#but this series is something i read when i was literally The Prime Audience for it and i loved it and it’s been something i can go back to

[foggieststars]

actually given that i’m rereading the throne of glass series rn i actually feel nothing but pure disgust at the amount of grown men who read the first book and hop on reddit to say it’s the most trite annoying thing they’ve ever read. like first of all are you a fourteen year old girl? no? then maybe learn some common empathy and use it to understand that a book series written by a teenage girl for teenage girls isn’t trying to be High Literature and it isn’t fucking for you…..

like omg why am i getting so heated. i just cannot read one more post from a grown man wading into a discussion about genre fiction and throwing all of their toys out of the pram because it’s not catering to their tastes? it’s not fucking FOR YOU!!!!!!!!!!!

[santacoppelia]

Putting the Meta in "Metatron"

(couldn't resist the pun, sorry)

Ok, this has been tickling my brain for a while. I've been thinking about how The Metatron designed his role and discourse specifically to manipulate Aziraphale into the end result we saw in the last minutes of S2. I become obsessed with it because… well, I'm a bit obsessive, but also because there were many really smart writing decisions that I loved (even when I despise The Metatron exactly for the same reasons. Hate the character, love the writer). If you haven't watched Good Omens Season 2, this is the moment to stop reading. Come back later!

We already know that in Book Omens, the role of Gabriel in the ending was occupied by The Metatron. Of course, the series introduced us to Gabriel and we won a lot by that, but I feel that the origins of The Metatron should be considered for any of this. He is not a "sweet old man": he was the one in charge of seeing over the operation of Armageddon; not just a stickler of rules, but the main promoter for it.

However, when he appears in the series finale, we first are primed to almost pass him by. He is in the line for buying coffee, using clothes that are:

obviously not tailored (almost ill fitted)

in dark tones

looking worn and wrinkled

This seems so important to me! All the angels we have seen are so proud of their aspect, wear clear (white or off white) clothes, pressed, impeccable (even Muriel), even when they visit the Earth (which we have already seen on S1 with all the visits to the bookshop). The Metatron chose a worn, comfortable attire, instead. This is a humanized look, something that fools all the angels but which would warm up someone very specific, can you guess?

After making quite a complicated coffee order (with sort of an affable and nervous energy), he makes a question that Crowley had already primed for us when asking Nina about the name of the coffee: having a "predictable" alternative and an unpredictable one.

This creates an interesting parallel with the next scene: Michael is discussing the possibility of erasing Aziraphale from The Book of Life (a punishment even worse than Holy Water on demons, because not having existed at all, EVER is definitely worse than having existed and ceased to exist at some point) when The Metatron arrives, interrupts the moment and signals having brought coffee. Yup, an amicable gesture, but also a "not death" offering that he shows clearly to everyone (even when Michael or Uriel do not understand or care for it. It wasn't meant for them). He even dismisses what Michael was saying as "utter balderdash" and a "complete piffle", which are the kind of outdated terms we have heard Aziraphale use commonly. So, The Metatron has put up this show for a specific audience of one.

The next moment on the script has Metatron asking Crowley for the clarification of his identity. Up to this moment, every angel has been ignoring the sprawled demon in the corner while discussing how to punish Aziraphale… But The Metatron defers to the most unlikely person in the room, and the only one who will push any buttons on Aziraphale: Crowley. After that, Aziraphale can recognize him, and Metatron dismisses the "bad angels" (using Aziraphale's S1 epithet) with another "catchy old phrase", "spit spot", while keeping Muriel at the back and implying that there is a possibility to "check after" if those "bad angels" have done anything wrong.

Up to this moment, he has played it perfectly. The only moment when he loses it is when he calls Muriel "the dim one", which she ignores… probably because that's the usual way they get talked to in Heaven. I'm not sure if Aziraphale or Crowley cared for that small interaction, but it is there for us (the audience) to notice it: the sympathy the character might elicit is built and sought, but he is not that nice.

After that, comes "the chinwag" and the offer of the coffee: the unnecessarily complicated order. It is not Aziraphale's cup of tea (literally), but it is so specific that it creates some semblance of being thought with care, and has a "hefty jigger" of syrup (again with the funny old words). And, as Aziraphale recognizes, it is "very nice!" (as The Metatron "jolly hoped so"), and The Metatron approves of him drinking it by admitting he has "ingested things in my time, you know?". This interaction is absolutely designed to build a bridge of understanding. The Metatron probably knew that the first response he would get was a "no", so he tailored his connection specifically to "mirror" Aziraphale: love of tasty human treats he has also consumed, funny old words like the ones he loves, a very human, worn, well-loved look. That was the bait for "the stroll": the moment when Aziraphale and Crowley get separated, because The Metatron knew that being close to Crowley, Aziraphale would have an hypervigilant soundboard to check the sense of what he was going to get offered. That's what the nasty look The Metatron gives to Crowley while leaving the bookshop builds (and it gets pinpointed by the music, if you were about to miss it).

The next thing we listen from The Metatron is "You don't have to answer immediately, take all the time you need" in such a friendly manner… we can see Aziraphale doubting a little, and then comes the suggestion: "go and tell your friend the good news!". This sounds like encouragement, but is "the reel". He already knows how Crowley would react, and is expecting it (we can infer it by his final reaction after going back for Aziraphale after the break up, but let's not get ahead of ourselves shall we?). He even can work up Muriel to take care of the bookshop while waiting for the catch.

What did he planted in Aziraphale's mind? Well, let's listen to the story he has to tell:

"I don't think he's as bad a fellow… I might have misjudged him!" — not strange in Aziraphale to have such a generous spirit while judging people. He's in a… partnership? relationship? somethingship? with a demon! So maybe first impressions aren't that reliable anyway. The Metatron made an excellent job with this, too.

"Michael was not the obvious candidate, it was me!" — This idea is interesting. Michael has been the stickler, the rule follower, even the snitch. They have been rewarded and recognized by that. Putting Aziraphale before Michael in the line of succession is a way of recognizing not only him, but his system of values, which has always been at odds with the main archangels (even when it was never an open fight).

"Leader, honest, don't tell people what they want to hear" — All these are generic compliments. The Metatron hasn't been that aware of Aziraphale, but are in line with what would have been said of any "rebel leader". They come into context with the next phrase.

"That's why Gabriel came to you, I imagine…" — I'm pretty sure The Metatron didn't imagine this, ha. He is probably imagining that the "institutional problem" is coalescing behind his back, and trying to keep friends close, but enemies closer… while dividing and conquering. If Gabriel rebelled, and then went searching for Aziraphale (and Crowley, they are and item and he knows it), that might mean a true risk for his status quo and future plans.

Heaven has great plans and important projects for you — this is to sweeten the pot: the hefty jigger of almond syrup. You will be able to make changes! You can make a difference from the inside! Working for an old man who feels strangely familiar! And who recognizes your point of view! That sounds like the best job offer of the world, really.

Those, however, are not the main messages (they are still building good will with Aziraphale); they are thought out to build the last, and more important one:

Heaven is well aware of your "de facto partnership" with Crowley…

It would be considered irregular if you wanted to work with him again…

You, and you alone, can bring him to Heaven and restore his full angelic status, so you could keep working together (in very important projects).

Here is the catch. He brought the coffee so he could "offer him coffee", but the implications are quite clear: if you want to continue having a partnership with Crowley, you two must come to Heaven. Anything else would be considered irregular, put them in a worst risk, and maybe, just maybe, make them "institutional enemies". Heaven is more efficient chasing enemies, and they have The Book of Life as a menace.

We already know how scared Aziraphale has always been about upsetting Heaven, but he has learned to "disconnect" from it through the usual "they don't notice". The Metatron came to tell him "I did notice, and it has come back to bite you". The implied counterpart to the offer is "you can always get death". Or even worse, nonexistence (we have already imagined the angst of having one of them condemned to that fate, haven't we?)

When The Metatron arrives, just after seeing Crowley leave the bookshop, distraught, he casually asks "How did he take it?", but he already knows. That was his plan all along: making them break up with an offer Aziraphale could not refuse, but Crowley could not accept. That's why he even takes the license to slightly badmouth Crowley: "Always did want to go his own way, always asking damn fool questions, too". He also arrive with the solution to the only objection Aziraphale would have: Muriel, the happy innocent angel that he received with so much warmth and kindness, is given the opportunity to stay on Earth, taking care of the bookshop. The only thing he would have liked to take with him is not a thing, and has become impossible.

If God is playing poker in a dark room and always smiling, The Metatron is playing chess, and he is quite good at it (that's why he loves everything to be predictable). He is menacing our pieces, and broke our hearts in the process… But I'm pretty sure he is underestimating his opponents. His awful remark of Muriel being "dim"; saying that Crowley "asks damn fool questions", and even believing that Aziraphale is just a softie that can be played like a pipe… That's why telling him the project is "The Second Coming" was an absolute gift for us as an audience, and it prefigures the downfall that is coming — the one Aziraphale, now with nothing to lose, started cooking in his head during that elevator ride (those couple of minutes that Michael Sheen gifted to all of us: the shock, the pain, the fury, and that grin in the end, with the eyes in a completely different emotion). Remember that Aziraphale is intelligent, but also fierce. Guildernstern commited a similar mistake in Hamlet, and it didn't go well:

"Why, look you now, how unworthy a thing you make of me! You would play upon me, you would seem to know my stops, you would pluck out the heart of my mystery, you would sound me from my lowest note to the top of my compass, and there is much music, excellent voice, in this little organ, yet cannot you make it speak. 'Sblood, do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, you cannot play upon me."

I'm so excited to learn how this is going to unfold!! Because our heroes have always been very enthusiastic at creating plans together, failed miserably at executing them, and even then succeeding… But now they are apart, more frustrated and the stakes are even higher. Excellent scenario for a third act!

*exits, pursued by a bear*

[themoonking]

you know the way starscream is written in the second and third seasons of earthspark actually takes away potential character development from megatron, which is a shame because i actually quite like es megatron.

(aka, my attempt to prove that my issues with es s2/3 aren't just because i'm a bitter starscream stan. but also it’s still mostly about starscream </3 warning: long!)

in my opinion, s1e21 "what dwells within" deliberately set up a little mini character arc for megatron regarding his attitude toward starscream that (at least as of right now) was never followed up on. and in fact has lowkey been completely dropped. while earthspark megatron saw the error of his ways and changed his behavior before the events of the series, and is generally depicted as being very aware of the harm he has caused and wanting to atone for that harm, he has a very obvious blind spot when it comes to starscream and his treatment of him.

in "what dwells within", when starscream escapes from prison and megatron + optimus prime are discussing next steps, optimus directly asks megatron to bring starscream in without excessive force (the implication being that he believes this will be difficult for megatron), to which megatron replies that he will me when i lie. however, when megatron first encounters starscream later in the episode, his immediate reaction is to blast him with his cannon, even though in that moment starscream is literally just standing there. this clearly demonstrates that while this version of megatron is typically very calm and measured (being a grandfatherly source of stability for the malto children, rarely raising his voice, and also himself being the one to advocate for moderation when dealing with the other decepticons), he is unable or perhaps unwilling to temper himself when dealing, specifically, with starscream.

while the audience has only ever seen es megatron as gentle and caring, starscream describes a megatron that "ruled... with fear and intimidation", one that did not hesitate to use violence against those he had authority over. and that version of megatron is directly shown to us in his eagerness to use violence against starscream. near the beginning of the episode it was megatron who was very angrily pushing hard for croft to focus on recapturing starscream, specifically; he's so persistent about recapturing starscream that he, personally, sets out to do so despite croft's commands and optimus's obvious hesitance; as mentioned, his immediate reaction to seeing starscream is to beat him to the ground, despite the fact that when he sees starscream he is just hanging out and despite his earlier promise to bring starscream in "without excessive force". it's very deliberately shown to the audience that however many strides megatron has made in bettering himself as a person in the last ~15 years, the "old megatron" is still very much present when it comes to starscream.

however, "what dwells within" then depicts megatron as coming to some realization about the harm that he has caused to starscream, and as having potential for growth in that regard. when hashtag defends starscream against him and is clearly distraught at the way he's acting, megatron is forced to see how his actions toward starscream appear to others (particularly, others who he cares about). when starscream deliberately puts himself in danger to protect hashtag, megatron is forced to consider if his internal conception of starscream as "too unpredictable and dangerous" to be allowed to exist out in the world is, perhaps, off base. most especially, at the end of the episode when megatron offers "somewhere safe" to starscream and is rejected with the line "nowhere is safe if it's with you", the "camera" lingers on megatron's expression. we are very deliberately shown megatron's reaction to starscream's words; upon hearing this, megatron is either surprised or contemplative or something along those lines.

my reading of these moments (and particularly that ending moment), which i don't think is that controversial, is that megatron never really considered the damage that he has done to starscream. if i may theorize a bit: i think megatron conceptualized the conflict between starscream and himself as one between matched equals, while what starscream presents it as (and, let's be real, what it actually was) is a conflict between an authority figure and his subordinate, who he had both physical and social power over. therefore i don't think megatron ever really stopped to consider both the physical harm and the enduring psycological harm that he inflicted on starscream, even after his redemption arc where he presumably spent a lot of time thinking about how he has hurt others. you know, the large scale societal harm caused by starting a multi-million-year long interplanetary war is perhaps easier to recognize than the intimate, personal harm inflicted by one individual onto another in a complicated relationship between two people.

in this episode, however, megatron is forced to consider this. the fact that the reality of the situation may be different than how he's been conceptualizing it for ~15 years (if not millions of years) is brought into acute focus both by starscream all but directly telling him how his treatment had long-lasting negative effects on him and also by hashtag all but directly telling him how deranged his violent fixation on starscream looks to outsiders.

and i think it's a massive shame that this (in my opinion) deliberate set up was unceremoniously dropped between seasons.

