#but we have also seen what characterization looks like in this movie

[floatingcatacombs]

The Normal Author’s Girlfriend’s List Of Bad Yuri Anime

12 Days of Aniblogging 2024, Day 11

So you’ve seen some good yuri anime: Revolutionary Girl Utena (and the movie, if you want), Bloom Into You, Puella Magi Madoka Magica (plus, of course, Rebellion, which is essential), Bocchi: The Rock!, Girls Last Tour. You know HaruMichi and Farcille and poor sweet Tomoyo Daidouji and Quanxi’s whole deal. You’ve been queerbaited by Kyoani, or maybe you got lucky and watched Dragon Maid which was actually gay; you no longer get weirded out by incest; you wanted more Utena and got The Witch from Mercury S1 (good) or Revue Starlight (bad); maybe you’ve even gone back to Oniisama e and discovered Ryoko Ikeda’s incredible butch-for-butch technologies.

You’ve seen some good yuri and that’s been great. It’s just… there isn’t that much of it. Well, you could start reading manga, or books, or talking to actual women, but you want more yuri anime specifically.

To you, dear reader, I offer up this solution:

Bad Yuri.

Floating Catacombs 2025 Presents:

A Normal Author’s Girlfriend Production

The Normal Author’s Girlfriend’s List Of Bad Yuri Anime

Before we get started, let’s define our terms. First: Bad Yuri must not be in good taste. Second, let us consider some ‘ungood’ yuri, that we might understand what we aren’t looking for:

Case 1: Liz and the Blue Bird.

Boring and forgettable. Bad Yuri must be watchable.

Case 2: Shoujo Kageki Revue Starlight.

Yeah the butchfemme was good but I spent this entire show waiting for KuroMaya and they only got half an episode. I don’t fucking care about ‘childhood friends’. Bad Yuri must be enjoyable.

Case 3: Hibike Euphonium

It has to be gay. Come on. This is like the most basic requirement.

Case 4: MagiRevo, Undead Murder Farce

Being gay is not enough. You have to have actual characters.

In sum: Bad Yuri must be in bad taste; it must be watchable on a minute-to-minute basis; it must not leave the watcher with a bad taste in her mouth; it must actually be gay; and it must have some semblance of characterization. In practice it is basically always violent and horny. We’re talking like Kill La Kill levels, although if you ever want to watch that you should just go see Promare instead. Also, I reserve the right to break any and all of these rules whenever I feel like it. Without further ado:

Cross Ange

Content Warnings: Blood, Violence, Death, Sexual Assault, Ryona, Incest, Bad Taste, Needlessly Edgy, It’s Just Porn At This Point, Incredibly Stupid Plot Twists, Pretty Much Every Fetish

Princess Ange’s traitorous older brother exiles her to an island full of lesbians, where she must pilot a mech to fight dragons in incredibly revealing clothing.

This is Code Geass if it was about a girl and also worse (sorry Roze of the Recapture). This show starts with a baby being arrested. They put the baby in a special little baby jail cage in the back of a police car. The first episode ends with lesbian rape under the justification of a strip search. The weak girls on Pussy Fight Island pull knives on each other at the slightest provocation; the stronger girls pull guns; the strongest girls just use their hands.

It’s got all the subtlety of villainess manga. It’s got girls pissing themselves. It’s got a girl named Riza, short for Lizardia, because she is secretly a DRAGON. Forget ‘Lesbian soldier hopelessly in love with her commander’ – it’s got that too but it has I kid you not a lesbian harem where the top dies in combat so one of the four harem girlies has to turn into a top like a clownfish undergoing sequential hermaphroditism and take over. And then she dies too and the next one in line has to take over and then it happens again and then when it’s down to two one of them leaves because she can tell the current top’s heart isn’t in it and defects to Akio Ohtori’s side, because at least he’s willing to fuck her (lesbian cuckold count: 1) And everybody’s ass is out at all times.

It’s also got a surprising amount of Gundam intertextuality? The comparisons to Iron-Blooded Orphans are obvious; Kira Yamato is there, for some reason; her mecha is the Zeta Gundam but if it was the Strike Freedom with the TR-6 Woundwort’s Psyco Blade Goddess Antenna from Mobile Suit Gundam: Advance of Zeta: The Flag of Titans; the girls in Ange’s squadron each map perfectly to Shaddiq Zenelli’s Grassley girls.

