#but the cw/wb cannot be real

[sweetcitrusboi]

I don’t want too talk about the straightgate situation on my tumblr anymore than I already have but I have to just say that watching spn drama happen live is an experience, and that I’m feeling the worst secondhand embarrassment for one of my fixations rn.

I’m sorry but Misha is getting cooked on tumblr and twitter and I’m personally cringing for him rn. These “feral” jokes are not continuing too be jokes anymore. It was like chuckle funny at first but now new things are being brought up and it ain’t working. I’m still laughing tho bc of how deranged everything is. You have everybody who witness that panel live just pretending it didn’t happen (which good for them id do the same) , antis are starting their bs again, non spn fans are being tortured on their fyp as usual, misha is clearly having a crisis and idk what too make of it, I mean he drops how wb wants him too be gay4pay and then he still makes an ambiguous bi joke ???? Like sir, what’s going on with you ????

Jensen is clearly living his best life and ppl keep trying too add him into the situation for no reason, let this man brainrot about Dean Winchester and destiel in peace y’all. For some reason Misha being a liberal is a topic of discussion on some post, random anons are sending hate comments in ppls inbox, saying you like cockles is a no zone now and should be avoided lmaoo.

Casually waiting for gk too drop on Tuesday and we go back too be obsessed with his arms and mitties and we just don’t pretend tht spn didn’t make hetereophobia a thing 🙏🏾

[leighlew3]

So I watched the animated Legion of Super Heroes and I just can’t. I can’t with straight Supergirl anymore. Mon El as a villain? Phenomenal. Do I hate Brainiac 5? No. But the romance doesn’t work for me. Despite its flaws, once you’ve seen Supercorp, the plot beats and heteronormativity of Kara and Brainiac 5 just can’t compete. You also can’t convince me Sasha Callie’s Supergirl was straight either.

Preach. While it was hilarious to see Mon-El as a villain and have Kara kick his ass (which now makes 3 separate versions where that ship has been buried one way or another by DC, The CW, WB, etc) ... I'm honestly so sick of watching them do the same things with Kara again and again and again, especially on the romantic front, and it's entirely uninteresting for the most part.

I mean it's pretty ironic that the single best love story she's ever had in any medium was the queerbaited one between she and Lena Luthor in TV series, ffs.

Until they realize that the concept of Kara/Lena (aka the real "Supercorp" despite a couple of DC writers recently attempting to st-- I mean conveniently use the exact LGBTQ fan-created phrase, a very similar logo to the LGBTQ fan-made one and even utilize some eerily similar SC elements from the SGCW TV series) is a literal GOLD MINE of creative opportunity and money to be made... they're going to just continue to rinse and repeat the same dull shit and wonder why most people simply just don't care and they can't break out of the box (except with a couple limited runs like WoT which have no love interest).

Kara/Lena as a romantic couple literally subverts a 60+ year lore of Super vs Luthor -- taking it from a story of hate to a literal love story, and also bringing the characters back to some rather interesting and queercoded dynamics they already demonstrated between the two way back in the Silver Age comics.

Interestingly, DC has already toyed with a sapphic Supergirl in various versions already. In Bombshells: United #33 she kissed Lois Lane. In DC's Dark Knights of Steel Miniseries in 2021, they had Supergirl and Wonder Woman in a queer relationship. And with the CW tie-in Batwoman comic run for DC, the author recently subtly confirmed Kara/Lena as dating.

So why continue to go back to the same old outdated, bland, repetitive heteronormative angle that doesn't even sell enough to maintain a long-running Supergirl solo comic series, lead the show to be critically panned half the time and end on a flop note with furious fans, etc? Inexplicable, beyond the usual blind spots and phobias.

At some point, somebody will wake up and smell the creative potential and profits. Until then, we wait. And keep pushing, creating fan art and fanfic, etc and show 'em how it's done.

It'll happen eventually. I have faith. I fully believe it. Whether it's in a year, five, ten or twenty. It'll happen. Greatness cannot be ignored or avoided forever. 😉 Some day...

[thealieninhiding]

Arrowverse

This can not be how the arrowverse ends. please don’t let that magic disappear especially not without the Legends, without Supercorp, without fulfilling the potential of the crossovers without a proper JLA.

The pandemic, CW’s sale and the changes at WB forced changes to the entire Arrowverse but these stories can still be told. They should be told. want more of this universe. At the very least I want closure; bring them all back together at least one last time

Legends of Tomorrow

This cannot be how it ends for them, in time jail. There are more wacky stories to be told. Sara Lance deserves better than to be stuck in jail pregnant. Zari Tarazi needs to know she IS a hero. Gywn and Alun have only just reunited.

Supergirl

They deserve to have their romance told in full, to have their happily ever after. Dreamer needs to be back on our screens for more than just an episode of the flash. Supergirl deserves a better send off.

Batwoman

Alice’s story is no where close to finished. Wildmoore is just getting started. Mary deserves more. Luke has his own heroes journey he needs to see through

😭���😭😭😭 I made myself cry. These shows mean so much to me😭😭😭😭

I feel so helpless, it’s practically hopelessly and I don’t know how to cope with the loss, the grief is very much real. This has been a constant in my life, something that brought me immeasurable joy even during deep depression and to not have closure is maddening, I don’t want to say goodbye not like this. Just please 🙏 give the arrowverse proper closure

[gra-sonas]

Alex Manes and Michael Guerin take a big step in their relationship when they decide to move in together in the Roswell, New Mexico Season 4 premiere. This move's importance cannot be understated. It emphasizes their development as individuals and as a couple while still showing they have room to develop -- together. Plus, it bodes well for the fan-favorite couple heading into the alien drama's final season. "Steal My Sunshine" knows how significant this decision is for Alex and Michael because their scenes together in this episode call back to pivotal moments from the past seasons. If that's not an excellent way to kick off the rest of Malex's cosmic love story, what is?

Roswell, New Mexico is another CW reboot of a WB series -- this one Roswell, which premiered in 1999. Michael Vlamis plays Michael Guerin and Tyler Blackburn plays Alex Manes. Alex is a military veteran who loves music while Michael is an alien mechanic and scientist. Alex and Michael fell in love when they were younger, but outside forces drove them apart -- including Alex's abusive, homophobic father Jesse Manes. The pair endure and survive a lot of trauma from both their childhood and adulthood. In the show's latest season finale, they finally rekindled their romance, like a certain Grey's Anatomy couple.