first of all, while to be clear i do not believe that megatron's redemption happening off-screen before the events of the series is a flaw with the series itself, it still would have been interesting to see some kind of microcosm of that redemption arc through his relationship with starscream. especially considering how much of earthspark's first season was about change and redemption and second chances, it would have been. i don't know. nice. if they continued that theme into the rest of the show. and particularly this would provide an opportunity to send a message to the show's intended audience of children about how redemption is an ongoing process, and a process that isn't perfect. you know, just because megatron has changed doesn't mean there isn't still room to grow. just because he's recognized his faults in this area doesn't mean there aren't other areas that haven't gotten that same attention. we should always be working to better ourselves, don't let yourself become complacent and too self-assured of your own goodness to see where you need to change, et cetera. the closest we get to this is his changing dynamic with prowl, but that simply doesn't have the same punch because (1) neither the audience nor megatron have any kind of pre-existing relationship to prowl beyond knowing that he exists and (2) megatron's attitude toward prowl is that of being a little mean and jealous - it's just not the same. it's not as strong of an impact if the starting point that megatron needs to grow from is "having a mutually catty antagonism with a new addition to the friend group".

and second of all, the dropping of this storyline kind of leads to some gross unintentional messaging lmao?? like, season one very deliberately presents starscream as a victim of abuse from megatron, and presents megatron as needing to change in regards to both his physical treatment and also his mental conception of starscream. but when this is dropped, and starscream is rewritten between seasons to be so cartoonishly evil in contrast to his s1 portrayal that it's almost laughable, it kind of just validates megatron's earlier attitude - the attitude that was clearly presented in s1 as being off base and in need of altering. like, no, actually, megatron doesn't need to work on his obsessive and at times violent fixation on his former victim, because his paranoia about what starscream would get up to if left unsupervised was correct and warranted! no, actually, megatron doesn't need to feel bad about the physical and psychological violence he inflicted on starscream over the course of millennia, because starscream is "worse than [he] ever was"! very upsettingly, it almost sends a kind of... "look what happens when megatron isn't around to keep starscream in line; wasn't it better when megatron was in charge?" message. which is, again, gross as hell considering s1 all but explicitly stated that the way in which megatron treated starscream was abuse. like, to be clear, i do not believe this was intentional on the part of the earthspark writing team - i don't think this is what they were trying to say. it's just that, much like with the 😬 stuff surrounding the chaos terrans, i do not think they thought about the implications of their own writing in conjunction with the previous season before metaphorically hitting send.

anyway. the complete assassination of starscream's character also dominoed into megatron having his own little character arc pulled out from under him, which is just sad :-( i would have wanted to see some emotional development for megatron. and they should have given that old man something to do besides bitch at prowl for a season. and i'm making this post on my birthday so you're legally not allowed to disagree with me /lh

[magnorious]

The Reveal that Changed Percy Jackson

*Spoiler Alert*

I’m talking about the Nico vs Cupid scene in book 8, House of Hades. I picked this scene, even though there were a great many in the original series that defined Percy Jackson as a story far more meaningful than just “cool tweenage demigods with magic and superpowers who fight evil”.

When this book came out, Nico vs Cupid was almost all anyone talked about. Why? Because Nico came out. Nico, an explicitly gay character in a book published by Disney, in a rather high profile series. Nico, the little angsty brat displaced from the timeline, comes out of nowhere with a world-shattering reveal.

House of Hades is already the darkest book in the series and, I think, the most polished and successful with this tone and how it feels so complete. While Percy and Annabeth are in Tartarus, the constant clever and horrific callbacks to quests from prior books quite literally come back to haunt them. The others trying to carry on without them, the ridiculously high personal stakes, the drama, the storytelling, it spares no expense in this book.

The Nico vs Cupid scene was something else, though, and all these years later… I’m not so sure it was done for the better.

—

Independent of the Big Reveal, this scene does a lot of things we’d never seen before in this series, namely this: Cupid is scary, and no one expected him to be.

Percy Jackson, though it does have its serious moments, is the series where the god of wine wears leopard print shirts and the god of the seas has a fishing chair for a throne. These characters quip and joke even when they’re trying to be intimidating and Percy’s personality, snarky and sassy and very rarely shooting straight, undercuts a lot of the attempts at looking competent and threatening (and we love him for it).

They’ve fought gods and monsters and demigods and characters have died really tragic deaths, but for the most part, these serious moments all come when we expect them to.

This scene comes out of nowhere and for anyone who hasn’t read the book in a while, here’s the context: Percy and Annabeth are in Tartarus and Nico is kind of the de-facto leader in their absence, knowing the most about Tartarus of the remaining crew. He and Jason are sent on a side quest to go retrieve the Staff of Diocletian from Cupid and Nico is not at all happy about this venture, but we don’t know why beyond that he’s Nico and he’s never happy.

Right out of the gate, Cupid is not at all who we expect him to be and this fight scene, absent of Percy, is suddenly very serious. Cupid doesn’t quip, he doesn’t show himself, and he fights dirty. The god of love, not the god of war or anything we expect to be violent and dangerous.

He’s whispering in characters’ heads, throwing them around like ragdolls, and taunting Nico ceaselessly all in Jason’s POV. Cupid gets some seriously badass lines, too.

“I’ve been to Tartarus and back,” Nico snarled. “You don’t scare me.” I scare you very, very much. Face me. Be honest.

Love is no game! It is no flowery softness! It is hard work—a quest that never ends. It demands everything from you—especially the truth. Only then does it yield rewards.

“Oh, I wouldn’t say Love always makes you happy.” [Cupid's] voice sounded smaller, much more human. “Sometimes it makes you incredibly sad. But at least you’ve faced it now. That’s the only way to conquer me.”

In all this, unfortunately in Jason POV, we’re primed only once by a previous god finally acknowledging that gays exist in this universe. This universe, based on Greek Mythology, famous for its not-straightness. Even then, audiences have spent 7 and a half books accepting that there won’t be any gays. No one is expecting this from Nico.

So when it comes, when Nico reveals he has a crush on Percy… the fandom lost our minds.

—

And I’m not so sure that’s a good thing, looking back. On the one hand, obligatory “we need representation,” but on the other, there was this one reviewer who knew what was up long before anyone else did.

She’d said something along the lines of raising damning concerns that Nico’s entire character arc was now defined by his homosexuality, that this scene frames all his anger, all his hate, all his rage and depression, about this one aspect of his character, and diminishes him because of it.

All these years later, I’m disappointed to say I agree with her.

This book series’ only major canonical gay (so far) is forced out of the closet with a proverbial gun to his head

Now, Nico likely never would have come out without that gun, but the way it happened, especially in front of Jason who he’s not friends with, showing Jason his memories because it’s not Nico’s POV and Jason has to see somehow because Nico sure won’t detail those scenes himself is... not good?

Jason handles it well, as well as he can given that this is Nico, and Cupid is an explicit villain so him forcing Nico out is in-character and not my problem. The narrative forcing Nico out is the problem—that this is a big reveal both to Jason and the audience is the problem.

The book isn’t new and with respect to when it was written and who wrote it, it’s not a terrible scene or terrible representation. But it’s not just forcing Nico out of the closet, either.

All of Nico’s character development is retroactively pinned on his sexuality

I get it. Nico’s… 14? 14 and from an era where being who he is was a death sentence, with zero education on the matter. Internalized homophobia is a thing (though Nico doesn’t actually seem to hate himself for being gay, he hates himself for crushing on Percy. Nor does he hate other gays or the concept).

Nico, though, is the one demigod who can summon any ghost he could dream up to teach him to hate himself a little less. He could have summoned the ghost of Freddie Mercury and what a dazzling mentorship that would have been.

The way the scene is framed makes it look like all of Nico’s rage comes from this one relationship, when it comes from so much more. He’s a son of Hades, a god no one trusts or likes and is synonymous with death, evil, and deceit. His sister, his last living relative, died on a quest as just a teenager. He has no friends at camp, powers that scare people, and is almost a century removed from everything and everyone he knew in his old life.

And he went and left camp *only* because of his crush on Percy? Not for any other reason?

When he does get his crush on Will, that only makes it worse. Nico did have friends, even if he didn’t believe it. He did have Percy and he’d earned the respect of his fellow campers after the Battle of Manhattan. He back-slid in HOH for this reveal, as if a romance is the only thing that could make him happy.

Cupid’s message is the narrative’s message: The only way to conquer love is to face it [in combat]

With a gun to his head, in front of a veritable stranger, instead of in, I don’t know, therapy with Apollo? There couldn’t have been any other way to fit this reveal in? He couldn’t have made his own group therapy session with other ghosts? Persephone or Demeter never sat this boy down for The Talk with a literal captive audience?

And that it’s a “reveal” at all, in incredibly dramatic fashion, a plot twist for shock value. The book couldn’t drop hints in Nico POV? Couldn’t casually state it anywhere at any time in the previous 3 books? Couldn’t treat it at all like this is normal and not a life-or-death situation?

I just feel bad for the kid. Nico can’t be the only demigod who has a guilty, unrequited crush. Cupid is forcing this out of him because that crush happens to be on another boy.

It’s in Jason’s POV

This world shattering, deeply personal reveal, and the character who’s having it isn’t even the narrator. Jason is a fine character and I know why it’s him out of everyone who could have gone with Nico, but this should have been solely Nico’s moment, not Jason’s commentary about Nico’s moment, being a non-consenting voyeur into Nico’s very personal memories about Percy.

Even if it’s not Jason’s POV to retain the surprise, it certainly starts to feel like Jason’s POV to retain the surprise. Jason can still be present, but even then—Cupid needed Nico to face Cupid, not Cupid and Jason.

—

It sucks because the scene as a whole, removed from the context, is incredible. The choreography, the pacing, the intensity of the battle, Cupid as a villain and Nico and Jason’s desperation to just stay alive.

Its impact on the series can’t be ignored. Blood of Olympus is no one’s favorite. It’s a terrible last book and not all that great as a book, period, but the ending?

Among other travesties, Nico confronts Percy, tells him he had a crush on him, and then *immediately* starts pining after Will. Percy doesn’t get the chance to talk to him, stunned at this reveal. They never have a heartfelt conversation about it, what this means for their friendship, how Percy never noticed or how this makes him feel, if he’s at all guilty for potentially leading Nico on and being a bad friend.

We get none of that. Nico just finds a pretty blond boy after, what, four years pining after Percy? One awful confrontation with Cupid and a few lines of dialogue traded with Jason and all his angst and moodiness is cured off-screen.

Can’t Nico go five minutes where he figures out who he is before he’s trading one crush for another? Can he not define himself independently of who he likes for just a couple chapters? He tells Jason after the Cupid fight that he’s over it, but… c’mon, he’s absolutely lying there, or he wouldn’t have been so hurt and upset and hesitant to reveal himself.

I love that he’s popular now, I love that he does have a healthy relationship (one that eclipsed the whole fandom for better or for worse), but the way he went about becoming popular still leaves a bad taste in my mouth. Nico did walk so the rest of the series' extended universe could run. We did get Solangelo, we got Apollo being Apollo, we got a world based off Greek Mythology that stops straight-washing history. It's just a shame that he had to be forced out the way he did, and that his whole character is now defined by his relationship with Will.

[xxjadeablexx]

Hazbin Hotel Synopsis

Salutations! My name is Jade and I have to make a blog for my Composition class. When given a free range of topics, I decided to write about Hazbin Hotel. Mainly character information, headcannons, theories. You know, that kinda stuff. I realized for my professor to care about any of this stuff, she probably needs to know about the show. And I highly doubt she already does. So! let's get into a basic rundown of the show, in mostly my own words. Obviously, spoilers ahead. On October 28th, 2019, YouTube channel "Vivziepop" uploaded a video named "HAZBIN HOTEL (PILOT)." The video soon blew up, and got praise and backlash for the idea of the show. It got a lot of criticism for being an animated musical, since those are mainly geared towards children. However, Hazbin hotel is a show with a target audience of 18+ (weird to think I was like 15 when this came out.) With many dark themes including commentary on the toxicity of the porn industry, this show is obviously not meant for children.

Despite the backlash, it obviously did something right, because in early 2020, before the second episode could come out, A24, an American independent film company, decided to take the concept and make a whole series out of it. Four years later, on January 19th, 2024, the show's first series was released on Amazon Prime. The show follows the Princess of Hell, Charlie Morningstar. She is a very energetic demon who believes the sinners in hell deserve a second chance. She builds a hotel and basically gets laughed at by everyone. But after getting back to it after an interview about said hotel, there's a knock on the door. We then meet one of my favorite characters, Alastor. Alastor is known as the "radio demon." He offers to help Charlie with the hotel. Charlie says yes and that's kinda the end of the pilot.

Alastor then enlists the help of Husk, a cat-like demon who runs the bar, and Niffty, a small cyclops who does the cleaning. It is immediately evident that Alastor is a powerful demon. He is known as an "overlord," and is feared by many, having the ability to control basically anyone, along with summoning help for any number of things.

As the show goes on we find out that redemption is basically impossible. The angels literally laugh in Charlie's face when she suggests it. Adam, the first human soul in Heaven and angel, lets it out that his army "exterminates' sinners and demons like once a year (which later gets changed to 6 months and then 1 month.) This upsets Emily, a Seraphim who shares the views of Charlie. Emily and Charlie say that:

If Hell is forever, then Heaven must be a lie (Emily!)

If angels can do whatever, and remain in the sky

The rules are shades of gray when you don't do as you say

When you make the wretched suffer just to kill them again.

Adam then says he will see them in 1 month instead of 6. (this is apparently because of a major timeskip, but I feel like it wasn't really explained like that in the show. it really just reads that Adam keeps moving up the date cause he's a prick that wants to kill all the demons.) Charlie decides to take things into her own hands and finds someone who knows how to Kill the Angels. So, what does she do? She gets her own army, her own weapons, and the guts to kill, and proceeds to kill literally any angel she can. Alastor gets injured and is unable to fight off Adam, which ends up fine because Niffty kills him. The scene is actually hilarious because Niffty is described as “10 pounds soaking wet,” by Angel Dust. So this tiny demon who was given a knife and told “stab any angel you see,” kills what is essentially the hardest angel to even touch. That's like the president dying from a mosquito bite. 