But that’s not what you’re here for. You’re here for the scene where Hilda confesses that she’s in love with Ange but understands that Ange can never love her back, because Ange is already in love with Kira Yamato, and also with Salamandinay, a DRAGON princess from the True Earth who arrived through a dimensional rift to free Aura, the first DRAGON and the source of all magic, before Ange grabs her and gives her a full kiss while telling her that the world she’s fighting to create will have all kinds of relationships.

God Jill is so hot.

Shlock: Maximum

Lesbian: Yes, somehow, and bisexual as well. It is a male gaze thing but that’s going to be a constant with this microgenre. The vast majority of people who like women are men statistically and sometimes thank god they produce something like this

Watchability: High, if you have covid

Quality: Awful.

The Executioner And Her Way Of Life

Content Warnings: Death, Ryona, Incest, Bad Taste, Needlessly Edgy, Incredibly Stupid Plot Twist

Menou is a priestess in Isekai World whose job is to hunt down and kill Isekai Boys before they start causing problems with their Isekai Boy Powers. But this latest Isekai Boy Target… is a Girl With Enormous Tatas who she can’t kill because she auto-rewinds time to erase any wounds.

What really does it here for me is Menou’s relationship with her mentor, Flare, who groomed trained her from a young age to cut off all her emotions in order to make her a better executioner. I’m not immune to Empty Spaces/Combat Dolls/Signalis. What if Christianity wasn’t about raising girls as lambs to the slaughter but was instead about raising girls to use knives to kill people? A seductive premise for those with my particular flavor of religious trauma. Akari is fine, although I feel like Smith (Bravern) did Homura better.

I also like Momo, although I have a weakness for lesbian cuckolds (more on that later, possibly).

Shlock: High

Lesbian: Lesbian

Watchability: Moderate

Quality: Mid

Kakegurui

Content Warnings: Bad Taste, Needlessly Edgy, Boy Protagonist before the story thankfully gets bored of him, It’s Just Porn At This Point

Yumeko Jabami transfers into Gambling Academy, where everybody gambles and failing to pay your debts means being forced into petplay slavery. Luckily for her and unluckily for everyone else she is the world’s most perfect gambler because it turns her on.

Maybe the highest exposure show on this list? It’s got gambling, and sexual gambling, and a girl who can only orgasm if she’s actively taking place in a gamble where she could die. At one point she whacks off in a bathroom playing solo Russian Roulette. It’s got a Netflix original season 2 villain who was a girl forced to dress as a boy for years in ways that drove her sexually insane. It’s got The Tower of Doors, which is the most woman game that any woman has ever played.

My favorite bit character is probably the early villain who collects fingernails from everybody she beats because that’s her fetish, or the hopelessly-devoted Student Council Secretary who wants only to lay her face on the chair where her beloved Student Council President sits (lesbian cuckold count 3; 4 if you count Midori). She asks to gamble with her life and Yumeko says that that’s boring, and that there are things she values more – and that they’ll gamble with one life vs her relationship to the Student Council President instead.

Watch the opening for this one – it’s very clear about what it is, and if it doesn’t hook you it isn’t the show for you.

Shlock: Very High

Lesbian: Surprisingly

Watchability: Very high

Quality: Fine

Akuma No Riddle

Content Warnings: Violence, Sexual Assault, Death, Ryona, Bad Taste, Needlessly Edgy, Fanservice, Various Fetishes

Bishonen girl assassin Tokaku Azuma has received her first assignment: attend the Black Class at Killing People Murder High School and kill sweet and innocent-seeming Haru Ichinose, who she immediately falls in love with. Unfortunately the other eleven members of the Black Class are also there to kill Haru.

And they’re all lesbian or bisexual. And they’re all freaks.

They’re constantly pulling guns and knives on each other. Like every conversation a weapon will come out – possibly two. There’s a lesbian serial killer who really likes using scissors on girls. Sexually. The Student Council President is sexually devoted to the school principal. There’s a twenty-year-old spoiled rich girl with a boy’s name because she was named after her mom, who was a gay man. Her dad was also a gay man. If you dare say anything homophobic about this she will kill you. Two of these girls locked eyes right as they transferred in and immediately dropped everything to engage in a 24/7 ageplay dynamic. The other spoiled rich girl is secretly a cyborg and in love with the multiple personality girl, who wants to kill her as well.