"Steal My Sunshine" finds Michael leaning into his doubts about their relationship's progression. Last season's newcomer Dallas becomes a necessary voice of reason who holds up a mirror to some of Michael's experiences and encourages him to "find the courage to push past this." Michael's internalized pressure comes from a reasonable place after breaking a miniature gazebo that holds sentimental significance to Alex. This gazebo becomes the source of everything from character backstory and meaningful references to Malex's past to a possible bridge to their future.

Alex shares that he created the gazebo with his mother as a symbol of his ideal Roswell. By the end of the season premiere, Alex tells Michael, "I don't need to build a pretend world when I get the chance to build the real thing with you." It's a big deal to hear these two repeatedly assure the other of their love. It's extra special that Alex and Michael can speak about their insecurities with each other without fear of rejection. It's also incredibly meaningful that afterward, Alex asks for Michael's hand because that's where they'll start. That small gesture is grand for Malex considering Roswell, New Mexico's past.

Alex and Michael held each other's hands in front of the statue memorializing Jesse Manes in the Season 3 finale "Never Let You Go." It's then that Alex and Michael knew they had finally beaten Jesse. They were a unified front in that episode and it all started with holding hands. Such a gesture may seem minuscule in the physical intimacy department, but it's not for Michael and Alex considering the abuse they faced for holding hands and loving each other in the past. Now they get to build a safe and loving home together, which is beautiful. It's also something Roswell, New Mexico has been building to with the fan-favorite couple. Who can forget when Alex sang to Michael in a crowded cowboy bar?

One of the lines Alex sang in the Season 2 episode "Mr. Jones" was "I can build your heart a home, and if I did, would you come home?" Michael walked out of the bar, believing their timing wasn't right. But in the Season 3 episode "Angels of the Silences," Michael told Alex, "I'm home." Michael and Alex are each other's home; nevertheless, sometimes Michael needs extra reassurance, which is why Alex says "Guerin, you are the one piece that I cannot go through life without," in that same episode. Alex echoes that sentiment in the Season 4 premiere when he assures Michael that the gazebo isn't everything to him.

Despite Michael's initial doubts, he and Alex are now in a good spot in their relationship. They're embracing vulnerability and tackling challenges together. Even though "Steal My Sunshine" suggests this season is leading up to a Liz and Max wedding, there's a possibility of a Malex wedding, too. Michael shows great interest in understanding how Max knows it's the right time to propose to Liz. Plus, it would be incredibly fitting for Alex and Michael to continue building their ideal world at the actual gazebo in town. Whether wedding bells are in Alex and Michael's future or not, they're building a home in their shared space and each other before the series finale, and that's spectacular.

[ugh-againwiththenames]

Cursed Sn*per Thoughts

Misha, in his panel, said something very interesting at Denver con that I think was lost in translation (or certainly hasn’t been brought up enough while we're circling like vultures about CW snipers and poor word choices):

(you know what to do...below the cut)

"I'm not supposed to talk about that...” [waaait] “...it's not canon"

It's the ‘it's not canon’ that's the important part of that sentence (honestly, not the first time yesterday people missed the important part of the sentence). If we didn't know before, I think it's pretty clear now what the Sn*per was so intent on all those years about Misha not talking about Destiel (because it was not explicitly canon until 15x18) and this was the first con back since then - so NOW he's allowed to talk about the gay love confession but…He is NOT allowed to talk about what Cas is doing/feeling now that the show is over, because it isn't scripted/textual/CANON.  He’s not allowed to discuss Castiel in Heaven/the Empty because it’s NOT canon.  He CAN now talk about the confession – he CAN now talk about his love for Dean and he CAN now pontificate on when/how and what his feelings were/represented – because the confession, and its intention is now canon.  

Let's take this and transplant it to our other boy - THIS is why Jensen will always have to say "it's open for interpretation" (or some version of that) - why he cannot give an answer - it's not canon either way for him to answer and have a textual opinion (and 15x18 FUCKED him because he will - as a character - never get closure and NEVER be able to discuss it) - if he had said it back/or denied it in that episode, THEN we could ask those questions and he would be allowed to answer them. However, because canonically he never responded, it's up in the air (as his response would fucking suggest). Personally, I think this frustrates the hell out of him; I think he's trying so hard to come up with different ways of saying the same thing – but he's vastly limited in what he’s allowed to say. With Jensen continuing to work with WB through Chaos Machine, I find it very unlikely that he will purposefully break his NDA.  That’s a really slippery slope for him to navigate (without the added pressure of the damn fandom).

But Misha, Misha gave us a peak into the real issue (and I don’t think it’s the first time he’s done that either, I think he’s been trying to tell us for a while) - and it's not that they can't discuss Destiel, it's that they can't discuss anything that isn't textually canon, and so...this is an issue that is going to continue to come up at EVERY single con from here until we recognize that Jens cannot say anything different than what he has already.

Now! Something else to consider - Misha and Jensen are FINE. There is no animosity or tension between them - the body language alone this weekend proved that - do you really REALLY think, and I want you to think about this very very hard - do you think that if Jensen was slandering or avoiding Destiel in public for the fucking hell of it, Misha would be ok with that? That they haven't discussed this so much that they know each others' opinions on it very well? Do you THINK that Misha would be that close with someone who hates the idea of it? Lol guys - come the fuck on now and think this through (honestly lately I feel like this is my resting state in this fandom…think this through!).  Misha and Jensen are still flirty and cuddly and touchy – Jensen’s inability to discuss Destiel is not due to his discomfort at all, but due to the fact that his feelings (regardless of what he THINKS they are/would be) were not CANON.

Can we, please, come up with questions at cons, because (holy hell this is gonna be a repeat offender at EVERY con), can we PLEASE find ways to avoid asking questions about things that aren’t canon because that is, honestly, the first and most important reason we will not get the answers we want, and no amount of yelling about it is going to change that.