That’s not even mentioning Sir Pentious, who originally tries to kill Adam. After Alastor is killed, Sir Pentious decides to go after Adam himself. Pentious is one of the most cowardly characters in the whole show. He is so scared to confess to a girl at some point, that upon her questioning why he bought her a drink, he says  “Because i bought everyone drinks!” when he hadn’t but then he does because everyone hears him. He does that like 2 more times and the situation repeats himself, even when the drinks turn into sex. He is too cowardly to admit to liking her that he has sex with a stranger instead of just confessing. But I digress, because he redeems himself by going after Adam. He resolves. He confesses to his crush. He kisses her. And then Adam kills him like, almost immediately. Despite Pentious being a coward, he isn’t weak in any sense of the word. He is a skilled inventor with many war machines that could have killed Adam. Adam just kinda snapped and suddenly Pentious and his minions and his blimp are dead. But Niffty, a masochistic, child-like cyclopes kills Adam. I love Niffty, but how does that work?

It fine though, because Sir Pentious ends up in Heaven. His sacrifice for his friends proves enough that after he dies, he ends up in Heaven in front of Sera and Emily, the Seraphim. Thats the end. The last thing we see of the main plot is confused faces and a less dark version of Sir Pentious. 

[hyakujuuou]

My biggest problem with Ninjago’s writing is how meaningless death and sacrifice are.

The first major character death is Zane’s sacrifice, which is still cited as one of the saddest Ninjago moments, because it was expected that he had died at that moment and the audience doesn’t go into the sacrifice the idea of him coming back. Even afterwards, there’s no strong indication that he’s going to be completely remade and rejoin the ninja team— he lives on, but differently.

Next season, Zane is remade and rejoins the team. The idea of nindroids coming back from the dead is introduced to the audience and the stakes of life-threatening situations are removed for Zane— as long as technology exists, he can be remade.

At the end of Possession, Morro sacrifices himself. This “death” (really his second death) is portrayed as final and irreversible. The quote about Wu only being able to save those who want to be saved seals it: Morro is going and he doesn’t want to come back.

Morro is brought back from the dead for Day of the Departed.

Also, Cole is made into a ghost, which is initially portrayed as something permanent, but Day of the Departed makes what reads like a few quick excuses and undoes it. Between Morro and Cole, it is demonstrated that death is not permanent for ghosts.

At the end of Possession, Garmadon sinks with the Preeminent. He passes on his leadership, lessons, and robes to Lloyd and they sail away. Lloyd goes on to honour his father’s memory and become the leader Ninjago needs.

Garmadon is brought back by Harumi, just as Lloyd has moved on. He demonstrates that death is not permanent for Oni.

In Skybound, Nya is killed, but Jay’s wish undoes the events of the season brings her back to life.

When Cole falls from the Bounty in March of the Oni, he somehow defies the properties of the Oni cloud and returns to the ninja. The show doesn’t even elaborate on that.

Lloyd is crushed in the battle at the end of March of the Oni and meets the FSM, who brings him back.

Prime Empire deaths are reversed at the end of the season.

Harumi, Vangelis, and Aspheera are clearly defeated and Harumi’s “death” was read as heavily implied.

They return, as well as Garmadon, for Crystallised.

Nya sacrifices herself and turns, irreversibly, into the ocean in Seabound. She also returns in her normal form for Crystallised.

Overall, the way the series repeatedly refuses to make character death and character sacrifice meaningful and give these things real, appropriately far-reaching consequences creates a mindset of “oh, this character is dying. They’ll be back.” and makes it difficult to convey the full emotional impact of a beloved major character giving their life in the pursuit of their goals because there’s a heavy precedent of characters almost immediately having their death reversed. I don’t think it’s unreasonable to say that keeping something like this up will get boring after a few seasons (I acknowledge that Ninjago is ultimately just 22-minute advertisements for Lego toys, but I think I can still care about the plot).

It’s also not just that the characters are immediately brought back, it’s that their death has absolutely no effect on the plot moving forward other than “Ninjago wasn’t destroyed last season”. Sure, Zane is silver sometimes and Cole briefly had a scar, but the characters don’t mention that they literally died (or equivalent), it has no psychological effects*, it doesn’t lead into the next season’s plot points, and it doesn’t affect the narrative at all. Each season that was resolved with a character sacrifice or each arc that ended in a character death could very easily have been resolved any other way without significantly altering the plot in the long run.

*I acknowledge that Ninjago is for kids, but if Ninjago can have fantasy violence, it can have fantasy consequences of violence. I fully believe that there is a way to discuss mental health in an age-appropriate way if a writer wants to put in the effort.

There’s another post to be made about how Ninjago handles side characters’ achievements in this exact same way.

[spectralquartzafterdark]

A New Welcome Post

Updated: December 5, 2024

Hello again, Tumblr. We were trying to come back over the summer, but we had an emergency where we thought we were going to lose our home, so all our free time went to packing.

Things are still uncertain on that front but they have settled down for now. But shortly after that crisis, we both caught covid. Neither of us have felt quite right since then. We're very tired all the time these days, so we can't keep up with our writing blogs the way we wanted to. So, here is yet another re-introduction.

This is our NSFW blog. It's mostly Transformers, but there might be some other stuff now and then. We'll see. Most of this blog will be reblogs of stuff we like, but every now and then we will post our own writing as well.

For SFW content, you can also find us @spectralquartzstudios

The people running this blog:

Jules - 29 - they/them - AO3

Rosie - 32 - she/they - AO3

We are married and we have been together since 2018. We love writing and drawing together.

We've been in fandom spaces for ~20 years. We've seen a thing or two, we know a thing or two, and we are tired of bullshit. So if you come here onto our pages for anything other than supporting our fun/having fun with us you're getting blocked. End of story. We love sharing our work with others but at the end of the day we are our target audience.

About our works + Rules:

1. You must be over the age of 18 to interact with this blog. If you do not have your age in your bio, are a minor or you are suspected of lying about your age, you’re getting blocked. This blog is not for kids.

2. We are self shippers. Our self inserts are together and they have a big polycule.

Rosie's mains - Megatron, Bumblebee, Rodimus, occasional Ratchet

Jules' mains - Optimus Prime, Starscream, Drift, occasional Rodimus and Senator Shockwave

There are others, but those are the ones we talk about the most.

3. Most of our works are in our own fan continuity. It is canon soup, pulling mostly from IDW, Earthspark, Bayverse, and Knightverse/ROTB. There are other series sprinkled in as well. There is a multiverse aspect to it, and it is technically a massive multi-fandom crossover. So there may be stuff from The Arcana, My Hero Academia, Hazbin/Helluva Boss, and Marvel. The polycule does extend into these other fandoms as well, but since this is largely a Transformers blog there may not be much from them (for now?).

4. Occasionally we will take requests in our asks. Anon will be turned on for small windows at a time. If we are not taking requests, anonymous stays off. This is because of the steady stream of hateful anons in our inbox whining about the "hetero shit" regarding Rosie and Megatron. (Literally no one in this fictional polycule is cishet. I am begging y'all to touch grass and do something about your misogyny and fetishization of gay men. You sound like the type of people to bully a passing t4t couple at pride for "looking straight").

Along with that bullshit, keeping anon off also keeps us from being overwhelmed with too many asks.

Occasionally we will also write about non self insert ships, such as Drift/Ratchet. But most of those will likely be by request only. We do have a character and ship list available for when requests are open.

5. We are not interested in dark content or extreme fetishes, so you will not find many (or any) posts containing noncon, dubcon, vore, gore, fat fetish/feederism, birthing kink, or anything unsanitary. We will not write any of those either.

6. Unlike some people on this site, we actually try to put effort into tagging our posts accordingly. Including our robot x human stuff. So we've done our part. If you need something extra tagged, let us know and we'll do our best. But if it is tagged and you still wanna whine, you're getting blocked. More info on our tags here

If anything written above icks you out in any form then this is not the blog for you.

Thank you for reading.

[jesuis-melodrama]

TV Show Proposals

Just in case a TV show executive is scrolling through Tumblr searching for their next big hit, here are some proposals from a humble yet rabid media consumer.

More Than Meets the Eye

What do you know about Transformers? That this 1980s cartoon TV series started off as a ploy to sell toys, but impacted their audience so much children were walking out of movie theatres crying when Hasbro literally executed their first line of products in order to introduce the second?

The beginning of Transformers were conceived in the same faith multiple other 1980s cartoon were made – as product advertisement to sell children toys. My Little Pony, Carebears, He-Man, G.I. Joe – they appealed to the violent and action-oriented or cutesy and fashion-oriented subnature of young children, so they could in turn badger their parent to splurge money on figures of their favourite character and any future accessories at the local toy mart.

The fan reception to the Transformers film (1986) allowed studio executives to realise Transformers had something more to it than advertising potential. And fastforward thirty years later when Micheal Bay took the reins to produce the multimillion live-action series, firmly cemented Transformers in its place in American pop-culture.

Although Transformers was always political – the entire Autobot vs Deception concept was based off the Cold War tension at the time of writing the original series – over the years this mostly negligible baseline has been heightened, especially in IDW comic's publishing. From apartheid society, right to self-autonomy, and state-mandated divide of class based on function, certain part of Transformers lore has become 'realistic' enough to be uncomfortable. Even when the characters are giant mecha-alien robots, there is an undeniable human element beneath all the armour.

I am not proposing a TV show of all of IDW's comics, just the More Than Meets the Eye and Lost Light series.

I acknowledge, foremost, that there are already serious issues with only animating this singular storyline alone. IDW, after all, has a near two-decade long history, and animating a stand-alone chapter that happens in the middle of the series is not going to help any new fans or consumers. Additionally, many beloved Transformers legacy characters are not going to appear in the narrative at all, bringing up the question of More Than Meets the Eye's marketability. Inspiring-Prime Rodimus will be leading a 200-bot ship of famously C and D-list characters (many who has since reached fandom fame for the roles they played in MTMTE and Lost Light); and when Bumblebee, Starscream, and Shockwave does come into play, finally, their position in the plot will be extraordinarily confusing unless the reader already knows the comics backstory.

Either way, I think that if some studio executive want to take a risk, they should do so anyway. More Than Meets the Eye was the first Transformers comic I actually read, when I knew absolutely nothing about the IDW lore and was only basing all my knowledge on the Bayverse films, and even though I didn't know who most of the characters are, it took barely five issues to get attached. I found myself intrigued by the witty writing, clever characters, gorgeous art, and the ever-desirable camaraderie that formed between this unlikely found-family group of bots.

More Than Meets The Eye was honestly magical to read, I genuinely believe my life and life philosophy had become better after consuming those 54 issues.

Other issues in producing a More Than Meets the Eye TV show relates to the lack of human characters, as human characters has become a prime template for the human audience to project themselves upon, and More Than Meets the Eye is also notoriously un-child-friendly. From characters such as Overlord to Tarn, or Megatron himself. Torture, murder, concentration camps, cannibalism – the comics illustrate the worst of what a galaxy-wide war between a hard-scrabbling general and a genocidal warlord could produce, and it does not shy away from the details.

More Than Meets the Eye is also a story of redemption. Multiple characters throughout the series – literal war criminals, self-deprecating, suicidal, cruel in the way that those who have given up are cruel – learn to give a damn, to realise how to live for a better tomorrow.

And the two defining titans of the entire franchise meet some of the best writing that has ever been given to them. They don't appear until the second half of the story or they don't appear much at all, but don't let their scarcity convince you of the quality of their characterisation. The writers of More Than Meets The Eye love every character, those who were destined to fade into obscurity and those who were never meant to be in the limelight, and it shows. IDW's Megatron isn't a true villain in the way that Optimus Prime couldn't live up to his untouchable hero image, but this does not mean that Megatron hasn't willingly and gleefully committed evil and Optimus hasn't done the best and the most righteous a leader in his position in the middle of a robot holocaust could've.

Making a More Than Meets The Eye TV show is risky. One hundred percent. It's in the middle of a series that a reader need background knowledge for, it has no human characters, its robot characters aren't exactly winning any popularity contests, and it cannot be marketed towards a general audience.

But More Than Meets the Eye has won two Comics Alliance award for good reason, and it has certainly convinced this Transformers-curious reader with no prior knowledge to become a lifelong fan of the entire franchise.

And I am not the one who sees the potential in a TV series. To any executive who has somehow read till the end of this post, check out these fantastic animations by passionate fans and artists:

魏威安's animated summary of the entire IDW comic history, just to give you an idea of the scope you're dealing with here.

Spooky Unicornus's heartwarming Christmas-themed short, with some fantastic lighting and movement.

The Alexicon's mock trailer.

This disconcerting comics-accurate short by OMUSUNDA featuring some brilliant voice-acting by a Scottish Skids –

– and a compilation of Ultra Magnus featuring his Animated voice from the same artist.

The Arcane-fication of Overwatch

I am not a gamer. I don't own any console systems, my iMac is pretty but cannot run computer games, and my favourite game is actually this mobile app called Bullet Echo, which I will proudly announce I am quite good at. Shout out to my main hero, Mirage.

But I have watched literally every single one of Overwatch's animated cinematic shots. And I am fascinated. The storytelling, the animation, the characters and their designs. I love all their accents, the little nods to their culture, and overall, the camaraderie between Overwatch members, although their interactions are brief.

I'm getting the slowly coagulating imagery of a truly fascination techno-dystopian world, a classic tale of a future gone wrong and heroes that rose up to the challenge.

I have heard and read some criticism about Overwatch's lore, that it's simplistic and is weak, lacking in any kind of depth. If this is true, I will claim ignorance to the fact that I have not played a single game. As an animation-enthuasist, I have simply watched the cinematic shorts over and over again, and is enchanted by the short bursts of story I've seen there.

I've never played League of Legends either, and I can bet most of those who watched Arcane never did as well. But Arcane was enjoyable for both hardcore gamers and first-time fans anyway. It had something for the general unfamiliar audience while throwing out some service to those that followed the franchise for a long time. And the trick to maintaining this balance is simple: good writing, writers that care.