This is by the author of infamous shotacon BL manga Loveless, so I guess all that is to be expected.

Also… Akiko Morishima got really into making doujinshi for this one? Sure.

Shlock: High

Lesbian: Yeah

Watchability: Pretty decent

Quality: Sure

Yuri Kuma Arashi

Content Warnings: Sexual Assault, Bad Taste, It’s Basically Just Porn At This Point, Bears

Lesbian Bear Storm.

For my money, the best Ikuhara post-Utena work is Sarazanmai, but Yurikuma Arashi absolutely earns its spot on this list. The pieces of a story about how lesbian desire is used to titillate a male audience but never fulfilled, how desire is regulated and rendered hideous, and how girls enforce heteropatriarchy by manufacturing consensus completely independent of men are in there somewhere under the moaning naked girls licking honey off precisely-positioned lilies. I think? It’s well-directed, at least.

Shlock: Ikuni

Lesbian: Ikunirappa

Watchability: Ikunichauda

Quality: Ikunigomamonaka

(the first half of) Birdie Wing: Girls Golf Story

Content Warnings: Violence, Bad Taste, Incest but not really, Golf, The Threat of Having To Resort To Survival Sex Work Underlying This Stupid Golf Show

Birdie Wing is the story of a girl who hates golf and a girl who loves golf. Season two fails to make par because it loves golf too much; season one, with the baffling metaverse vr episode, the underground mafia roguelike golf-to-the-death course, the woman who golfs so hard her robotic arm explodes, and the inexplicable Bandai property references, is the way to go.

I hate golf in the way only an eldest daughter forced into golf lessons hates golf. When Birdie Wing hates golf – when Eve swaggers onto the course in her stupid outfits, refusing to adhere to any etiquette, uses only three clubs and slaps a ball directly into the flag to drop it straight down? I love that. When she lifts her driver and points it and says she’ll kill somebody with it? I love that.

Also like when Aoi says she’ll get her attention with this and pulls her extra long driver out and holds it like a strap. And then her beleaguered caddie talks about how Aoi pierces everyone through with an innocent smile. That was good.

The thing that stuck with me the most wasn’t actually any of the golf shenanigans – it was the way that Eve effectively shoots Aoi down when they discover that they shared a father and were therefore half-sisters. Well, it’s yuri – incest is just something you get used to. Except then it gets revealed that that was a fakeout, because Aoi’s dad was actually her dad’s best friend and her parents were in a throuple that the dad who raised her left behind to secretly raise Eve. Also her dad is Amuro Reiya and also Char Aznable is in this one? And the HG Turn A Gundam? Don’t forget to increment the Lesbian Cuckold clock up to five – Aoi herself and her poor caddy, who didn’t deserve a mysterious blonde swooping in like that.

Oh god I didn’t even mention Vipere, the slutty snake-themed bisexual underground mafia golfer (you know, for the underground golf mafia) who uses pheromones to control her opponents, gets outgolfed, and then shonen-rival style sticks around to help out whenever somebody needs a car (as the girls are too young to drive).

Shlock: Absolutely

Lesbian: Somehow

Watchability: High

Quality: Better than it had any right to be

Maria Holic

Content Warnings: Transphobia, Bad Taste, Fanservice

Kanako Miyamae is a hopeless hapless lesbian excited to attend Lily Yuri Girls Only Academy. She falls in love with a beautiful blonde girl, the queen of the school – and discovers her ideal gf is actually a boy crossdressing to attend the academy who wants nothing more than to torment her sexually.

Maria Holic works like this: Mariya wants something from Kanako, and wears a sexual little outfit/exposes his feet/blows her a kiss/strips his maid’s top off to control her through her sexuality or just because he feels like it and she falls over of anime nosebleed disorder before she remembers “oh right Mariya is a boy” and starts eating her own organs Pearl Steven Universe style. Occasionally a girl who calls herself god will say something uninteresting. Kanako has a little pervert fantasy about one of her classmates. The cast has a reference-heavy Studio Shaft Conversation. Kanako can’t get Mariya out of her head. God I had to retype every ‘him’ up there from a ‘her’ because there is no way that little bitch is anything but a girl – it just doesn’t stick in my head. They don’t make boys like that. Torturing a girl like that is a female trait.