Here’s another can of worms for you…I don’t think there’s any blame to place here.  I don’t think that Creation is responsible for “silencing” Destiel now that I’m thinking about it (they have cut out those questions NOT so that they don’t get asked, but so that the actors don’t need to dance around answers that they cannot LEGALLY give) **striking this after the creation interruption during the Misha/AlCal panel** (and that’s ok, I can be wrong);  I do not think that TPTB are in any way WRONG about not wanting the actors in their show (their INTELLECTUAL PROPERTY) to think beyond what they’ve been written to do…I understand (please don’t cancel me) I UNDERSTAND that Jensen and Misha have knowledge of their characters and whether they think decisions were good or bad, and I KNOW that they have those characters in their pocket and are fully aware of how they think they would react/how they feel/what they would do or say – but that is NOT THEIR JOB (as much as we would like it to be, as much as the man who has played Dean/been Dean for 15 years should probably have been consulted in a number of places over the years...), he did not write the character, it is absolutely not his job to “become” that character and speak for him outside of canon in his day to day life.  He now owns (at least some of) the rights to Supernatural, so, shall we maybe just see what happens in the future when he’s allowed to take canon and OWN it himself?

Added note: I am literally just in the process of watching these panels – I listened live (if that wasn’t clear from the live blogging happening yesterday); I may have even more thoughts on this topic shortly – in fact, I probably will.  But for now, this is what I took out of yesterday’s panels. Body language proves an even larger tell in these issues (and so far, all I’ve seen are a few .gifs, a few photos etc.) and even from that small amount of available media it’s sooooooo clear what is happening there.

[angrypedestrian]

THE TIME IDIOTS EPISODE 603 TITLED “NBC, Fox, AND Eurovision (just in case) are calling their lawyers as we speak” MY THOUGHTS:

Previously on the CW presents Warner Brothers subsidiary DC Entertainment’s Legends of Tomorrow: goo =(

This week: what is, from my understanding, basically Catherynne Valente’s Space Opera??? Regardless: =)

She should also have her lawyer on call, just in case

SPEAKING of which, Eurovision is THIS WEEK. I highly recommend rooting for the Weird Teens From Iceland

I watch this live over air anddddd there is no sound coming through L O L

Also doing a sort of robocop thing too huh? i guess the lawsuit fees were just built into the budget orrrrr

AND we have sound

DO YOU THINK WE CAN AFFORD THE BUZZCOCKS TOO WHO DO YOU GUYS THINK YOU ARE

(but also this is one of the all time great rock songs fuck you show, and fun fact for those that don’t know, much like ol jonno, buzzcocks front man pete shelly was also bi!)

lets be real 4 phones is too many phones

lololololol well that is kind of a yoga retreat

wow rip dj s’more money

girl u don’t have to go to that funeral, you’d get so much more engagement if you didn’t if you think about it!!

Nate saying what we’re all thinking on that front. here’s hoping Da Throne keeps TV Grim Reaper in business that long

caity doing some real Acting here isn’t she hoo boy

oh please john can’t play guitar

NBC def has grounds to sue now with them barging in on Young Rock’s The Rock is president beat

this host man really not hiding his robot fucker fetish?? i do not think even network tv would allow that in 2045

i know they will defeat the robotman, but what if instead he learned....to love??

finally a young woman on this ship who doesn’t immediately want to climb mick like a tree.

mick: finally. fucking...finally

man robots are fuckin dumb

oooohh rude to mess up behrad’s feng shui

i really do wanna know how much more money WB gave them this year because these alien outfits, the CGI, so many sets??? like they gotta be working with at least $100 an ep now

also really shocked Leslayyy has survived this long. i hope she makes it through the end of the season

ALWAYS Z

ALWAYS

very excited for all my zava friends out there. your time to shine

lololol VEGAS ACT.

tala ashe needs to be making at least a million dollars an episode!!!

every time i have to see promo for Walker an angel loses its wings and falls straight down to hell

Honestly give the title to neon thrills, sorry zari

this gay man host definitely has something evil going on right?

ohhhhh tala needs at least 5 million for this episode

All I can think of is Sad Beyonce while she sings this very bad song

which is not Tala’s fault!! but is IS bad

honestly why is this sara and gary subplot happening. they’re fun together but it is just so incongruous with whatever else is happening

NO BAD. BAD ALIEN TONGUE TENTACLE THING

NO

but still love this planet of Pink Vancouver

aw c’mon guys you can’t do the Location Full Of Avas thing TWICE

Nate and Behrad are too powerful and gay. i love this for them

i love that everyone thinks john is basically david blaine, except somehow worse

awwwwww maman

ZARI NO BAD ZARI YOU LOVE THAT DAVID BLAINE MAN

lololol yeah you do kinda look like criss angel lol

also put a shirt on john

love that nate and behrad went yes john this is a titty out look

you can’t use john’s kicky harpsicord music during a sad time!!! rude

awwww poor jonno

zari punch the s’more man in the face

honestly love the robotman at this point

and i still cannot get over the alien queen lady being named...Kayla?

good job lita being at college or whatnot. and awwww poor mick

....is Leslayyy an alien. or do people in 2045 just materialize? either seems plausible

well glad robotman’s society is far more advanced than ours

That’s right behrad!!! you get to hurt the s’more man first!

honestly you can’t prove nate wasn’t dj s’more money the whole time

i also hope whoever played robotman made a million dollars this episode they are KILLING IT

zari if you have learned one thing you should have learned by now that john always picks the WORST time for EVERYTHING

zari i want you to say yes but also if you do you WILL die because that’s just how it works with john

tala ashe singing the buzzcocks????? content for me?????? FOR ME??????

justice for neon thrills honestly why we didn’t get at least a one off lines from those kids they seem fun

and i am sure it goes without saying, but the Neal McDonough Memorial Can Get It Awards absolutely goes to Zari and John

also lol we can also afford rickenbackers on this show? this is how you KNOW legends has money now

who are these virtual audience members?? did i miss some sort of contest?

THEY’RE BOYFRIEND AND GIRLFRIEND

what the fuck....is this fucking thing. i swear to christ if you turn this into another beebo

no spooner’s right shoot it

HELL YEAH RORY GOOD JOB

It’s literally.....Kayla

Just.....Kayla

what

oh shit this is tala’s husband right?

good for her

Next week: oh no....legends does geopolitics....again

[haloemoji]

Girl u know what just kills me about all this. It’s like why does the cw CARE so much like literally no one in the real world gives a shit about supernatural, it’s a fantasy tv show that ran on the wb/cw for way too long, the only people who still care months after it ended are people who are already fully bought in! What does it MATTER if misha collins runs his mouth on twitter or cameo or whatever. Like I cannot stress enough how deeply deeply inconsequential it all is

[bookdork1]

If you don’t want to answer, I am okay with that but why are posts saying that SPN fandom is having their own Johnlock conspiracy?