So – Arcane-ficiation of Overwatch. Am I going to play Overwatch one day? Unlikely. But would I sit down and watch a TV series about it? Definitely. Comments on Overwatch's cinematic shorts always snarkly points out that the movies are better than the game and the producers should realise where to throw in their funds. I won't cast my own judgement upon these opinions as I, once again, have not played a single game. But I hope some Blizzard executives are warming up to the idea. After all, video game-based TV series has been gaining traction over the past few years. Just look at Arcane, or The Witcher, or The Last of Us. Dungeons and Dragons even managed a big feature blockbuster, with a pretty star-studded cast.

A brief list of my favourite Overwatch shorts, judged by not ranked on story, animation, and voice-acting.

Percy Jackson

An animated Percy Jackson series.

I know there's a live-action series of Percy Jackson coming out next year, and so far, it seems pretty hopeful. The actors are age accurate, the set design looks amazing, and Rick Riordian himself approves of the series.

Thing is, I grew up reading Percy Jackson and was violently passionate about the series once, back when the live-action movies were the ire of the fandom and the fanart, especially those of Viria's, were so popular they were considered canon. Canon enough that the official Percy Jackson wiki page actually eventually hired Viria to make their official character art.

There was even this petition to make an animated series with Viria's art that I remember signing a couple years ago.

Nowadays, artists likes velinxi has also become fandom staples in defining the stylised appearances of the characters, especially regarding the likeness of the Big Three.

This is one TV show that I'm not too invested about – as animated series with Overwatch and More Than Meets the Eye could be considered inevitable to the franchise at this point while Percy Jackson is significantly more popular and enjoy more medias, blockbusters alongside comics books, a musical, and the upcoming DisneyPlus+ TV series.

Just saying, fans manifested Viris's art being canon enough that the prophecy has been fulfilled. And if 50 000 fans signed a petition to make Viria's art an animated TV show – who knows?

Hamiltion

This is the long shot, I know. Hamilton is probably the most successful musical of this generation, and for good reason. I personally has never seen so much passion, clever lyricism, historical significance, and art stuffed within two hours.

My knowledge of musicals is that usually maybe about 40-70% of the show is sung while the rest is acted. Not for Hamilton, the actors truly push their physicality and vocal cords to the limit by turning it up to 200 percent for the entire performance. Renée Elise Goldsberry sang and rapped and delivered a masterful rendition of emotion during Satisfied (one of my favourite songs, ever) alone. No other musical has come close to Hamilton's set design and sophisication in my humble opinion, and I bet it will be a very long time before another musical that is released will come close.

Here, I am not only proposing the possibility of a TV show, but also a movie. There are many loose-ends in Hamilton that Lin-Manuel Miranda mentioned could not be covered in the play due to time constraints, such as the question as to what happened to Peggy.

A TV show could give the producers plenty of time to expand on fan-favourite moments, such as the Winter Ball or the battlefield scenes along with typing up loose ends. More time could also introduce more songs, and embellish the visual design further with on-site landscape, although the question of whether or not this will elevate the musical's appeal is debatable as Hamilton's single room, rotating dais set has become synonymous with the show and an archetypal of ingenious on-stage set design. Again, like with Percy Jackson, not too fussed about the possibility of Hamilton making it onto the big screen. But just throwing the idea there.

[tabswrites]

Writer Questions Tag

Tagged by @writernopal here. I love these questions, thanks for the tag!

Gently tagging: @clairelsonao3 @gummybugg @rachaellawrites @zmwrites

What is your absolute all-time favorite idea you’ve ever had?

I am equally proud of Silver Sentinels and Ascension. The magic system in S.S is really cool to me, and I’m having a lot of fun creating it. I also really love the magical creatures!! With Ascension, I have been creating my own mythology within the world as well as creating an entire species, and that’s something I’ve never done before and it is going to be incredible.

Is there a question you’ve been asked in the past that really stands out to you, and you still think about sometimes?

Not really, but I’ve only really begun sharing my writing and talking to other writers for a few months.

What is your favorite part of being a writer? What parts could you take or leave?

I love being able to navigate complex themes and emotions in a variety of different ways. Playing with different writing styles to mess with people’s heads is one of my favorite things to do, because I’m secretly evil. The one thing I wish I could get rid of is the guilt of not being able to dedicate myself to my writing all the time. I am so, so passionate about my two stories but with the little free time I have it’s hard to get in the right mindset, and I feel like I’m letting myself down.

What is your greatest motivation to write/create?

Initially, I just wanted to have a bit of fun. Recently, I fell in love with storytelling again when I watched this show called The Owl House. It was unfortunately struck down in its prime by D*sney and even though there was a series finale, a lot of its world building fell flat when the writers were unable to continue developing it. It broke my heart, and a week after I finished it I got the idea for S.S. It’s like my subconscious was trying to tell me that I could fill the void myself.

What is the best piece of advice you’ve ever read or been given as a writer?

Give yourself permission to suck, especially in first drafts.

I struggle a lot with just getting the story out because I feel like everything I write is incoherent, but I also am getting really into my own plot so I want to keep going. I just have to remind myself that it’s okay if it’s not amazing right now.

What do you wish you knew when you were first starting out writing?

You can literally do whatever you want. If someone doesn’t like the direction you’re taking, they just won’t read it. You’ll find an audience some day. Just give in and be your weirdest self.

What is your favorite story you’ve written to completion? Link it if you’d like and can!

404. Page not found. (Haha, you guys finish stuff?)

What is your favorite out-of-the-box quote?

“The real violence, the violence I realized was unforgivable, is the violence that we do to ourselves, when we're too afraid to be who we really are.”

~Nomi Marks, Sense8 (my fave tv show)

Which of your characters would you say has the most controversial mindset? Why do you say so, and how do you personally feel about their ideals?

This is such a difficult question, but I’m going to go with Oliver, from S.S. His mindset is to basically do the bare minimum and expect everything to fall into place. Even from Ch. 2-4 he doesn’t even apologize or try to make amends, he just assumes Mara will forgive him because he got himself exiled too.

I think he’s a big dumb idiot, but I don’t think I try to hide that. He’s going to have very little development in book one for the sole purpose of me using him as a punching bag, so his idiocy is tolerated for now.

If you, when you first started writing, met you now, what would younger you think?

I think she would be super sad to know we became estranged from our longtime RP friends, but she would be absolutely floored that I’m attempting to write not one, but TWO multi-book series. At the SAME time. Yeah, little dude, we created characters in other people’s worlds, and now we create our own.

[semper-legens]

50. The Last Confession of Thomas Hawkins, by Antonia Hodgson

Owned: No, library Page count: 371 My summary: Thomas Hawkins is in trouble. He’s in a cart, on his way to Tyburn to hang for murder. As he’s paraded through the streets to the jeering of the crowd, he’s hoping for a royal pardon. Days earlier, he was summoned to the chambers of the Queen to perform a job for her. A job that became so much more complicated when his hated neighbour was murdered - and the prime suspect was Tom himself. But with only moments remaining before that noose tightens around his neck, Tom begins to suspect that he’s not going to get out of this one... My rating: 5/5 My commentary:

Back to this series! And I'm still loving it. There's just something about the Georgian setting that I absolutely adore. I know the 18th and the 19th century are not actually that far removed, but after the slew of historical novels set in the late Victorian period, seeing literally anything else feels like a breath of fresh air. Which is helped by how well-researched the setting was! I didn't come across anything that jibed with my historical knowledge (though 18th century England is not my forte) and it's clear that the author is a huge nerd for the 18th century. She includes a bibliography and some historical notes detailing the real people who show up in this novel, and the real inspirations she was drawing from in order to create this narrative. And it's very welcome, because I am enamoured with this series.

Oh, Thomas Hawkins. You really are the fucked up little man of my heart. After his release from the notorious Marshalsea, Tom moved with Kitty to Sam Fleet's old shop, selling certain literature to interested (and discreet) gentlemen. But he's bored. He longs for adventure, and gets it when he accepts a deal from James Fleet to do some work for him. Which leads him to an audience with the Queen. Yeah, Tom's in over his head, and it's worse news yet - his neighbour, who he was seen very publicly threatening, has been murdered. And he's the most likely suspect. Tom has to work fast to both find a solution to the Queen's problems and his own before he's charged with murder. This is a character at his best when he's most desperate, and we definitely see him pushed to the edge here. I like that Tom has realistic reactions to things - he's not Superman, when he gets chained to a wall by his wrists he's in pain, he makes bad choices and bad judgement calls, he gets himself into more trouble than he can talk his way out of. He's a very full, very flawed person, and that's interesting! I do have to criticise, though, that Kitty feels more of an accessory for Tom than a character in her own right, though Tom's attempts to shield her from trouble and his paternalistic attitude are shown as flaws of his character, so the narrative is at least addressing it.

The actual plot here takes two strands - one, court intrigue as the King's mistress is having some problems with her husband demanding money, and two, the aforementioned murder. Tom has to find a solution to the first and solve the second before too long, because it's only the Queen's favour that's keeping him alive. Obviously, the stakes are high, and Tom gets increasingly frantic as time goes on. His enemies keep piling up, and his friends are few. And the mystery itself is intriguing. The house was locked, so who could have killed the neighbour? There were four people in the house - a maid, his son, his daughter, and his apprentice, all of whom had good motivation. But there's also a hidden passage between Tom's home and the neighbour's, which Tom is desperate not to let anyone find out. Everyone is a suspect, but there are more twists and turns than meets the eye in this mystery. I won't spoil it, but it kept me guessing straight up to the end. By contrast, the courtly plot is a lot simpler, and mostly consists of Tom being put in Situations by fate itself, almost. Not that this isn't just as fun to read. Poor guy.

Look, I'm just going to admit it. I have a morbid fascination with the history of executions - I'm English, my country hasn't had the death penalty for as long as I've been alive, and I am deeply interested both with how such a thing worked historically and attitudes around it today. This book revolves around Tom being hanged for murder. He's on his way to the gallows in the book's opening, and each part begins with a new stage of his journey, as he begins to panic that he won't be reprieved after all. And he isn't. Only through Kitty bribing the hangman was he saved - he was hanged until unconscious, but cut down before he could die. The slow march to the gallows, and Tom's changing mood throughout, makes for grippingly tense reading. It's a foregone conclusion that he will be convicted of murder, but will he live to tell the tale? Adding to that is the fact that the account we are reading was written by Tom in the condemned cell just before his execution, which then picks up after he survives. It's a clever narrative device that really adds to the experience. The stages in bringing Tom to the gallows, apparently authentic, are interesting - the pageantry on display as Tom is paraded through the streets, chained in a cart, and ritualistically offered wine before finally arriving at Tyburn, really shows that the point of such a penalty was to display those convicted of crimes moreso than actual punishment. It's interesting, if terrible.

Next up, still in the realm of history, and the story of a reviled king.

[21st-century-ninja]

Fandom: Lego Ninjago Rating: Teen And Up Audiences Warnings: Creator Chose Not To Use Archive Warnings Relationships: Kai & Nya (Ninjago), Lloyd Garmadon & Kai Characters: Kai (Ninjago), Nya (Ninjago), Ninja Team (Ninjago), Lloyd Garmadon Additional Tags: Angst, seabound spoilers, does Kai have deku syndrome? yes and i will not elaborate, Alternate Universe - Wings, Grief/Mourning Series: Part 3 of Colors Summary:

to feel blue: an idiom meaning to feel sad or depressed, or to miss something or someone to a great extent.

Kai feels a bit like he’s underwater himself.

A continuation of the wings!verse!!  And my second ninbingo piece for ‘alone’.

Read below for a snippet and my board :D

Kai can’t remember a time when he didn’t have Nya’s warm maroon blanketing his wings.  

Her heart-color has been with him through the snakes.  Through the ghosts.  Through the oni.  It’s what got him through the First Realm when they were separated, and he had no other way of knowing she was okay.  It’s carried him through the Never-Realm, and Prime Empire, and the dungeons of Shintaro.  After every fight, after every enemy or situation or devastation, her color stays bright.  She’s always had his back in the most literal and figurative way possible. 

Up until now.  

[itsclydebitches]

RWBY Recaps: Volume 8 “Dark”

Welcome back, everyone! Can you believe it's been six weeks already? I can't. Something something the uncomfortable passage of time during a pandemic as emphasized by a web-series.

But we're here to talk about RWBY the fictional story, not RWBY the cultural icon. At least, we will in a moment. First, I'd like to acknowledge that shaky line between the two, growing blurrier with every volume. A sort of good news, bad news situation.

The bad news — to get that out of the way — is that we cannot easily separate RWBY from its authors and those authors have, sadly, been drawing a lot of negative attention as of late. This isn't anything new, not at all, but I think the unexpectedly long hiatus gave a lot of fans (myself included) the chance to think about Rooster Teeth's failings without getting distracted by their biggest and brightest production. There's a laundry list of problems here — everything from the behavior of voice actors to the quality of their merch — but as a sort of summary issue, I'd like to highlight the reviews that continue to pop up on websites like Glassdoor, detailing the toxic, sexist, crunch-obsessed environment that RT employees are forced to work in. A lot of these websites requires a login to read more than a page of reviews, but you can check out a Twitter thread about it here. 

Now, I want to be clear: I'm not bringing this up as a way to shame anyone enjoying RWBY. This isn't a simplistic claim of, "The authors are Problematic™ and therefore you can't like the stuff they produce." Nor is this meant to be a catch-all excuse for RWBY's problems. If it were, I'd have dropped these recaps years ago. I'm of the belief that audiences maintain the right to both praise and criticize the work they're given, regardless of the context in which that work was produced. At the end of the day, RT has presented RWBY as a finished product and, more than that, presents it as an excellent product, one worth both our emotional investment and our money (whether in the form of paying for a First account, or encouraging us to buy merch, attend cons, etc.) I'll continue to critique RWBY as needed, but I a) wanted fans to be at least peripherally aware of these issues and b) clarify that my use of "RT" in statements like, "I can't believe RT is screwing up this badly" is meant to be a broad, nebulas acknowledgement that someone in the company is screwing up, either creatively (doesn't have the skill to write a good scene) or morally (hasn't created an environment in which other creators are capable of crafting a good scene). The real, inner workings of such companies are mostly a secret to their audiences and thus it's near impossible for someone like me — random fan writing these for fun as a casual side hobby — to accurately point fingers. Hence, broad "RT." I just wanted to clarify that when I use this it's as a necessary placeholder for whoever is actually responsible, not a damnation of the overworked animator breaking down in a bathroom. Heavy stuff, but I thought it was necessary (or at least worthwhile) to acknowledge this issue as we head into the second half of the volume.