If you don’t want to watch a lesbian get relentlessly edged by a brat this show may not be for you. In all honesty even with Studio Shaft direction I found this almost completely unwatchable but it does earn its slot here. If you want a good Studio Shaft yuri show? Go watch Madoka Magica or Hidasketch.

It does have an excellent opening though.

Shlock: High

Lesbian: Well it has at least one

Watchability: No

Quality: No

Re: Cutie Honey

Content Warnings: It’s Basically Just Porn At This Point. but god. Natsuko Aki

“Honey Flash!” yeah she sure does huh

Transforming android Honey Kisaragi fights against evil organization Panther Claw, with the reluctant help of her annoyed cop eventual bestie Na-chan. This is good, actually. Go watch it.

Seriously. The animation is so fun and vibrant! They do the super-cost-saving stills being moved thing in a very high-energy way that comes across as a reference to the original manga format and then every so often they’ll pull out absolutely incredible action sequences.

Look at this!!! Her triangular stompy steps! The super low line count on her as she slowly advances with the gun flying toward her hand! Her Go Nagai snarl!!!!! It’s a real treat for the eyes even without the naked women. There’s only so much “saving your best friend by the power of being naked and kissing” you can do before it stops being bait and starts just being They Are In Love.

Shlock: Absolutely

Lesbian: NATSUKO AKI

Watchability: High

Quality: Yeah

Akiba Maid War

Content Warnings: Genre-Typical, No Spoilers Don’t Worry About it

Go watch this right now.

Shlock: Less than you’d think

Lesbian: Yes

Watchability: Extreme

Quality: Genuine

A Very Specific Set Of Monogatari Arcs

Content Warnings: yeah that guy is sexually harassing that 11 year old and also that tiny little vampire and also both of his little sisters.

Show beloved by pretentious internet perverts.

Alright. You are going to watch Episodes 1-8 of Bakemonogatari Season 1, (skipping 3-5 depending on your tolerance for watching small girls getting sexually harassed) and then you are going to watch the five episodes of standalone arc Hanamonogatari, halfway through Season 2. If you really like Hanekawa, who is bisexual, watch 11-15, Neko Black and Neko White. If you really like animation, watch Kizu. Do not be tricked into thinking more of this show will be gay because Hanekawa and Senjougahara had sex in a shower once. If your goggles are really on tight, enjoy Nadeko Draw but you’ll have to sit through the previous Nadeko and Yotsugi arcs to get there and I can’t in good conscience recommend you do that.

Shlock: Less than you'd think

Lesbian: One

Watchability: SHAFT

Quality: Yes

[thatshadowcomic]

you seen the third movie yet?

I have :) Had a great time!

Im very happy with the movie AU, I really like how they characterize him and maria and I like how he feels lost and unsure, but full of grief and anger. I also feel they left a lot open ended, so I wonder what they will do with stuff, like if we get a mini series like Knuckles.

The mid credit scene still kills me, the crowd flipped out, and the reveal looked better than the web's mock ups which made me laugh hahahaha.

Honestly, my dream would be him moving in with the aunt, it would be the best thing ever to hear her say something like, "why are there more, stop it! Stop multiplying! And why do I get emo sonic?!" For that joke alone, I want it. Meanwhile her daughter is too attached to let him leave hahahaha. Honestly that would be really cute, a fun play on Maria.

Either way, Im looking forward to what we get next!!

[cellarspider]

23/30 Characterization speedrun

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We return to a movie that exposits with all the grace of an inebriated hippo on rollerskates, Prometheus.

Y’know, I have a soft spot for the first movie adaptation of Silent Hill (2006). Yes, we're tangenting to talk about something else I like better, but I swear it's for a purpose.

It mostly sticks to the first game’s content, meaning it limits the number of themes it has to handle. It makes some alterations that affect its interpretation–it switches the gender of the protagonist, alters the religious elements, cuts out the bit where you basically fight Baphomet at the end of the game, but that always felt weird anyway. And, of course, there’s a required appearance by a certain tetrahedron lad, reanalyzed as a punitive figure turned outward on the world rather than inward toward the person that conjured him. I’ll allow it, partly because I saw it when I was a teenager and I thought he was badass.