Hey! I don’t mind answering, but just a quick disclaimer, I wasn’t around for the Johnlock Conspiracy. I watched Sherlock and was aware how unhappy people in the fandom were with the last series, but I didn’t actually witness TJLC unfold in real time and only read about all its events in a masterpost a couple of years after the fact. So I can’t really say for certain how closely what’s going on in the spn fandom right now really correlates to TJLC. 

That being said, the reason people are saying the SPN fandom is in the midst of its own TJLC is because we are extremely suspect that the finale we received was not the finale as it was originally intended. Yet while TJLC was largely driven by pure fan spec, there is already like some actual proof that the CW/WB screwed us over and is in the midst of trying to gaslight unhappy fans into accepting the ending that we got. Below are a list of some of the finer points that have come out or been brought up in the days since the finale aired, some with links to excellent posts that explains each point individually:

1.) The CW/WB pushing the narrative that they couldn’t get Misha back to film because of Covid, despite the fact that we have literal proof that Misha was in Vancouver, quarantining, at the same time as Jensen and Jared.

2.) The weird way in which four separate montages and dean’s overly drawn out death scene are used to fill time in the finale coupled with the fact that there are scenes that are just *missing* (either edited out or just weren’t filmed) from 15x20: 

3.) Misha saying Cas was supposed to have a different ending (this was said separately from what he later said about the Jimmy Novak thing, which is a whole separate spec). It's obvious he can’t speak freely about any of it without having to risk professional repercussions and we can assume that’s true for everyone part of the cast and crew.

4.) Jared being the only main cast (or crew) member to say *anything* positive about the finale episode when everyone else is free from ass kissing while he has a new show set to air in January. He cannot currently make enemies with the network, so his silence would be too deafening, while the others’ is more subtle. I don’t have a direct link to this because I didn’t save/reblog any of it, but his post on twitter and stuff from his interview today is out there. 

5.) Jensen doing ADR work for 15x18 after they had already wrapped filming on the final two episodes. This particular part of the finalegate hasn’t been proven, but it is suspect as hell —edit: we know Jensen did ADR, that’s not what isn’t proven, what’s up for debate is whether or not he dubbed over an (affirmative) verbal response from dean to the love confession—

6.) The market research that went into Destiel. While this particular post doesn’t have strict relevance to what’s going on in the finale, it does indicate that people behind the scenes have been pushing for a long time to get destiel canonized and on the air. There was intent to end the queerbaiting and that intent made it very far up the foodchain, but it obviously still lost out in the end.

7.) The part of this that is most centered on fan instinct is one section of the fandom’s insistence that the bad finale should not be laid squarely at the feet of Dabb and the writers. This piece of the puzzle comes down to simple critical thinking skills, because one look at the carefully crafted four season arc of the show under Dabb’s tenure speaks to why 15x20 is not only ooc for Sam and Dean but also for the writers who helped them grow so much in four seasons. Dabb isn’t D&D, he didn’t just forget what changed in the show while he was in charge, a lot of which was about expanding Sam and Dean’s found family and allowing them to grow away from each other and their toxic codependency. That’s why it makes no sense for Dabb to then give us a brothers-only (and 20 seconds of Bobby!) finale. 

BONUS.) Samantha Ferris saying she and Chad Tyler Lindbergh were never invited back for the final episode of Supernatural. While this one doesn’t have direct bearing on the rest of what I’ve said, it is really weird that they weren’t going to be around for Dean’s heavenly surprise party when it was literally set to occur in Ellen’s roadhouse. I really don’t think Jenny the vampire would have showed up without covid, but why would Ellen and Jo and Ash not be around even in a better world where everything would have filmed on schedule and aired back in May? Its just *weird* that characters that are still beloved would have been shafted like this. 

I *think* I hit all the highlights of #spnfinalegate, I’m honestly no expert, but this has been what I’ve observed going on in the last few days

**edit** other people are tackling this question so much better, so here’s links to those posts as well: 

this one is more a general gathering of off things and sources

and this one is like an overall amazing explanation PLEASE READ THIS ONE

[justanearth-boundmisfit]

saturnine-cas replied to your post: P1. I just found out that the CW and WB are...

My theory (also wishful thinking that I’m going to believe because it makes me feel better) is that Misha is not really in his element or agrees just doing some random small talk. I saw the recent interviews of J 2 and I was not impressed… Like, really nothing substantial. I can’t imagine Misha being like oh yes, I married, two wonderful kids, working away is hard, yep spn goes on since forever, bye. Lol. I imagine he’d let the sarcasm flow free like on larry king lmao

I think that Misha would go anywhere to promote RA. A lot of people calls him egotistical or attention seeker, but the truth is the man knows about marketing. And that’s what he does a lot of times. Larry King was a special situation, but it’s the example of how he would go anywhere to do promotion for RA or gishwhes. I think he would be fantastic with Colbert or Kimmel. Both great Trump critics. It makes more sense to send Misha to a talk show like that than jensen tbh, more in the political mess usa is right now. It would be a trip with Misha. The married/two kids/beer/bar drone on, it’s the discourse the j’s have, surely they give the production what they can ask and what they cannot. Having seen the Larry King interview, it’s pretty obvious that Misha doesn’t give a fuck about pre-prepared questions, and that’s maybe why the network, that is so PR it hurts, doesn’t send him. He is too real for them imho. Also, contracts, here the excuse about the contracts I find it more valid. We are being told: see there’s only two mains. Sad but true imho. But I will go with your theory too, just so you can be happy, lets believe that one. :D

[valeriemperez]

There were a lot of nice moments in the crossover, but there were also a lot of really really ugly ones. (Hello, Oliver pointing a gun at Earth-X Felicity's head. Also the general humanization of the dopplegangers.) I don't know who thought N*zis was a good storyline, but I'm glad it's over.