Now for the good news: RWBY has reached 100 episodes! For any who may not know, 100 is a pretty significant number in the TV world because, when talking about prime time programming, it guarantees syndicated reruns. Basically, networks don't want audiences to get burned out with a show — changing the channel when it comes on because ugh, I've seen this already, recently too — and 100 episodes allows for a roughly five month run without any repeats, making it very profitable. RWBY is obviously not a television show and doesn't benefit from any of this (hell, modern television doesn't benefit from this as much as it used to, not in the age of streaming), but the 100 episode threshold is still ingrained in American culture. Beyond just being a nice, rounded number, it is historically a measure of huge success and I can't imagine that RT isn't aware of that. Regardless of what we think of RWBY's current quality, this is one hell of a milestone and should be applauded.

All that being said... RWBY's quality is definitely still lacking lol.

Our 100th episode is titled "Dark" — keeping with the one word titles, then — and I'd like to emphasize that, as a 100th episode, it definitely delivers in terms of plot. There's plenty of action, important character beats, and at least one major reveal, everything we'd expect from a milestone and a Part II premiere. The animation also continues to be noteworthy for its beauty, as I found myself admiring many of the screenshots I took for this recap. There are certainly things to praise. The only problem (one we're all familiar with by now) is that these small successes are situated within a narrative that's otherwise falling apart. It's all good stuff... provided you ignore literally everything else surrounding it.

But let's dive into some examples. We open on Qrow starting, awoken by the thunder outside. Robyn has been watching him and makes a peppy comment about how none of them will be sleeping tonight, followed by a more serious, "Sounds bad out there." Yeah, it does sound bad, especially when they all know — thanks to Ruby's message back in Volume 7 — that this is due to Salem's arrival. I think a lot of the fandom has forgotten that little detail because people often discuss Qrow as if he is entirely ignorant of what is going on outside his cell. Even if we were to assume that he's forgotten all about the pesky Salem issue (the horror of Clover's death overriding everything else, perhaps) he still knows that Tyrian is running loose in a heat-less city with a creepy storm going on and, from his perspective, the Very Evil Ironwood is still running the show. So it's bad, which begs the question of why Qrow (and Robyn, for that matter) hasn't displayed an ounce of legitimate worry for everyone he knows out there. Thus far, their interactions have centered entirely around Qrow's misplaced blame and Robyn's terrible attempts to lighten the mood, despite the fact that a war is raging right beyond that wall. It's another example of RWBY's inability to manage tone properly, to say nothing of balancing the multiple concerns any one character should be trying to juggle. Just as it rankles that Ruby and Yang don't seem to care about what has happened to their uncle, Qrow likewise doesn't seem to care about what might be happening to his nieces. When did we reach a point where these relationships are so broken that someone can be arrested/chucked into a deadly battle and the others just... ignore that?

So Robyn's otherwise innocuous comment immediately reminds me of how badly the narrative has treated these conflicts and, sadly, things don't improve much from here. We are thankfully spared more of Robyn's jokes when Qrow realizes that what he's hearing can't be thunder. A second later, Cinder blasts through the wall — called it! — and Qrow instinctively transforms. 

The only downside to this moment is that the whole ceiling falls down on Qrow and the others because APPARENTLY these cells don't have tops on them. Seriously. As far as I can recall we don't see the stone breaking through the forcefield somehow and this looks pretty open to me.

If it is... you're telling me these crazy powerful fighters who practice landing strategies and leap tall buildings in a single bound —

— can't just hop over this mildly high electric fence to get out? Qrow can't just fly away?

We're, like, two minutes in, folks.

We transfer to Nora's perspective as she wakes up, seeing Klein giving her the IV. He tells her not to worry, that "you and your friend are going to be just fine." What friend? Penny? Klein went upstairs prior to Weiss hugging Whitley or Penny crash landing outside. I had thought them bursting through the door with another unconscious friend was the first time he learned what the big bang outside was, but apparently not.

Penny is, obviously, a mess. While I now understand the choice to make her blood such an eye-catching color when that's crucial to the Hound's hunt, I still think it looks strange visually. Like someone has taken a copy of RWBY and painted over it. It doesn't look like it fits the art style. More than that, it implies some rather complicated things about Penny's humanity, especially in a volume focused around her being a "real girl." Real enough for Maiden powers, but with obviously inhuman blood that isn't even referred to as "bleeding." Penny "leaks" instead.

Toss in the fact that she's literally an android who is made up of tech — recall the running gags about her being heavy, or it hurts to fist-bump her, to say nothing of keeping things like multiple blades inside her body — yet Klein says that her "basic anatomy" is the same and he can "stitch up that wound."

I'm sorry, what? Whatever Penny looks like on the inside, it's not going to resemble a human woman's anatomy, and Klein might be able to stitch the outer layer of skin she's got, but that won't do anything to fix whatever metal bits have been broken underneath. Penny isn't a human-robot hybrid, she's a robot with an aura. Penny has knives in her back, rockets in her feet, and a super computer behind her eyes. When our clip introduced that Klein would be the one to help Penny, my initial reaction was, "Seriously? He's a butler and a doctor and an engineer?" But RWBY didn't even try to get away with a Super Klein explanation, they just waved away Penny's very obvious, inhuman anatomy. Yeah, I'm sure "stitching up" an android wound is just like giving Nora her IV. I hope the surgical sutures he used are extra strong!

In an effort to not entirely drag this episode, I do appreciate that Whitley is allowed an "ugh" moment about the non-blood covering his shirt without anyone calling him out on it. That felt like the sort of thing the show would usually try to make a character feel guilty about and I'm glad that, for once, he was just allowed to be frustrated without comment.

Then the power goes out and May calls, which raises questions about what state the CCTS is in and when scrolls are available to our protagonists vs. when they're not. But whatever. She's checking in because she just "saw another bombing run light up the Kingdom" and —

Wait. Bombing? Salem is bombing the city? I know we've seen explosions in the sky, but I'd always just attributed that to evil aesthetic. Why does this dialogue sound like it's from a World War II film and not a fantasy sci-fi show about literal monsters launching a ground attack?

May looks pretty against the sky though. I like her hair color against that purple.

I'm admittedly grasping at positives here because we finally return to her "You have to choose" ultimatum and — surprise! — May has pulled back completely. Ruby says that once they've helped Penny, "We'll...we'll do something!" which is once again her avoiding making a decision. Ruby still refuses to choose, instead falling back on generic, optimistic pep talks. They'll figure out how to stop Salem later. They'll think about the impact of telling the world later. They'll choose who to help later. Ruby keeps pushing these problems into the future where, she hopes, a perfect, magical solution will have appeared for her to latch onto. When that continues to not happen, others pressuring her to actually do something and stop waiting for perfection — Ironwood, Yang, May — she panics and continues stalling for time. Wait an episode and the narrative supports her in this.

Because initially May was forcing Ruby to decide. Now, May enables her desire to keep putting things off. "Don't beat yourself up, kid. At this point, I don't know how much is left to be done." That's the exact opposite of what May believed last episode, that there was still so much work and good to do for the people of Mantle. This is precisely what the show did with Yang and Ren's scenes too, having people call Ruby out... but then return to a message of, 'Don't worry, you're actually doing just fine' before Ruby is forced to actually change.

None of which even touches on May calling her "kid" in this moment. That continues to be a convenient way of absolving Ruby of any responsibility. When she wants to steal airships or Amity Tower, she's an adult everyone should listen to, the leader of this war. When the story wants to absolve her of previously mentioned flaws, she becomes a kid who shouldn't "beat herself up." I said years ago that RWBY couldn't continue to let the group be both children and adults simultaneously, yet here we are.

So that was a thoroughly disappointing scene. Ruby gets her moment to look sad and defeated, listing "the grimm, the crater, Nora, Penny" as problems she doesn't know how to solve. Note that 'Immortal witch attacking the city I've helped trap here' isn't included in that list. Ruby is still ignoring Salem herself and no one in the group is picking up where May left off, challenging her to do more than wring her hands over things others are already trying to take care of: Ironwood is fighting the grimm, May has gone off to help the crater, Klein is patching up Nora and Penny. Ruby, as one flawed individual, should not be expected to come up with a solution to everything, but she does need to stop acting like she can come up with a solution to everything when it matters most (office scene) and rejecting others' solutions when they ask for her help (Ironwood, May).

If it feels like I'm dragging the flawed, traumatized teenager too much, it's not in an effort to ignore those aspects of her identity. Rather, it's because she's also the licensed huntress who wrested control from a world leader and violently demanded she be put in charge of this battle. Ruby, by her own actions, is now responsible for dealing with these problems, or admitting she was wrong and letting others take the lead, without purposefully derailing their plans. She doesn't get to suddenly go, "I don't know," cry a little, and get sympathetic pats.

But of course that's precisely what happens, courtesy of Weiss.

During this whole scene I kept wondering why no one was celebrating Nora waking up, especially when Ruby outright mentions her. Have they just not noticed given all the Penny drama? Because Nora absolutely woke up.

Aaaand went back to sleep, I guess. What was the point of that POV shot? No worries though, she'll wake up again in a minute.

Willow arrives and announces that they can fix the power (and Penny) using the generator at the edge of the property. I'm convinced RT doesn't actually know what a generator is because the characters are acting like it's some super special device that only richy-rich could possibly have. Whitley says that it's the SDC executives who have their "own power supply" and that it's "extremely unfair." Now, don't get me wrong, a good generator powering large portions of your house can run you 30k+, but you can also get one that plugs into your extension cord and powers your fridge for a couple hundred. There's absolutely a class issue here, just not the one Whitley and Weiss seem to be commenting on. They make a generator sound like the sort of device that only a politician-CEO could possible have and it's weird.

Likely, it sounds weird because it's a choppy way of getting Whitley to bring up the wealth disparity so he can then go, 'That's right! We're crazy rich with a company housing tons of ships! We can use those to evacuate Mantle.' Awkwardness aside, I do like that the Schnee wealth is being used for good purposes, but... evacuate where? To the city currently under attack by a giant whale? In a RWBY that wasn't determined to demonize Ironwood, this would have been a great plot point during the office scene instead, with Weiss offering her services to Ironwood, even if the group decides that a continued evacuation still isn't possible.

Instead, we get it here from Whitley. Do I need to point out the obvious? That Whitley is the MVP of this episode? He's done more good in an HOUR than the group has managed in a year. Give this kid some training and make him a huntsmen instead.

We're given a (very pretty!) shot of the shattered moon because it wouldn't be RWBY if we weren't continually reminded that gods once wiped out humanity before destroying part of a celestial body... and absolutely no one talks about that lol.

Blake's coat might not make any sense for her color scheme, but it does make her easy to spot as she and Ruby run across the grounds. Oh my god, they're actually doing something together! It only took eight years. They even get a lovely talk where Blake admits how much she looks up to Ruby, despite her being younger, and once again I'm struck at how much more I would have loved this scene if it had appeared elsewhere in the series. It is, indeed, as sweet and emotional as all the RWBY GIF-ers are claiming... provided you overlook that this is the exact opposite of what Ruby needs to hear right now. She doesn't need to hear that she's more mature and reliable than her elders when she's functioning under a "We don't need adults" mentality. She doesn't need to hear that not knowing what to do is totally fine, not when that led to her turning on Ironwood, despite not knowing how to stop Salem. She doesn't need to hear that "doing something" — doing anything — is a strength, because Ruby keeps avoiding the big problems for smaller ones she's comfortable with, like standing by Penny's bedside instead of deciding between Mantle and Atlas. Blake's speech is heartfelt, but it's a speech that suits a Beacon days Ruby who is having some doubts about her leadership skills, not the girl whose impulsive — and now lack of — actions is having world-wide repercussions. Everyone is babying Ruby to a staggering degree. It's like if we had a med show where the doctor is standing by the bedside of a coding patient, fretting between two treatments. 'Don't worry,' their colleague says, patting their shoulder. 'I've always looked up to you. You'll do something when you're ready' and then they continue to watch the patient, you know, die.

Also: who does Ruby look up to? Everyone talks about how much they depend on and trust Ruby, but who does Ruby look to for guidance? A number of her problems stem from the fact that she has rejected the advice of everyone who has tried to help her improve: Qrow, Ozpin, Ironwood, even Yang. Ruby is presented as the pinnacle of what to strive for in a leader, rather than a leader who has only been doing this for two years and still has a great deal to learn.

Anyway, they get the generator on and the Hound shows up.

I am begging RT to just make RWBY a horror story. All their best scenes the last three years have been horror I am bEGGING —

Anyway, while Ruby waits to be eaten we cut to Willow and Klein, the former of which is reaching for her bottle, pulling back, reaching again, all while her hand shakes. This is good. This is what we should have gotten with Qrow. Which isn't to say that their (or anyone's) addiction should be identical, but rather that this is a far more engaging and complex look at addiction than what our birb got. Willow tells us that she doesn't drink in the dark despite bringing the bottle with her; tries to resist drinking when she's scared and ultimately fails. Qrow just decided to stop drinking after decades of addiction, seemingly for no reason, and that was that. Why is a side character we only met this volume written better than one of the main cast?

Blake manages to call Weiss about the Hound and she asks if Whitley can handle the airships without her. I mean, I assume so given that Weiss is looking at the bookshelves while Whitley does all the work lol. He makes a teasing comment about how he can if she can handle that grimm and she comments that they still need to work on his "attitude."

No they don't. Weiss stuck a weapon in her kid brother's face. Whitley made a joke. Even if Weiss' comment is likewise meant to be read as teasing, it's clear that we've bypassed any meaningful conversation between them. That hug was supposed to be a Fix Everything moment even though, as I've laid out elsewhere, it didn't even come close.