But what it really nails camerawork, creature effects, and set design. So much so that a lot of the visuals of following games lifted from creative decisions made for the movie. The Silent Hill movie is more a thing of vibes than anything else, and the vibes are appropriately awful.

[Video description: Rose (Radha Mitchell) and Cybil (Laurie Holden) encounter a Lying Figure (Michael Cota), AKA Armless Man or Straightjacket. There’s only a tiny amount of CG here. It was pretty much all Cota’s unnerving shuffle and his willingness to be shoved into blinding, deafening, arm-tying monster-bondage with a breathing tube hidden around butt-height.. We salute you, Mr. Cota, possibly with our feet.]

But where the movie trips and falls is right near the end, where the vibes screech to a halt so that the movie can sit you down and explain the backstory that it already intimated throughout the rest of the runtime.

On a totally unrelated note, Janek has something to tell Shaw.

This barren moon, believe it or not, isn’t the Engineers’ homeworld. Y’don’t say.

You know what would’ve been a better way to set this up? Have somebody ask “hey, there’s nothing but rocks and ominous buildings here. What gives?”, but they literally never do. Not even the biologist, who does no biology in the movie. The geologist, who also doesn’t do any geology, doesn’t note, say, a lack of siltstone that’d indicate running water, no coal of any kind that’d indicate previous growth of plant matter, no signs of oil or natural gas deposits derived from ancient microbes. Lord knows the poor bastards weren’t swamped with work before the script ate them.

But no, there’s no questioning of this. Shaw dictates in her notes “Was there an outbreak here?”, after exploding the head. But that’s it. No, we leave it to Idris Elba explain, as seriously and as military guy-ily as he can. This is a weapons lab or depot, something went wrong here, Janek’s going to do a self-sacrifice if it seems like the weapon might get to Earth. He even says the weapons are in “those vases”, in case you didn’t notice them before.

Consider: Principle photography for Prometheus was done in 2011, from March 21 to June 10 (cite 1). On November 14, Filming began for Pacific Rim, in which Idris Elba gots to play a serious self-sacrificing military guy with the exact same mustache who has an actual character arc, AND was allowed to use his actual accent.

In Prometheus, Janek apparently had more characterization planned, but it was stripped entirely away until all you’re left is a christmas tree, a plot-mandated laxity in keeping track of passengers, and incomprehensible flirting with Vickers. On balance, that’s more than pretty much everyone else gets, but at the same time, what does that tell us? We are left with a man who’s going to pull a heroic sacrifice, essentially because he’s the only other character we know about.

In cut material, Janek was originally going to give a sympathy monologue to Vickers after she killed Holloway, about a traumatic event in his military career: he watched a bioweapons lab suffer a breach that ended with its destruction. That was cut. His motivation was cut. And more, too, you can see the ragged edges of the script. 

“Right, ‘all you do is fly the ship,’” quotes an exasperated Shaw. “That’s right,” says Janek, who told Vickers that in a cut scene.

Despite these pieces missing, I haven’t been drawing on them very often. Why? Because the movie was still full of baffling decisions, regardless of how they edited it down. The movie that’s shot never looks like what gets shown in theaters, but it is still a representative sample of the material, one that was prepared for us to watch.

While Janek’s entire motivation fell off him in the editing room, Vickers gets undermined by what they did keep. Turns out she’s not just nasty to her employees, she’s nasty to her boss as well, because he’s her dad. She’s presented as obsessed with making sure he dies, which, fair, we’ll soon confirm that his only begotten robo-son is pretty big on that too.

…Except this also means they have the same character motivation, which… That can work, but how well does it work as a twist? 

I am not convinced. Vickers has constantly been pulling power plays on David, who’s pushed back a little in return, but they don’t have to functionally be siblings to make this work. Nor does the weird, occasionally robotic behavior from Vickers have to mean “aha, you see, they are both Weyland’s children with daddy issues!”

She could just be a disposable asset of the Weyland Corporation! She’d have a more sympathetic arc that way, because unlike corpos of Aliens past, she doesn’t want to be there at all. She didn’t want them to talk to aliens, she didn’t express any of the usual flimsy “we can profit off of this uncontrollable killing machine” stuff we’ve come to expect. She seemed to just want to get the fuck out of there. And obviously, she’s gonna die, this movie is frequently aping Alien and Aliens, the corpo does not survive. That could be tragic!