The Earth-X Felicity moment was godawful for me on so many levels. Overall, even the parts of the crossover that tried to treat Nazis like the real-life threat they are also failed to connect the dots to present-day antisemitism and antiblackness, which is a massive fail. Not to mention that fact that our heroes didn’t even think about going back to Earth-X to save a planet full of oppressed people from genocidal racists. Stein died, but the purpose of the Nazis was to make Felicity realize she wanted to marry Oliver? Almost everything about that aspect of the crossover was garbage, because you either hit hard and make it an in-depth moral lesson (which you have no business doing on supposed family shows) or you just make it a fictionalized evil empire and don’t shove paraphernalia in everyone’s faces for 4 hours.

But yes, there were a lot of really nice character beats.

@eboniangelvibez said:

At least Oliver+Fefe admitted they couldn’t do better than Barry+Iris’ wedding vows!!

LOL, it’s the little things.

 I take it back, i thought there was going to be a re-do wedding and it didnt happen. Then olicity had the nerve to join in on their moment…

They’re getting the whole wedding next week, so I don’t get why they had to get married in the crossover.

I always hated the double-wedding idea, but I at least figured that it would’ve been at least kind of pre-planned, like they would’ve collectively agreed before Diggle showed up that they would get married with Barry and Iris. I didn’t expect them to have such little respect that Felicity would actually propose to Oliver right when Diggle was about to pronounce B&I man and wife (especially after vehemently saying she wouldn’t marry Oliver earlier on).

That’s what I figured too. I hate being wrong lmao.

Do you think we might still get a WA honeymoon? I thought we might with the hint that CP dropped but then B & I were talking about mai tai & beaches & now I’m thinking this is what CP was alluding to, just talking about it. What do you think?

No, I think Candice was alluding to her and Grant’s lines in their Legends scene.

Felicity was really unbearable in this crossover. How obnoxious can one character be? I feel bad for EBR having to play her. I thought she was going to redeem herself when she and Iris were working together (which was great) but then she sells Supergirl out to save herself and interrupts the Westallen wedding remix because she suddenly decided to marry the guy she’s been lukewarm to all season and whose doppelgänger tried to kill her like an hour ago. This whole thing was so gross for Olicity.

I had no issue with Felicity this crossover other than in the final scene. I don’t think she sold SG out, and I think she and Iris behaved admirably for most of it. But I do think at this point we have to assume that it’s part of her and Oliver’s characters to just make things about themselves lol.

I cannot believe that Iris & Caitlin ended up having more screentime in the other episodes of the crossover than in the actual flash episode. Honestly I found it strange in general that on most of the other shows episodes they generally focused on their characters during their hour, but with the flash we barely saw any of their mains (including Barry.) I know it’s partially because that’s when the climax was built up, but there had to be a better way to give the flash cast some focus.

Yeah, poor Barry was basically wallpaper the whole crossover, except for when he was trying to marry Iris. I am glad Iris got to do a little rescuing in The Flash episode, but it was only like 3 minutes’ worth. And poor Caitlin only got 20 seconds, Lord.

In the crossover Leo & Ray kissed, Alex & Sara kissed & ended up in bed, Olicity kissed & talked all about each other but WA got, in 4 hours, 2 small kisses & a lot of hugs. It’s just hard for me not to make comparisons between WA & other couples when the differences in their intimacy level is glaring. Do you think b/c WA is an interracial couple that the CW or WB is hesitant to give them more intimacy for fear of backlash?

I honestly don’t think it’s that. Aside from OF hogging screentime, they and WA both got two kisses. Plus, homosexual pairings also draw backlash.

What a bait and switch! They used WA to hype up the crossover only to sideline/downplay them in favor of focusing on others. Everyone was there for THEIR wedding, it was THEIR momentous occasion, but it felt like they took a backseat the entire crossover. Oh, and Oliver and Felicity are without a doubt the most selfish, self-absorbed couple on TV. WA deserved so much more.

Yup. Flash was out there doing charity work and has nothing to show for it. But that’s what charity is, so bless them for being so gracious.

For a crossover that was supposed to be largely centred around the Westallen wedding, there was A LOT of focus on O/F. Not even just the non-proposal/double wedding BS or even the fact that they overall had more scenes than WA, but I was also watching some scenes again and literally every conversation between Oliver/Barry or Iris/Felicity (or all of them together) always somehow ended up being about O/F’s relationship. I’m all for WA being the gold standard, but I feel like they were just used.

They absolutely were used. The crossover was all about Oliver (and by extension Felicity), with Kara getting a lot of screen time too. 

[itsworn]

Don’t Be Fooled: How To Spot A REAL 1970 Chevelle SS

Proof Positive

The 1970 Chevelle SS is not only one of the most sought-after cars in the world, but it’s also one of the most faked and cloned as well. There is nothing worse than hearing about a fellow car enthusiast purchasing a bogus car and becoming a victim of fraud. The purpose of this article is to identify some basic features of the 1970 Chevelle SS, which can help the average enthusiast detect fabricated features and lower the risk of making a bad purchase.

Titles or terms such as True SS, Numbers Matching, and Correct Original are frequently used as selling points for a 1970 Chevelle SS. This can be very misleading, as these terms are often used loosely—and even abused. With any assertion, there must be sufficient facts or documents to support the claim in order for it to be deemed accurate. We offer up some technical insight on these terms as well as the supporting evidence that should be present to back them up.

Proving the authenticity of a 1970 Chevelle SS can be a very daunting task without the existence of sufficient documentation, such as the original assembly plant “buildsheet” or the vehicle’s original warranty card (Protect-o-Plate). The vast majority of 1970 SS Chevelles in the “For Sale” market do not possess either of these documents; therefore, we will mainly focus on the physical characteristics of the 1970 Chevelle SS rather than the documents themselves.

When documentation is no longer available, a thorough inspection of the car’s driveline components and body is imperative. The main purpose of this inspection is to check for the original existence of mandatory components that were standard equipment with the RPO Z25 SS396 and Z15 SS454 options. It must be noted that options such as front power disc brakes; SS-style, round-gauge dash; 12-bolt rear end; RPO M40 (if originally equipped with automatic transmission); and RPO F41 suspension do not prove a 1970 Chevelle to be an original SS model, but evidence to support that all of these options were originally present is mandatory. The RPO M40 automatic transmission was the only automatic available for both RPO Z25 and Z15 packages, hence the reason for including it in this list.

The following photos will assist in providing a better understanding of the physical traits of a 1970 Chevelle SS. A thorough inspection is essential to drawing well-informed conclusions based on your findings, and it will also enable you to make excellent purchasing decisions.

