuko -- from tantrums about his journal being stolen to incredible action sequences to the boyish vulnerability of worrying about the laces on his gauntlets. He took an iconic character and made him his own. NATLA added some incredible scenes and lines to my favorite duo: Lu Ten's funeral (coupled with orchestral version of "Leaves from the Vine"); Zuko's first war council; Iroh choosing to go with Zuko on the boat; the 41st Division; Iroh putting a blanket on Zuko. And I liked that NATLA emphasized that Iroh needed Zuko in the wake of Lu Ten's death as much as Zuko needed Iroh after his mother left.

Daniel Dae Kim's interpretation of Ozai. Ozai in ATLA is kind of one-dimensional. Daniel Dae Kim's Ozai adds a deeper layer to him in that he genuinely seems to think he's doing legitimate parenting -- even going so far as to visit Zuko after burning his face and remarking, glibly, that he'll recover ("but he'll never heal," says Iroh). It adds an even more monstrous angle to his cruelty because Kim's Ozai seems to think he's doing it for his children's own good. This post perfectly encapsulates my feelings about why I thought the agni kai between Ozai and Zuko was an excellent addition to NATLA.

Zuko/Aang. These two bonding over goat hair brushes was the scene I never knew I needed. The way Aang managed to wrest a little smile out of Zuko in that scene before Zuko blew up at him for criticizing the Fire Lord? And the way that tied into the "Compassion is a sign of weakness" scene from the agni kai? Great character work.

WHAT DID NOT WORK

Dialogue. I already observed at length my dissatisfaction with the clunky, exposition-dumping dialogue in my episode-by-episode writeups. It certainly wasn't as bad as the Movie-That-Shall-Not-Be-Named, but . . . there was no art or subtlety to it, and no trust in the audience. A disappointment.

The GAang did not feel like family. The lack of breathing room in the 8-episode season meant that all of the "filler" episodes that fleshed out the relationships between Aang, Katara, and Sokka were sacrificed. I am not saying NATLA needed to recapture each of the filler episodes. But they needed to build the foundational bonds between the main trio with showing not telling and they really didn't. They separated them for big chunks of 2 episodes. And, really, they just felt like traveling companions. That took all of the emotional heft out of, well, everything related to Aang, Katara, and Sokka. I mean, frankly, the kid actors did a better job establishing the "family" dynamic just by being themselves in their press interviews than the show did with the characters.

Aang did not run away from responsibility. I am not one of those people that's just mad that the show wasn't exactly like the cartoon. No. What I mean is, even putting aside the cartoon, even if you just look at NATLA itself: their own themes were undercut by never showing Aang actually running away from responsibility. Each avatar seemed to be berating Aang for doing something he was never actually shown to be doing.

Katara. I really don't think this one is on the actress. Katara felt like a fundamentally different character from ATLA's Katara. It's not to say an adaption is not allowed to have their own interpretation of a character, but... I just did not understand NATLA Katara. There was no passion, no rage, no overbearing nurturing. She was... I don't know what she was. Traumatized, yes, but nothing grew out of that trauma? Meek, until the plot demanded that she suddenly become a waterbending master without any guidance other than a waterbending scroll? The "younger sister"? More than any of the main characters, I'm not sure what NATLA was trying to say about Katara at all. And, as a result, I'm afraid the word to describe it might be uninteresting. And given that she is the heart and soul of Team Avatar, this one was really tough.

Despite the fact that a lot of NATLA did not work for me, I still enjoyed it because the things that did work for me, well, really worked. So. I'm here for all of the Zuko/Iroh scenes!

[lordsukunas]

more daycare worker! nanami (finally)

"nanami-sensei!"

kento pauses, fingers holding his sandwich close to his mouth, and with a quiet, reluctant sigh, he sets it back down onto its wrapper. "yes?"

a little girl with big, blue eyes beams up at him, and the sliver of annoyance he felt at his meal being interrupted melts away. "look at what i drew!"

she's holding a sheet of paper in her small hands as she walks over to his side. pushing herself up on her tip-toes, she practically shoves the drawing in his face, forcing kento to lean back so that he can actually see it.

truthfully, he doesn't know what it is at first.

it's a stick person with blonde hair and looks extremely serious, almost overly so. is it a relative? a character from a tv show?

"ah..." kento's brows draw together slowly. no, that can't be it. neither of her parents have blonde hair, and it has a tie that looks an awful lot like one he owns.

then it dawns on him, and he's a little embarrassed it took him a while to get it.

"is that me?"

the girl nods, pigtails bouncing, and a massive grin spreads across her face. "do you like it?"

with the confirmation of the kindergartner, the resemblance between him and stick-kento becomes more obvious to him. both have the 7:3 part, both are wearing a patterned tie, and both appear way more serious than they actually are.

it's adorable, and kento's lips curve up into a small smile. it's a little funny, too. is that how they see him? the super serious teacher? does he not smile enough?

who knows? the minds of children are still a mystery to him.

"i love it. thank you, sato-san." he gently takes the paper from her, digs out a thumbtack from a container stored safely in his desk drawer, and puts it up on the corkboard behind him. it's a little crowded, but it fits, surrounded by the other drawings and doodles.

"you're welcome!" and with that, the girl skips back to her friends, off to talk about whatever the topic is for about five minutes before it changes again.

he stares at the corkboard for a moment longer, then turns around and opens a new tab on his laptop, sandwich now forgotten as his fingers fly across the keyboard. how large can corkboards get, he wonders. big enough to have space for some more drawings, surely.

first things first, TYYY to @dalalita for the idea!!! a literal genius, tbh. nanami is such a sweetheart and softie for kids it actually hurts my heart :(( ik this is short but i hope y'all liked it anyway (if u didn't, sorry!)