We cut back to Ruby getting thrown through a wall into the backyard and the Hound creepily coming after her. She's freaked out by this clearly abnormal grimm and Blake is weirdly... not? "It's just a grimm. Just focus!" Uh, it's obviously not. Have we reached the traumatized, sleep-deprived point where the group is sinking into full-blown denial? I wouldn't be surprised. They've been awake for like... 40+ hours.

Because the Hound knocks Ruby out with a single hit. Just, bam, she's down. "Focusing" is not the solution here.

Weiss calls to warn the others about the grimm, telling them to stick together. Willow (understandably) starts freaking out and flees the room (classic horror trope!). Klein is left alone when Penny wakes up with red eyes. Oh no!

Don't worry. You know nothing meaningful happens.

She shoves Klein before (somehow?) resisting the hack, her Maiden powers going wild in the process. Just when it looks as if Penny might cause some serious damage, Nora wakes up, takes her hand, and says, I kid you not:

"Hey... no one is going to make you do anything you don't want to do... It's just a part of you. Don't forget about the rest."

Okay. I want to re-emphasize that I love hopeful, uplifting, victory-won-through-the-power-of-love stories. Istg I'm not dead inside, it's just that RWBY does this so badly. I mean, what is this? It has similarities to the character shouting, 'No! Resist!' to their mind-controlled ally, but this is not presented as a desperate, last-ditch effort by Nora. She just speaks like this is the most obvious truth in the world. If you don't want to have your mind taken over... just don't! It's that simple. The problem definitely isn't that Watts has changed her coding and has implemented a command she can't override, it's that Penny has forgotten about the "rest" of her personhood.

And this works. Granted, not for long, but we leave Nora having successfully calmed Penny down and until her eyes unexpectedly go red again scenes later, we're left assuming that this is a permanent solution. That, imo anyway, is taking the Power of Love too far, overriding the basic reality of Penny being hacked. It’s not a personal failing she must overcome, it’s an external attack. I would have rather had Nora react to the scars she saw on her arm, or have a moment with Klein, or get some love from the group. Not a wakes up, falls asleep, wakes up again to save Penny with a Ruby level 'Just ignore reality' pep-talk, then back to sleep again.

So Penny isn't attacking her allies, or mistakenly hurting her allies with wild Maiden powers. Not that the group doesn't have enough to deal with, but still. Weiss arrives to help with the Hound and attempts a new summon, only to fail when two minor grimm burrow up into her glyphs. I really enjoyed that moment, both for the wing visual and the knowledge that Weiss' glyphs can fail if you break them somehow (which makes sense). Also, I just like that she failed in general? Weiss is, as per usual now, about to demonstrate just how OP she is compared to the rest of the team, so it was nice to see her faltering here.

The Hound tries to make off with Ruby and Blake does an excellent job of keeping it tethered. Ruby finally wakes, only to realize that the grimm is actually after Penny since it's staring at her power up through the window, no longer trying to escape. Moments like this remind me that there's someone on RT's writing team that knows what they're doing, at least some of the time. The assumption that the Hound is after Ruby as a SEW, the surprise that it's actually Penny, realizing it holds up because Ruby is covered in Penny's blood and Blake is not... that's all nice, tight plotting. More of that please!

The Hound drops her and Ruby's aura shatters when she hits the ground. I want everyone to remember this moment as an example of how strong the Hound is. The group may be tired, but unlike YJR they've been sitting around in the Schnee manor for a number of hours, regaining strength. We saw the Hound hit Ruby twice — once through the wall and once to knock her out — and then she falls from a not very high distance for a huntress, yet her aura is toast. That's the level of power and skill the Hound possesses. Decimating YJR, knocking Oscar out, same for Ruby, avoiding Blake and Weiss' hits, soon to treat Penny like a ragdoll. Just remember all this for the episode's end.

Blake tells Weiss she'll take care of Ruby, you go help the others. Yay breaking up the duos more! Bad timing though as the new acid-spitting grimm pops out of the ground and Blake is now left alone to face it.

Weiss re-enters the mansion, knowing the Hound is somewhere nearby, but not where. Suddenly, Willow's voice sounds through her scroll with an, "Above you!" which... doesn't keep Weiss from getting hit lol. But it's the thought that counts! Willow has accessed the cameras she's set up throughout the manor, watching the Hound's movements, and I have to say, that is a WAY better use of her separation from Klein than I thought we were getting. I legit thought they'd have Willow run away in a panic, meet the Hound, die, and then Weiss could be sad about losing her mom.

It does say something about RWBY's writing that this was my knee-jerk theory, as well as my surprise when we got something way better.

The Hound runs off, uninterested in Weiss, and she asks Willow to keep tabs on it. It heads for Whitley next (also covered in Penny's blood) and very creepily stalks him in the office with a, "I know you're here." Whitley is seconds away from being Hound chow before one of Weiss' boars pin it against the wall. He runs, then runs BACK to finish deploying the airships, before finally escaping assumed death. Goddamn this boy is pulling his weight.

I assume all these ships are automated then? I hope someone takes a moment to call May. Otherwise it's going to be super weird for the Mantle citizens if a fleet of SDC ships just show up and hover there...

I don't entirely understand how Weiss saved him though. She's nowhere to be seen when Whitley leaves and he runs a fair distance before he and Willow encounter Weiss again. We know her summons don't have to keep right next to her, but are they capable of rudimentary thought, attacking an enemy — and an enemy only — despite Weiss being a couple corridors down and unable to see the current battlefield? I don't know. In another series I'd theorize that this was a deliberate hint, a way to clue us into the fact that Willow, someone who we currently know almost nothing about, had training in the past and summoned the boar herself. Weiss and Winter certainly didn't get that hereditary skill from Jacques. Hell, we might still get that, Weiss reacting with confusion next episode when Whitley thanks her for the boar, but I doubt it. That scene with Ruby and the Hound aside, the show isn't this good at laying groundwork and then following up on it.

Case in point: Weiss says, "I didn't forget you" to Whitley after he gets away from the Hound, the moment trying to harken back to her promise to Willow. Key word is "trying." Because she absolutely forgot him! Weiss threatened and ignored Whitley until he proved his usefulness. I also shouldn't need to point out that, "Don't forget your brother" does not mean, "Don't let your brother die a horrible death by abnormal grimm." Weiss acts like her saving him is a fulfillment of her promise, rather than just the most basic of human decency. And also, you know, her job.

So that part is frustrating. The entire Schnee dynamic is a mess, from Weiss making a joke of her father's arrest, to Willow (presumably) fixing their relationship by putting a hand on her daughter's shoulder. Okay.

Then Weiss cuts off the Hound by summoning a giant wall of ice. My brain, every time this happens:

YOU COULD HAVE FIXED THE HOLE IN MANTLE'S WALL.

Moving on, Blake's fight against the acid... thing has some great choreography, including Blake using her semblance which we haven't seen in AGES. 

I really like the fight itself, just not what Blake is shouting the whole time. "I need you, Ruby! We all need you!" This has really gotten ridiculous. Ruby is presented as everyone's sole savior despite failing time and time again. It's not that I don't think Blake as a character should have faith in her leader, it's that I don't think the writers should be crafting a story where everyone puts their unshakable hopes in an untrained, disloyal, impulsive 17 year old. I mean, Ruby is currently unconscious, yet Blake is acting like if she doesn't wake up — she, as an individual, if Ruby Rose does not re-join this fight — then all is lost. If Ruby doesn't save them, no one can. Which is, of course, absurd on numerous levels. Blake doesn't need the passed out, aura-less Ruby right now, she needs the still very healthy Weiss pulling out multiple summons and an ice wall! Use your scroll and call for backup again.

But of course, Ruby wakes up and kills the new, terrifying grimm with a single hit. It's a preview of what's to come with the Hound and it's just as ridiculous here as it will be there.

Speaking of the Hound, am I the only one who thought this was... cute?

I can't possibly be the only one. That head-tilt is exactly what my dogs do and my brain instinctively went, "Aww, puppy!"

Murderous puppy.

The Hound realizes none of the Schnees are who it's looking for and runs off. Penny, meanwhile, has been fully taken over because, well, that's just what's convenient now. She resists long enough keep Amity up, then succumbs, then resists to apologize to Ruby, then succumbs, then resists because Nora asked her to, then succumbs once it's time to knock her out. If RWBY was willing to commit to consequences, Penny would have been taken over and that was that. The characters would need to deal with whatever outcome happens as a result. Instead, the show very carefully avoids any of those pesky consequences by having Penny successfully resisting at key moments, despite no explanation of how she's managing that.

She shoves Klein again (Klein is having a Bad Time) and starts walking down the main steps. When Whitley wants to know where the hell she's going, Penny mechanically responds that she must "Open the vault, then self-destruct." I suppose the change Watts made was the self-destruct order? Ironwood obviously wants the vault open, though not necessarily Penny's death. Think what you will of his moral compass, she's a damn powerful ally — a research project, perhaps — and a Maiden to boot. At the very least, her death may give the powers to someone even worse.

God, please don't let them have brought Penny back and made her a Maiden just to kill her again.

The Hound arrives though and, as said, knocks Penny out. We're back to square one with her, then. Note though that this attack is near instantaneous. She grabs its hands one second, is hanging limply the next. Wow, the Hound sure is a terrifying antagonist!

Not for long.

"That's enough," Ruby says and one-shots it with her eyes.

Now, I want to talk for a moment about the implications of that line. "That's enough." Obviously Ruby is #done with this situation and emotionally unwilling to let the Hound kidnap Penny (congratulations, Nuts and Dolts shippers), but there's a meta reading here as well. Not intentional, but glaring to me nonetheless. Basically, the idea that the Hound has, from a plot perspective, done enough. It has served its singular purpose. It kidnapped Oscar and now it dies. Never-mind how insanely powerful we've established the Hound to be, never-mind how Ruby's eyes also work or don't work according to whether anything of actual import is on the line. From a plot perspective "that's enough" and the Hound can be disposed of instantly. It got Oscar and gave us an episode of filler creepiness. Move along now.

The idea behind Ruby's eyes isn't bad, but the execution absolutely is. RT has undermined a huge portion of the stakes by giving their protagonist an instant kill-shot that always works precisely when she needs it to. Starting with the Apathy, we have yet to get a moment where Ruby's eyes fail to save the day when she really needs them to, no matter how incredible the challenge. The Hound was very intentionally written to be a grimm outside of the group's current power level. It thinks, it talks, they literally can't touch it. This creates the expectation that the group will need to grow stronger — or at least become smarter — in order to surmount this new obstacle, yet Ruby's eyes undermine all of that. The group hasn't grown in years, the show just makes enemies weaker as needed (Ace Ops), or has Ruby pull out her eyes as a trump card. It wouldn't be that bad if we'd at least gotten a good battle out of it, one where the group gets close to defeating the Hound on their own, but needs Ruby's eyes to finish it off. Instead, she literally walks up without any aura, announces to the audience that this antagonist's time is up, and blasts it out a window.

Granted, Ruby's eyes don't completely finish it. The Hound pulls itself to its feet and we see this.

Yup, that's a guy and yup, those are silver eyes.

I would like to issue a formal apology to the "It's secretly Summer!" theorists in the fandom. I mean, I still think it would be ridiculous (and at this point highly improbable) that Ruby's dead mother has actually been a grimm mutant this whole time, just hanging out in Salem's realm while she waits for the plot to start before attacking the world, and then sends some no-name faunus dude after the group instead of their leader's mother for extra, emotional torture... but you all were definitely right about the “It's a person” part! I... don't know how I feel about this. Admittedly, it seems to be a logical continuation of the other grimm-human hybrids we've seen — namely Cinder and Salem herself — and it finally explains why Salem wants Ruby alive (even though it actually doesn't because WHY did she want more SEWs for Hound grimm when she wasn't even attacking back then? And already has all these other insanely powerful tools??), but at the same time, it feels like it's complicating a story that doesn't need further complications. The group fights monsters and has an immortal enemy. You don't need to add 'Some of those monsters are secretly human' to the mix.

It doesn't hurt that this twist is giving me Attack on Titan vibes, which, ew. A dark time in my fandom life, folks.

The Hound staggers a few steps before Whitley and Willow dump a suit of armor on it. That's all it takes to kill the most dangerous grimm we've ever seen: a single flash of silver eyes and some heavy metal. This also wreaks havoc with the implication that Salem wants SEWs alive because they create such powerful grimm. Obviously not. I mean yeah, normal huntsmen are going to have serious  problems, we’ve seen that this volume, but any other SEWs nearby will take a Hound out instantaneously. For a villain with so many other powerful abilities — immortality, magic, endless normal grimm, her nifty soup — Salem would be much better served just killing SEWs straight out. Clearly, creating Hounds isn't worth the effort.

The Hound leaves some bones behind and Ruby collapses to her knees, overcome with the knowledge that this was once a person. Again, uncomfortable Attack on Titan parallels.

We finish our premiere with Cinder clearing away rubble to reveal Watts. Honestly, I like that we ended on this because her rescue is hilarious. She just slings him over her shoulders like a sack of potatoes and blasts off with her magic fire feet. Fantastic.

Note though that with this scene we've seen almost everything from the clip and the trailer. What's to come in the rest of Volume 8? No idea. Outside of Winter leading the charge with the bomb, we got it all here.

Time to update the bingo board!

I'm crossing off "Introducing new grimm that are quickly abandoned." Between the Hound and acid-dude both falling to a single blast/cut from Ruby, we've more than earned this square.

It doesn't look as if we'll get another Watts-Jacques team-up now that he's left, but you never know.

Maria's got me worried. I feel like her Yoda fight against Neo is the one thing she'll be allowed to do this volume, but given that we didn't see anyone except Ruby's group this episode, we don't yet know whether the story is now ignoring her and Pietro, or if they'll re-appear in another episode like YJR.  

Qrow is free. Will he get a drink before trying to murder Ironwood? Perhaps.