A couple of fully documented 1970 SS396 Chevelles. These cars have only a single repaint, all original body panels, and are unrestored. Both cars also retain their original assembly-plant buildsheet and Protect-o-Plate.

1970 Chevelle SS454 LS6 M22 4.10 Positraction. Cranberry-red with code-788 red bucket-seat interior.

1970 Chevelle Malibu original-paint survivor, featuring a 307ci engine and automatic transmission. Classic white, with gold bench-seat interior.

Examining the firewall of a 1970 Chevelle can be very helpful in determining the existence of certain original assembly-line provisions. This information can be compared with the floorpan as well to draw additional conclusions. The provisions for these options are generally located in the areas depicted in the Exhibit 1 photo above. A 1970 Chevelle cannot be proven to be an SS model by examining the firewall alone, but it can provide evidence to support the likelihood of certain RPO options that were originally present.

A 1970 Chevelle cannot be proven to be a SS model by examining the VIN (Vehicle Identification Number), nor by examining the Body by Fisher (cowl tag) plate, unless the car was assembled at the Oshawa Canada Plant, which was the only plant to list the RPO codes directly on the cowl tag. Notice the existence of RPO Z25 (SS396) on the tag pictured above.

The general consensus among Chevelle enthusiasts is that the Leeds Plant in Kansas City, Missouri, identified the cars that were to be assembled with SS equipment with the infamous “L” designation on the cowl tag. But it also must be noted that a few rare cases of SS models have surfaced without the “L” designation. An example of the “L” designation on the cowl tag is pictured above.

The most prominent physical trait of a 1970 Chevelle that can prove with absolute certainty that it was originally an SS model is the existence of evidence showing that any RPO L34, L78, LS5, or LS6 engines was the original engine. 1970 Chevelles assembled with the RPO Z25 SS396 option were assembled with 3969854 casting-number engine blocks. The casting number and the date it was cast was molded into the rear of the engine block just above the bellhousing area.

The big-block Chevrolet engine-assembly plant located in Tonawanda, New York, used a specific dating system for casting the 1970 Chevelle SS: a letter of the alphabet indicating the month, followed by the day of the month, and a “9” for the year 1969 or a “70” for 1970. The photo above shows a casting date of I 12 9. This would indicate the following: I = September; 12 = 12th day; and 9 = 1969. (Note: Dates that were cast into a mold used the letter “I”, items dated using a stamping method skipped the letter “I” and therefore M would equal December.)

The date the engine was assembled, the cubic-inch displacement, and the transmission designation was stamped on the front right-hand side of the engine directly in front of the right-side cylinder head. The stamping T0916CTW indicates the following: T= Tonawanda, New York, engine plant; 0916 = September 16 assembly date; and CTW indicating RPO L34 engine and RPO M40 transmission. Notice the block was cast on the 12th and built on the 16th. It is common for engines to be either cast and built on the same day or more than four months later. The 10A100454 stamp is what is known as a VIN sequence number. This stamp was done at the final assembly plant and not at the engine plant. It was for warranty purposes and both the front engine pad and the vertical pad directly above the oil filter were used for this stamp. The final assembly plant of the car in question will determine which of these two locations it will most likely appear. The stamp 10A100454 indicates the following: 1=Chevrolet Motor Division; 0=1970; A= Atlanta, Georgia, assembly plant; 100454 is the last six digits of the vehicle’s VIN. This is the stamp that is used to signify “Numbers Matching” and is very important. In order for a 1970 Chevelle SS to be appropriately deemed Numbers Matching, it must meet all of the following requirements: the casting number of the engine block must be correct for the car in question; the casting date and assembly date of engine must precede the assembly date of the car generally by two weeks or more (this is to allow for shipping from Tonawanda, New York, to the various assembly plants); the VIN sequence must match the assembly plant’s procedures with the location of the stamp as well as the appropriate font for the assembly plant in question; and the last six digits of the VIN sequence must match the last six digits of the car’s VIN.

The engine-block casting number used in 1970 Chevelle SS featuring the RPO Z15 SS454 option was 3963512.

As explained previously, the casting date pictured indicates J 14 9, which translates to October 14, 1969.

The assembly date reads T0129CRV, which indicates Tonawanda, New York; January 29, 1970; and CRV for RPO LS6 and M22 manual transmission. Notice the casting date precedes the assembly date by more than three months. This indicates the engine sat around waiting to be assembled by this length of time. Also, notice the larger font and the upside-down stamping. This was normal procedure at the Kansas City, Missouri, plant.

The casting-number main case for 1970 Chevelle SS with RPO M20, M21, and M22 manual transmission was 3925661. A few early-production cars were also equipped with 3925660 casting-number main case. The M22 carried 26-input and 32-output splines, while the M20 and M21 are known to carry 10-input and 27-output splines.

An excellent example of the infamous RPO M22 “Rock Crusher” manual transmission. The date-code stamp P0C23C indicates P=Muncie; 0=1970; C=March; 23=23rd day; and C=M22. The last letter of the date code indicates the RPO transmission: A= M20 and B=M21. It is also very important to check for the assembly-plant VIN sequence stamping, which will be in close proximity to the date stamp or on top of the transmission. Engines and transmissions were the only driveline components that received this stamp for warranty purposes.

Take notice of the seven-bolt side cover and shifter attaching arms that are attached with a bolt instead of a stud and nut used in earlier years. The part-number tag indicates 3978766 WO, which stands for M22. A M20 transmission part-number tag would be 3952659 WB, and M21 used part numbers 3968011WL and 3968012WL.

RPO Z25 SS396 and Z15 SS454 were only available with RPO M40 Turbo-Hydromantic 400 when equipped with automatic transmission. The photo above indicates a casting date of 12-69 (December 1969). This date is located on top and the rear of the transmission just before the tailshaft attachment bolts.

The identification tag is attached to the passenger side of the transmission above the pan rail. This tag indicated the model year, engine type, assembly date, and trans serial number. The tag pictured indicates 394, which is January 29, 1970 assembly date (394th day from January 1, 1969); 70= 1970; CY= special shift point (RPO LS6); 1732= transmission serial number. RPO LS5 received code CS and a few were known to be code CR. RPO L34 received code CF and RPO L78 received code CW. The special, high-performance RPO LS6 (CY code) and RPO L78 (CW code) TH400 were also equipped with a heavy-duty six-bolt torque converter.