Still no bingo :(

All in all, the episode was by no means horrible. I think there were lots of horrible parts, but also some legitimately well executed moments, fun action, and scenes that I can easily imagine as squee worthy if you lean back and squint. Everything is comparative and in the growing collection of bad RWBY episodes, this one isn't securing a top slot. Which doesn't mean I think it's good, just... not as bad as it could have been and primarily only bad due to long-running problems, not things this specific episode has done. That's my bar then, so low it has officially entered the underworld.

Still, RWBY is back and a part of me is eager to see where this volume takes us, for better or for worse.

Until next week! 💜

[Ko-Fi]

[annethepancake]

Sherlock rant

I recently rewatched BBC Sherlock for Rupert Graves, and aside from the lack of Lestrade appreciation I have a lot of problems with this series. Here are my thoughts:

1. It was all a blur

My second first impression of the show: I don't remember anything but the characters. And some characters I just blatantly forgot, like Mary. And I loved Mary on my second watch! I really forgot that at one point John actually got married and I don't even remember when I watched the show for the first time. I can still recall most of HIMYM's events and I hated that series.

2. It’s overall not a detective/crime show

Watching Sherlock for the second time, I mostly turned off my brain and just let it play in the background because (1) there's hardly anything for me to solve with the characters, most clues are taken by Sherlock off-screen anyway (especially after season 2), (2) they focus way too much on the quirks of the characters that make it almost like a sitcom that got dragged on for way too long. A crime/detective show shouldn't allow me to turn off my brain.

3. The characters just kinda fall flat

Exploring the depth of human emotions is not a bad approach to a modernized version of anything, I’m not trying to pretend I’m better than someone who gets sentimental over fictional character (if you know my blog at all, you know I am not), but at least write good characters. Sherlock is hardly a multi-faceted person; in fact, he’s kinda like the Wattpad teen fic main character sometimes. He physically fights off some terrorists with a machete to save the damsel in distress? He gets high off his tits but still got everything right all the time? John is just kinda there for most of the cases. Jim is a poorly written antagonist. Irene is a lesbian but gets the hot for our main character, surprise surprise. The only interesting characters to me are the ones who act like normal people: Molly, Greg and Mary. They are the multi-faceted characters, ones who I can actually relate to without feeling inferior to them in any way. Write characters like them, stop trying to be smart about it and stop writing Wattpad fanfictions for Sir Conan Doyle’s original works.

I get that they try to make Sherlock more like a human with emotions, making him quirky and arrogant, then make him quirky and more likable. It’s hardly a convincing character development though. He’s given over-powered deduction skills, so edgy, so high and mighty all the time. When he is finally written as vulnerable, turns out he has plans for that too. I would love to see him get it wrong once and maybe get humbled by that mistake, but getting Mary shot and killed is hardly even his fault, he is only doing his job. And killing off Mary is overall a bad idea anyway.

4. They treated the fandom like shit

I was absolutely disgusted at the start of season 3 when the showrunners just straight up shat on their fans. I wasn't there with the fandom during the wait between season 2 and 3, but I believe it was a pretty long wait (2 years, I could barely wait 2 years for my comfort series, and they have like 10 episodes per season), and they were presented with the first actual mystery of the series: How did Sherlock survive the fall? After years of waiting and having fun theorizing, they were met with a mockumentary about them, starring the most hated character of the protagonist and the fans. Those are the people who actually cared about the show for god's sake. The fact that the showrunners treated fans like crap and there's still an active fandom for the show appalled me.

Now not only The Empty Hearse bugs me, but the entire show does as well.

Allow me to digress.

Doki Doki Literature Club is a great example of audience engagement done right (Sorry for using this example I’m not actually that invested in the other franchises). After the success of the first game, the story provoked so many fans into solving the mysteries of the characters, some of them went really, really far. And that’s because of the actual mysteries that the development team took effort to plant into the plot. There is actual pay-off for painstakingly following the clues; as far as I know, only two (2!) people in the world have come close to solving the mystery of the first game (or they actually did). The game developers value their fans and their intelligence enough to have planted those clues where they did, and it’s a genuine exchange between the fans and the creators. Now even though you haven’t actually played the game, when you hear of the name and you’re only kinda familiar with gaming (like me), you’ll probably know what it is. What started as a mere open-source game by an indie developer became a sensation which left millions of fans begging for more.

Looking back at Sherlock, there are tons of logical flaws for a self-proclaimed crime series, virtually no clues for the audience to solve crimes along with their favorite detective, and when there was actually a mystery (Sherlock jumped off the building), they plainly showed him alive and well minutes later. Do we really need to see things spelled on screen to know what’s going on? Are we supposed to accept that Sherlock Holmes is an all-knowing future-predicting genius now too? Not a great sign of respecting the audience there.

So far, the only thing left that’s interesting about this series is the characters’ dynamic. Which brings me to the next criticism I have for the show.

5. The plague that infested mainstream media

Why is there still an active fandom? Queerbaiting and targeted marketing.

Community marketing is proven to be one of the best marketing methods there is, if not the best, to lengthen the lifespan of a product or service. The way they do that for shows and films and video games is usually by planting seeds of possible lores and history inside the content. Look at Harry Potter or Lord of the Rings, they are franchises that ran for multiple years with a ton of history and world building that provokes fans’ imagination.

Sherlock - well, Sherlock has sexually ambiguous men.

Sherlock has a formula for success. It was an adaptation of the most iconic detective novel in the world, funded by one of the biggest TV networks in the UK and possibly the world (don’t quote me on this). Making this series means you can appeal to such a wide group of audience even before airing. Adding in the quirky smart men who live together, you’ve basically guaranteed a prime-time show with millions of loyal fans all over the world.

Fans are not stupid, and queer people don't just find queerness everywhere they go. They know a gay subtext when they see one. Sherlock came back from the literal death for John, pretty gay if you ask me.

This show is very much not just about some guys being dudes solving crimes, they have relationship that’s deeper than friendship, and definitely not platonic. They deliberately wrote a sexually ambiguous Sherlock Holmes from the get-go - literally from the very first episode, then capitalized off of the targeted demographic, never a pay-off for their anticipation. Martin Freeman said in interviews that he could recognize Sherlock fans, them being generally women from 16 - 25. No shit Sherlock, this show targets them and capitalizes off of them, being quirky and gay as hell, of course the fanbase is generally 16 - 25 and female.

Sherlock queerbaited the fandom for years for the sake of marketing and there’s never a pay-off, nor was there any recognition to the community, and to add to all that bigotry, queercoding pretty much all of the villains? Why was a show aired in the 2010′s allowed to do this? Why did Mark Gatiss, an openly gay man, a writer of the show, allow this to happen? Why are millions of fans all over the world allowing all this to go on?!

6. Conclusion

Now I haven’t read the books yet, so I’m not at all qualified to criticize the adaptation quality of the TV series; I’m just talking about the TV series on its own. Despite my criticism, I think the first two seasons did quite okay. There are quite a few nice cases there, I like The Blind Banker and The Hound of Baskerville. They did those well because the focus was on the cases themselves, and the connection between John and Sherlock was only in the background. I, like many other fans, like to figure things out on my own, to read between the lines, and to not have things spelled out for me. With the next seasons bombarded with Sherlock and John bonding it seriously felt like mere fan service for me and even though I wasn’t there when the show was on, I still felt like I was robbed and my interest in the show was abused.

Sherlock is undoubtedly super influential in pop culture even now. It has to have done something right to be in that spot (capitalizing off loyal fans?). I’m not writing this rant to change someone’s mind about the series, by all means, I’m still gonna love the hell out of Gavin Lestrade, and absolutely lose my mind over Mary Watson. So do take my words with a grain of salt, I’m just disappointed that one of the most influential shows there is is just short of my expectations.

[rainbuckets8]

Settings in She-Ra

Today I will talk about setting and how She-Ra uses its settings to do some very cool things with its writing. I didn’t even notice all of these things until a recent rewatch because it’s so subtle and yet so brilliant at unconsciously making you notice things. TL;DR: The two major characters, Adora and Catra, are reflected in the show by a few major settings. And in this essay I will -

To understand settings in She-Ra, you need to understand that writing is rarely a cause-and-effect endeavor. Writing decisions and choices don’t just happen because something is the most likely to happen in the world of the story; things happen because the author writes them. So when something takes place in the Whispering Woods, it’s important to remember that was a deliberate decision for some event to happen there, not just because it’s a logical outcome. Following this, I will make a guess that She-Ra’s major settings are like an extended metaphor for the thoughts and feelings of its two major characters, Adora and Catra.

What tipped me off to this was a recent rewatch, when Adora and Catra confront each other at the end of Season 3. And it occurred to me just how often they confronted each other in the Whispering Woods. Seems odd, right? Another thing is that Adora goes on her own Hero’s Journey. The Hero goes into the Unknown, a supernatural place, and encounters challenges, only to grow past them and emerge a changed person, and returns to their life. Adora definitely changes; she literally transforms into She-Ra for the rest of the series, and She-Ra even changes again when Adora gets a new transformation.The Whispering Woods can certainly be defined as the Unknown, in a literal sense; even the princesses and native Etherians treat it with caution and confusion, because it’s so ancient and mystical. The Woods also exist as a boundary between the Horde and Brightmoon, a middle ground. If Adora’s journey begins in the Horde and ends in Brightmoon, she has to go through the Woods, the Unknown, in order to complete it. Adora’s journey is centered around her inner thoughts and feelings as much, or even more, as it is about winning a war. And these challenges to her thoughts and feelings usually take place in the Whispering Woods, which is a metaphor for her sense of self. Or else, they take place in First One’s ruins, which are in the Woods, and represent Adora going deeper into her thoughts.

No post of mine is complete without numerous examples, so let’s take it from the top. Adora and Catra leave the Horde, their home, to enter the Woods, and Adora encounters something strange and new there. Adora goes back, and Catra stays behind, metaphorically because Catra isn’t ready to start her own journey yet. Glimmer and Bow enter the ruins with Adora, and she slowly learns to let them into her life and they become her close friends. Adora gets to Brightmoon but enters the Woods again when she is unsure of what to do, and gets advice from Razz. (Which is really advice from herself: “You’re a smart girl. What do you think?”) When Adora next encounters a problem she can’t handle, healing Glimmer, she retreats to the Woods again in search of answers. She goes deeper and finds Catra in the ruins in Promise. After making the major decision to essentially cut Catra out of her life, to “let go,” the Woods end up destroyed in the process of the Battle of Brightmoon, much like how Adora’s own thoughts are conflicted.

The next major conflict in the Woods happens in the Season 3 finale, in the false world created by the portal. Adora confronts Catra yet again, not just once but twice, and firmly makes a decision: I can’t be friends with you anymore if you keep acting like this. We also get a nice look at Adora’s theme of destiny and how that relates to Glimmer and Bow leaving her alone, and Angella sacrificing herself when Adora initially believes that’s her destiny.

Our next major glimpse of the Woods comes from Mara, actually! Mara herself goes on a little brief journey, and learns new things from Razz in Hero, in where else? The Woods. Mara, being the She-Ra before Adora, as a predecessor figure, emphasizes that the Woods have some mystical connection to the mystical She-Ra - and the exposition for the audience doesn’t hurt here either. Season 4 ends with another major conflict between Adora and one of her parental figures, Light Hope. We go as deep as we’ve been yet into the First Ones’ ruins, and it ends with Adora rejecting the concept of her destiny.

Finally, in Season 5, when Adora gets back to Etheria, she retreats from Prime to, where else, but the deepest part of the Whispering Woods. However, much like how Prime’s chips can take over a person’s thoughts, so too do the chipped people take over that camp, corrupting a safe haven for Adora. Shadow Weaver worms her way into the new camp in the Whispering Woods, and in the next episodes, Adora starts letting Shadow Weaver’s incorrect arguments about repressing her thoughts and feelings worm their way into her head. But then Adora goes as deep into the ruins as she’s ever been, the literal center of the planet. Glimmer and Bow turn back and trust Catra to go deeper, with Shadow Weaver. It’s in the tunnels where Adora rejects Shadow Weaver one last time, and Shadow Weaver dies, and Adora can start to get closure on that chapter in her life. And then Adora accepts her love for Catra. How cool is it that this place is called the Heart? Not just a heart, as in the center of Adora’s self, but a heart as in the symbol for feelings and wants. And how it’s both of those, suggesting that feelings and wants are the strongest and most central part of her mind and self. (If you’re familiar with my other ramblings, insert the “magic, especially She-Ra’s magic, is love” metaphor here.)

As an aside, the two parts of her mind, the First Ones and the natural Whispering Woods, can be read as an extension of this metaphor; she’s torn between two groups. While Adora is technically adopted, based on the themes of the show, this isn’t so much about literal feelings about adoption as it is “found family vs birth family.” So the First Ones don’t represent adoption in a negative light, as much as they represent some of our birth or immediate families. And how the family Adora found and chose, is so much better for her than the families that were chosen for her (either Light Hope as a representation of the First Ones, or Shadow Weaver as someone who takes her in).

Whew, ok. How about Catra? Catra’s self is reflected much like Adora’s. Catra’s major setting is the Fright Zone. She wins most of her major victories there. She defeats Shadow Weaver, and she defeats Hordak. But she also loses her friends. She stuns Entrapta. The two pivotal moments of Scorpia leaving her happen in the Horde: when she confirms she would destroy Emily, and Scorpia calls her a bad friend; and when she discovers the note Scorpia left behind. Double Trouble confronts her in the Fright Zone after she fights Hordak. Unlike Adora, the Fright Zone is portrayed as an unhealthy place.