The VIN sequence number on this transmission is 10K192328. This stamp is located on the driver’s side just above the pan rail. Inspect this stamp to determine if the transmission is original to the car.

The photo above is a casting date of a 12-bolt rear-axle assembly. The casting date K 21 9 is similar to dating system used on engine blocks: K=November; 21=21st day; and 9=1969. This stamp will be on the back-side of the rear-axle assembly directly to the lower right of the differential cover.

A prefix code that designated gear ratio and determined whether the rear-axle assembly was equipped with a limited-slip or an open-style carrier was stamped on the righthand-side axletube facing forward. This was followed by a stamp that indicated the build date of the rear-axle assembly, a letter that designated the assembly plant of the rear-axle assembly, and a number indicating which workers assembled the item from either first or second shift. The photo above is an example of a rear-axle assembly only offered with the RPO Z15 SS454 option indicating a CRV 1128B2 stamp. This indicates the following: CRV= 3.31 gear ratio and Positraction (RPO Z15 only); 11=November; 28=28th day; B=Buffalo, New York, rear-axle assembly plant; 2=2nd shift. The build date of the rear-axle assembly generally precedes the build date of the car by at least two weeks to allow for shipping from the rear-axle assembly plant to the various final-assembly plants. Notice the slight stair step in the CRV and the font, which is correct. Careful examination of authentic rear-axle stamps is important as they are sometimes bogus.

RPO F41 performance suspension was standard equipment on all SS models. This carried a front stabilizer bar that measured 1.25 inches as opposed to a 1-inch bar for the standard Malibu suspension. A photo of the F41 1.25-inch front stabilizer bar is pictured above.

Standard Malibu suspension with the 1-inch front stabilizer bar.

All 1970 Chevelle SS’s were assembled with power-disc front brakes. The correct power-brake booster for a 1970 Chevelle is stamped “9391” on the rear of the top-center tab. This is the correct part number and should be present if the car is still equipped with the original unit.

The stamp on the front of the pad is the date it was assembled and it generally must precede the assembly date of the car. The photo above shows a date of 276, which is the 276th day of 1969. These boosters are usually stamped “Delco Moraine” to identify the assembling manufacturer. This stamp is on the front side and usually upside down. There is a very high probability that a car equipped with the correct “9391” power-brake booster dated within 90 days prior to the build date of the car was equipped with front power-disc brakes from the factory.

Check for the heavy-duty steering shaft. The heavy-duty shaft pictured above has the extra bolt attaching the coupler at the rag-joint area. All SS models will have this heavy-duty steering shaft. The standard Malibu will not have the heavy-duty steering shaft.

Standard Malibu steering shaft.

A 12-bolt rear differential was standard equipment on all SS models. The rear sway bar was part of the RPO F41 suspension package. The casting number for a 1970 Chevelle 12-bolt rear-axle main case is 3969278. The casting number is located on the front-lower side of the axle assembly.

The 10-bolt pictured carried casting number 3969277 and was standard equipment for the 1970 Chevelle Malibu.

Other items to investigate in the RPO F41 suspension were boxed lower-rear control arms and additional frame supports. The boxed control arms will include metal reinforcement plates welded to the bottom of the control arms to provide additional strength. The F41 boxed lower-rear control arm is pictured above.

Standard Malibu suspension without the boxed-in lower control arm.

Additional frame supports included with RPO F41 suspension attach to the center-rear frame support above the rear-axle assembly and to the front attaching point of the lower-rear control arms. It should also be noted that stiffer front and rear coil springs as well as heavy-duty front and rear shocks were also included in the RPO F41 suspension package.

Standard Malibu suspension without the lower control arm to frame support braces.

All SS models carried the round-gauge-type dash assembly pictured above with either standard idiot lights or when the RPO U14 Special Instrumentation option was added. The instrumentation on 1970 models used numerals that had a greenish hue, and 1971 and 1972 models were white. The steering column and gauge area is always black on all SS models. The round-gauge-type SS dash was also used in Malibu models when the RPO U14 option was added.

Standard Malibu sweep-style speedometer dash assembly.

All SS models that were equipped with RPO C60 Air Conditioning were also equipped with RPO V01 Heavy-Duty Cooling. This included a four-core radiator which had a larger driver-side radiator tank. This required a special radiator support with a special tab that was tack-welded in place on the lower driver’s side to accommodate the bigger radiator as well as a similar special radiator top plate. An example of this special radiator support is pictured above. A quick glance at any firewall can determine if the car was equipped with RPO C60 Air Conditioning by the opening in the firewall. If so, the car must have this special radiator support to be correct. This radiator support would also be present and mandatory when the RPO LS6 engine option was coupled with RPO ZQ9 4.10 Performance Rear Axle Ratio. RPO V01 Heavy-Duty Cooling was automatically included with the ZQ9 4.10 option for the RPO LS6 engine.

Standard radiator support that accommodated both the two- and three-core radiators.

All SS models featured a black accented grille. Inspect to determine if the grille has been changed or appears to be original.

Standard Malibu featured a gray-colored grille.

The front-bumper parking-light lenses will be clear on all SS models with amber bulbs. More often than not, the cars that were born with clear lenses remained clear. If a car has amber front parking lenses, that should be a red flag.

Standard Malibu amber front parking lens.

All SS models were assembled without the Malibu-style moldings that run from the quarter glass area along the top of the doors and fenders. An inspection of the inside of these panels for welded up molding holes will provide helpful information to determine if these body panels were originally installed on a SS model. Also, check for the correct location placement of fender SS emblems. Use a known SS fender as a guide. These are drilled incorrectly very often.

Standard Malibu featuring the molding.

All SS models were assembled with a black-rubber rear bumper pad with an SS insignia. Inspect the bumper pad and bumper bolts for signs of being changed. Original bumper-bolt heads will be a full 1-inch diameter and almost flat. Incorrect bolts will have a much taller crown and are usually smaller than 1.0 inch in diameter.

Standard Malibu featured a solid-chrome rear bumper without the black SS rubber pad.

If you are considering the purchase of a 1970 Chevelle SS, you would be well-advised to do your homework before entering the vintage-car market in search of your dream car. Identifying and becoming the beneficiary of a good buy is extremely dependent upon becoming a knowledgeable  buyer who is familiar with the vast level of information briefly discussed in this article, such as engine codes, rear-axle codes, transmission codes, driveline dating systems, correct part numbers, and casting numbers to all driveline components. It’s also crucial that this information is stored into your memory, as you must be able to recite it at a moment’s notice in order to capitalize on bargains when they present themselves.

The stealthiest of buyers are armed with a lethal amount of knowledge and won’t need to research a car on the spot, which is definitely a recipe for missing the boat. The adage “luck is where preparation meets opportunity” definitely applies to the vintage-car market. Indecisiveness, apprehension, and doubt are ugly kin that will fog the sight of your ship when it comes in. Being prepared, experienced, and well informed will let you see your ship in high definition with your name written all over it, and you will most certainly jump on board.

The post Don’t Be Fooled: How To Spot A REAL 1970 Chevelle SS appeared first on Hot Rod Network.

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[angrypedestrian]

THE TIME IDIOTS EPISODE 515 TITLED “The EXPANDED WCU (Wig Cinematic Universe)” MY THOUGHTS:

While I wait for the show to start I just saw a commercial for The 100, and wait a sec The 100 is still on????

also still canNOT believe Luke Wilson is on this fucking stargirl show. 

what a world

Anywhoozles, bring on the chaos!!

i feel like at this point, once a year the cw execs just turn around and close their eyes and plug their ears and go to legends, you can do anything you want, you just cannot tell us for the love of god

and this is how we get shit like this

I’m glad they found a way to work Mona back in but also, what

is happening

also this is like a real hard Apple 1984 commercial vibe

THESE ARE GOOD CREDITS CAN WE KEEP THESE INSTEAD

Are they...allowed to fly that close to the sun with “Fate +”??

asdfghjkl;sdfhjgkhl;sfgdhjfgkhl ULTIMATE BUDS

This is the most I have watched of any episode of Friends

OF COURSE HE IS JOEY

oh no we cannot bring back the Nate as green arrow bit

ZARI!

MY ZARI

I LOVE YOU

Also, nick is too powerful in a multi-cam we cannot let this stand

however, shayan and tala should be allowed to do comedies after they’re done with legends, they are good

YOU CAN’T JUST SAY NOT IN THE CLOSET LIKE THAT

but also, does this trigger WB’s sniper squad because TECHNICALLY it is zari 1.0?

flying a little close to the sun, aren’t we phil

I know why they are doing the cutting between multi-cam and regular filming, but it is jarring and I do not like it

my brain is too conditioned

Dummies!!!!

call them dumb more Zari!!!

Oh, all these outfits are so good

they spent the wardrobe budget for the season on this bit

worth it

The Memorial Get It Award goes to the Highcastle Abbey aesthetic

Everyone looks so good!

oooohhhh astra/behrad is a VERY pretty coupling

inspired, living in the year 3000, etc...

John as a butler makes me lol, so thank you show

lol

but also matt clean shaven is unsettling

HMMMM DON’T WANT A MAN ASTRA

INTERESTING

iiiinnnnntttteeeerrrreesssttiiinnnnggg

Behrad shut up. I love you, but shut up

Aw yay mona and gary team up!

I am not a star trek person (though I have dated multiple star trek people lol), but I gotta give big ups to Caity and Jes for really getting the tone of their parody characters right without it just being hamfisted WE ARE DOING A STAR TREK PARODY DO YOU SEE?

Biggest of shoutouts to @starcitysirens​ out here doing the real work on the WCU (wig cinematic universe) front, actually listening to the writers’ podcast and letting us know that some of the wigs HAD been used before. 

I assume the Gromulan wigs were from the Genghis Khan ep, but lets be real, they also cut THE white wig (rip) for ava’s lewk. 

V excited to frost’s new aesthetic on flash next year lol.

though i guess maybe with green arrow done maybe they can finally afford TWO white wigs

Everyone is in a skirt or short shorts??? I am not opposed but also, is this...a nod to charlie? it must be

the vfx team being like FINALLY we can just make the shitty effects we want to and it actually works!

I don’t like that the white dude officer or whatever very intensely shipping ava and sara like that

everything about this scene is.....so stupid

just.....so stupid

The fact that it is perfectly logical is incredibly painful to me

Zari 1.0: like can I ever just catch a fucking break with this wack fucking nonsense????

JUST ONCE is all i’m asking

is it TOO MUCH to ask that I wake up in mysterious circumstances at like, an upscale hotel or some shit

oh no cul-de-sac man

i knew he was coming but i did not mentally prepare myself

sara being a cop is violence

you would be so LUCKY to end up on public access nate

REMEMBER HOW THEY ALL LOVE EACH OTHER AND HOW ZARI IS THE CONDUIT FOR MAKING THEM REMEMBER

it’s fine i’m FINE

don’t TOUCH ME

i mean nate and zari’s love wasn’t an epic romance like this but whatever it’s fine i’ll take it

they’re real pretty together

Charlie’s LOOK oh my god

Also Behrad just mentally trying to skate right by that he and nate canonically hooked up

mr. parker will help him deal with that in a very special (and gay) episode

i don’t like mr. parker’s tie and shirt combo

phil, to tala: btw you are going to be THE cruzxof all our highest concept nonsense episodes

tala: what now

phil: byyyeeeeee

IS THAT SLED A FUCKING CITIZEN KANE REFERENCE

I am...so tired

well astra, no he isn’t, not for very long, despite his best intentions

that this first commercial of this break is for friends is a crime

this ultimate buds logo....made in MS paint

the FUCKING SHORT SHORTS

truly who made this design choice

Dom showing up in the last nine minutes, truly perfect

but ALSO

asdfghjkl;sdfghjkljhgfdssafsghjkl;

dom: FINE i will do this, BUT it is the only scene i am in and i don’t have to leave my chair to do it

phil: deal

mick i’m sure gideon could grow you some hair if you’d like

she grew that mustache for ray that one time

...what flavor is the blue mush tho

is it like that blue applesauce? i like that

also....wait a sec...they couldn’t hear the laugh track in the beginning....but there was a studio audience? 

could they not...see them?

THE JACKET!

ZARI’S JACKET!

SHE’S WEARING THE GREATEST HITS

love this episode of orphan black

y’know...tala could’ve probably pulled that role off now that i think about it

NEXT WEEK: CHAOS...and sara’s canary outfit lol

gotta get the one use in per season!