Catra only starts her own journey when she enters her version of the Unknown. If Adora’s version is the Woods, then Catra’s supernatural place where she doesn’t feel at home is Horde Prime’s ship. She tries her games again, to make her way up the ranks, but it’s clear Prime isn’t falling for them. She confronts her inner thoughts and feelings: “Adora means something to you.” She sees what she’s always known deep down, in an irrefutable way: the Horde, and Prime, is super unhealthy. She makes her pivotal decision to change when she rescues Glimmer. And let’s talk about that, because there’s something super neat about Adora’s reflection of her deepest thoughts, the ruins, and Catra’s reflection of her deepest thoughts, the Velvet Glove. These are the only two places where there are diegetic flashbacks, and only for Catra and Adora. (Diegetic means “in the world of the story.” Characters can see or hear a diegetic thing. So background soundtracks are for the audience only, that is non-diegetic music; Sea Hawk’s shanties can be heard by the characters and the audience, that is diegetic music.) There is an explanation in the world for Adora’s: it’s tech, either by Light Hope, or a leftover. But there is absolutely no reason that Catra can see the exact same style of flashback aboard the Velvet Glove, in Corridors. Why only these two places, that just so happen to be the two places that reflect each of their deepest feelings? Speaking of Corridors, it’s an exceptional episode for all its imagery and it’s here that the setting reflects Catra the most. It’s here when Catra reaffirms her deepest fears. “All I do is hurt people. There’s no one left in the entire universe who cares about me.”

But she’s wrong! Because although Adora and Catra are each reflected in their settings, they are also deeply intertwined with each other. We see this in Save the Cat, when Adora goes into the Velvet Glove without even being able to turn into She-Ra, ready to make the worst tactical decision ever, of all time, to try and save Catra. We see this in Promise, when the two deeply confront each other about their innermost feelings, and the settings become intertwined: we’re in the ruins for Adora, and at the same time in a simulation of the Horde for Catra. We see this in the Woods in Season 3’s finale, when they confront each other yet again. We see this in the tunnels in Heart, Part 1 and Part 2, when Adora sees Catra in simulations and Catra makes her way into the deepest part of the Heart to save her. Think about the number of times they have been alone with just each other in any of these settings. Think about who gets to be in these settings with them, and how that usually or always reflects who has the most influence on these two as characters. (Remember Prime isn’t so much about who he is, as what kinds of thinking he represents.)

The settings in She-Ra not only reflect the two main characters visually, but also metaphorically. Adora is the Woods and the ruins. Catra is the Fright Zone and the Velvet Glove. The characters enter each other’s settings many times, and they argue and fight. But, throughout all that time, they’ve still held the other near to their heart. As Catra says to Adora: “I love you. I always have.”

[lizacstuff]

Sen Çal Kapımı episode 47 asks

Below the read more find asks and answers about episode 47, the fragman for 48 and other miscellaneous things.

(UNDER THE CUT)

Anonymous asked: Hi! I hope you are enjoying your vacation. I remember you mentioned you would be traveling. What were your thoughts on the epi? I think this was one episode where everything was happy! No big problems. The truth about Kemal being Serkan's dad could have been dramatic but Ayse and team wrote it like a romcom. I'm not really feeling the Deniz being the saviour of Artlife like they are portraying in the fragmans but I'll wait for the next epi to make a judgement.

Thank you. Once again, I though the whole episode was a really easy watch and I enjoyed every minute.  

I really appreciate the tone this season, even something as series as Serkan’s parentage is played lightly, as you say very much rom com, and not full of heavy melodrama (as it would have been if explored during the 30s). This is exactly the tone and feel of this show that I want.  

Serkan’s reaction was predictable, but it was also clear that he just needed time to adjust and settle down and he’ll come around. I like that. 

I don’t have time this week to do full episode thoughts, but I enjoyed Serkan and Eda’s morning after conversation. Hilarious that he’d removed all the sharp objects from the room. Loved that after all of Eda’s fear-fueled reticence, once she decided to take the plunge with him, she was all in. Eda admitting that she’d been unbalanced and had been at fault for hiding Kiraz,--and acknowledging that Serkan had been fighting for them and now she wanted to as well-- was very nice. After running a bit hot and cold, Serkan deserved to hear that.  

lolo-deli asked: Hard to believe we didn't get a reconciliation scene in 47... Nobody expected sex but we couldn't even get a hug or kiss when they made up? "I want to see that tattoo" was not the romantic reunion I was hoping for. Were you at all disappointed?

IMO, we did see the important part of the reconciliation, and that was the conversation. Sure, I think we should have seen Serkan and Eda kiss in the last episode. If I were in charge we would have, but I don’t think the story actually loses anything because it’s not a mystery what happened.   

Clearly, he says the tattoo line and they jump each other, make their way to the bedroom, have sex, but don’t really communicate until the morning when she wakes up, and that’s where the show picks up and we get to see those first important moments. 

If you’re looking for romance, then I would point to everything that led up to that tattoo line in 46. That entire episode (and the one before it) was their romantic reconciliation. Moments alone where he takes in her scent and whispers how much he’s missed her, waking up in bed together when they just automatically gravitate to one another, the moments of pretending to be married that were very comedic, but also very soft and romantic (What’s your greatest passion, what’s the first line you ever said to one another), the heartfelt conversation on the bench, the actual tattoo conversation at dinner. That’s the romantic reunion. Yes, if they had just reunited after years (like in episode 40) right before the tattoo line, I  would have needed more romance, but we’ve had 7 episodes of them working their way back to one another. Everything was primed, all they needed was to light the match.  IMO that line did the trick. 

So, am I disappointed? No. I’m happy to go with the flow and enjoy every minute of what they do give us in these last few episodes. I choose not to get tied up in what I wish would happen vs what actually happens. I find I don’t enjoy any show when I put the onus on the show to conform to my wishes. 

Some might be disappointed, that’s their choice, (and make no mistake, it is a choice) but that’s not how I’m approaching this second season which is serving up so much romance, comedy, and domestic family goodness. I suffered through the 30s so I could get to this, I’m not going to waste any of it being disappointed.

Anonymous asked: Idk why this proposal was the most emotional out of them all for me. Perhaps with the other ones I just KNEW the other shoe had to drop because they couldn't let them get happily married this early and this time I knew it was finally it. Or maybe it was the fact that knowing they're married means the show really is ending soon, but I was a blubbering mess lol. Sure there's drama ahead, but it's definitely not a plane crash and memory loss or a "fake" Selin pregnancy!

Yes! Thank goodness we don’t have any of that nonsense waiting for us.  They are really going to be married. 

I enjoyed this proposal very much, it was so sweet the way he planned everything out and had everyone helping, while Eda (and even sort of the audience) was in the dark about what was really going on there.  

For me, as far as the words spoken, nothing really tops his speech to her in 27, but the great thing is that we get them all and this was special in it’s own right because he really surprised her and swept her off her feet this time around.  I loved it!

Anonymous asked: So I am confused about Serkan’s ability to have kids- it’s not a problem now? If him being infertile was only temporary, why did he say it was impossible to have kids and it was a part of why he left Eda in the first place so she could have it somewhere else? They could’ve just waited a couple years to have kids then...? I know he also left her cause he was scared of dying but they really made his reaction seem like he’d NEVER be able to have kids

My assumption is that since they were able to have Kiraz, they know it’s possible, so even if it won’t be easy (and fertility is usually not a hard yes/ no line... mostly it’s a measure of how likely it is) they are choosing to believe they will be able to conceive again.  

If you’re looking to change what his assumptions were when they first broke up and he thought he was unable to have kids (and that there was a 70% chance the cancer would come back) and deciding he should have made different decisions based on the fact that he was able to father Kiraz... to be blunt you’re looking at it the wrong way. 

At that time, he thought he would never be able to have kids. Full stop.  The fact that wasn’t necessarily true doesn’t change what he believed at the time. 

Anonymous asked: serkan being the overly protective, worrying, affectionate baba is EXACTLY what i imagined, as i'm sure everyone else did. who else would worry about the pH balance of the soap at their daughter's preschool?! serkan thinking his angel can do no wrong.. of course it was all can's plan to hide them in the bathroom lmao. i hope, and with how this season is going i think we'll get it, we get to see this serkan in action when eda is pregnant too.. even if we just see a couple minutes of it!

YES! I loved overly protective Serkan. Thankfully, for Kiraz’s sake he has Eda (who might be a bit too far the other way) to balance him out.   I agree that it was hilarious how he was trying to blame sweet Can.  Even without seeing what happened, I’m pretty sure anyone else who had spent two minutes with those kids would figure out who the instigator was.  When rabble rousing is going on, I think it’s fair to point to the offspring of Serkan Bolat and Eda Yildiz as the cause, lmao.

It would be great it we got to see glimpses of Serkan as an expectant father and also the father of a newborn.  I would love that.

Anonymous asked: I see that the "Nitpick of the Week" as I'm calling it, this week is where Serkan proposed. Because Serkan Bolat would neeeeever propose in a "parking lot" .. am I the only one seeing that it's not even a parking lot, it's a road. Like if it is a parking lot where are the other cars then lol?! Putting aside that he's proposing outside their literal wedding venue, their entire story started in a parking lot. He told her he loved her for the first time on the side of a road. I'm not understanding.

You make great points!  Their love story did start in a parking lot AND he was trying to pull off both a surprise proposal and a surprise wedding in one day’s notice. Since we’ve already seen a proposal on a plane, a proposal at a piano bar and a proposal at their place of work, I don’t really have the energy to join the discontented masses on twitter and nitpick the location of this proposal. He could have proposed in front of a landfill and I would have been delighted. 

Anonymous asked: I'm sorry if you don't find it as funny, but people's reaction to this new fragman is so exaggerated like they're about to witness Indecent Proposal dizi-edition that I literally couldn't help but find it hilarious. Like no where is it ever implied that Deniz is offering Serkan SEX, but when Eda says "just do what you have to" somehow that's the first thing everyone thought of?! Not to mention we know this is Deniz's last ep.. the dramatic reactions really have me dying lmao.

OMG! I know. So this is a show that doesn’t show sex, Serkan didn’t sleep with the woman he thought was his girlfriend during amnesia, Serkan and Eda were both celibate for 5 years, but suddenly they’re gonna have newly-married Serkan go to the edge width Deniz?!?!?!  Those people on twitter lost their damn minds.  

On Saturday, I was on vacation and had just popped in to see if the new fragman was released, I was happy to nope right out of there when I saw the insanely melodramatic overreaction to the fragman. 

It’s obvious that since the biggest issue between Eda and Serkan is Eda’s fear that Serkan will always prioritize work over her, as he did on their first wedding day, this story is to show that Serkan will 100% choose Eda over work and Art Life.  Also I’m sure the episode will have the same tone as the rest of the season, which is light and comedic.  

Anonymous asked: sometimes I go back to episode 28 and still can't believe they got that bathtub + shower scene in there with the rtuk guidelines. I've watched a couple more romcoms since starting SCK and have never seen anything close to that. I know they got fined afterwards but they were really like "screw it, we're going it for anyway" 😂

It’s interesting that the production company and network went for it there. But as you say they did get fined, so they didn’t get away with anything.  

[fannishcodex]

Another thought before I watch the new He-Man/MOTU:

-I am genuinely interested! It started with spop and Hordak/Entrapta, Imp, Emily, Horde Prime, Wrong Hordak (Kadroh), Horde Clones (Entrapdak/Spacebat fandom); and then I’ve started watching original ‘80s She-Ra and I’m genuinely enjoying it, and I’ve read up more on MOTU, and now I’m even more curious about checking out more MOTU. Like, the sense that the new show might be closer to original MOTU? That interests me, because original MOTU seems to have interesting concepts that have potential/could be explored more.

Also @shadsiethewriter @emperorsfoot @pennamesmith have gotten me interested in more MOTU too.

continued under the cut:

-I heard some neat casting news--Mark Hamill and Sarah Michelle Gellar, and I’m so here for that. Mark Hamill as Skeletor sounds like such a good idea given what I know of Skeletor, especially Skeletor from the original ‘80s show; and SMG is making me nostalgic and bringing back all my Feels for Buffy, especially Buffy the Character and looking back I wish spop had centered Adora as much as BtVS centered Buffy Anne Summers, like BtVS really made me love Buffy the Character and I felt it centered her pretty well from what I recall of the show.

-Orko’s design has just always looked very cute to me. He reminds me of Vivi from Final Fantasy 9 and the Heartless in Kingdom Hearts. And he’s still looking cute in the new show’s trailer, and apparently he gets some cool animation scenes, which I’m also here for.

-That first trailer just looked so fun and good to me. I was digging the animation and the action scenes and the art and the choice of “Holding Out for a Hero” as the trailer music!

-I appreciate how it seems like all the characters are just adults. 1) Again, another tidbit that seems like they’re exploring more of the original MOTU show from the ‘80s, which is neat. 2) And also it makes me think of--kinda dipping into another topic here tbh: now, there are animated shows I like with largely younger main casts (hey AtLA!), but I don’t like seeing the idea of “all-ages animated shows need younger main casts, they can’t have too many adult main characters, and the main cast definitely can’t just be adults.” I’ve found myself thinking more about some animated shows I watched before and thinking how they were foundational for me, and they were meant to be all-ages shows but they really did have adult casts--Beast Wars, Gargoyles, Justice League (Unlimited), Spider-Man the Animated Series, Reboot to an extent, etc. (BW/Gargoyles/JL/Spider-Man/these shows still had their like younger adult characters too, but they weren’t literally kids.) They were still deeply entertaining animated shows, and it seemed like they didn’t feel like kid characters were necessary to reach an all-ages audience/they weren’t intimidated by having largely adult casts in fantastical worlds meant for all-ages audiences. I think part of it was that I felt like that one Tumblr post I saw once (I forget by whom though)--it was nice to see adults having fictional adventures too (at least I believe that’s what that post conveyed; either way, it’s also something I just like to think). But honestly, I don’t really remember thinking of how I was watching adult characters when I first saw the shows--I was watching Dinobot and Goliath and Hawkgirl being really cool and interesting characters. Now, having said that, I think the new He-Man/Motu isn’t necessarily meant for an all-ages audience. (Something to Google I suppose.) Either way, I appreciate how the new MOTU show is apparently keeping their adult cast and seems more willing to explore concepts from the original MOTU stories. 

My hopes/expectations for new He-Man/MOTU:

Right now just pretty casual, I just hope it’s genuinely entertaining. If it turns out to be great to me, cool! If it’s just genuinely entertaining, that’s fine.