But apparently she wanted to be here, taking five years out of her life and career to sit on ice and do literally nothing but make sure her already dying dad actually dies. Okay. 

It’s especially, structurally weird, because the very next scene has David explaining his motivation to Shaw.

“What happens when Weyland isn’t around to program you?” “I suppose I’ll be free.” “You want that?” “"Want"? Not a concept I’m familiar with. That being said… doesn’t everyone want their parents dead?”

This is what happens when you leave a hyperintelligent newborn alone for two years with nobody but Peter O’Toole as a role model. 

This scene and the pre-caesarian one set up a weird dynamic between David and Shaw that didn’t seem sufficiently motivated by the rest of their interactions, in my opinion. It suggests that David has latched onto her in some way, which the next movie certainly confirms. But why? They’ve barely talked, ad most of it was pure exposition or telling David to do something. Is it because she hasn’t been as bad as the others? Because that’s going to change later. 

David’s hopes are pinned on the Engineer rejecting Weyland. This is a reasonable assumption. The way the scene plays out, however, is not entirely reasonable.

And that will have to wait for another day. Before we get to that, I want another ramble all to myself. About something I like.

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Alt-text rambles:

https://www.flickr.com/photos/paulbhartzog/558247427/in/photostream/ 

https://en.wikipedia.org/wiki/Greeble 

https://youtu.be/cOrcwL5MHYg

Overflow Ramble 1

The kitchen counters don’t have any grippy surfaces on them, and no lip. The *stove* has no lip, which I have seen before, but it’s stupid. Most modern designs for stovetops meant for installation on ships have a high lip and/or grippers that hold cookware in place. There are multiple open shelves that have no lip. And there’s yet another piece of Decorative African Art just hung on the wall above a food prep counter, within the potential reach of steam or grease splatter. The chair Holloway sat in last time is revealed to be free-standing, as is the coffee table.

No. No free-standing furniture, unless it’s collapsible and used at rest. Put lips on every counter and table. Have lots of grip mats you can throw down anywhere. The design in here is more along the lines of airline tray tables, which are meant to be stowed during rough flight. There is no way to stow all this shit in a reasonable and timely manner. Airline furniture is also designed according to hostile forces, which, frankly, might be relevant here. This comfy, beige apartment space was designed by someone who did not give one fuck if a glass went winging off that 2m tall open shelf and gave you a concussion.

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[kaidatheghostdragon]

You know what mixture of AUs i havent seen here yet? Danny x Bruce with de-aged clones!

Bruce and danny are near the same age and meet pretty early in batman's career, maybe even before dick was adopted. Danny is a single dad of infant/toddler twins ellie and dante. (To make them young and at the same age, i imagine they were rescued after both taking serious damage and retreated to their cores, and remerged as newborns about the same time, but i also want to leave this open for others to flesh out.) Timeline-wise, that would probably make them somewhere around jason or tim's age.

So now we have an au where the bat kids are collected into a stable home where bruce and danny are also raising ellie and dante. Bruce is much closer to WFA characterization right from the get-go because danny would whip him into shape.

Tim probably gets adopted because one of the phantoms sniff him out, either living alone in the neighboring mansion, or following the bats and ghosts on patrol.

Talia either stole bruce's (and/or danny's) dna or drugged bruce (it didnt work on danny) to create damian. If bruce was drugged, danny is on a warpath and might even find and rescue damian at a much younger age.

Jason's timeline is the most difficult to predict, and i will forever simp halfa jason, so he's gotta die no matter what changes. I dont think that's terribly difficult because the joker specifically targeted him to lure him out (assuming i understand canon correctly - also this is definitely true in the UtRH animated movie canon). If jason isnt interested in finding his biomom in this au, joker will just find a different bait. Would be cool if danny is able to track down jason's ghost during the six-month down time and brings him home, and a potential point of angst if he revives without his memories as a ghost (and is lost for a while before danny tracks him down again.)

(Danny probably doesn't have the no-killing rule like bruce, so he'd have no qualms killing the joker and detaining/destroying his ghost. If not danny, then jazz would. Bruce conveniently looks the other way.)

Batman mythology in this universe is inexorably linked to phantom mythology. They both help each other out with vigilante stuff. Danny's team (sam/tucker/val/jazz) visit often and are considered aunts/uncle to the batkids. Batfam is highly liminal because they are part of danny's fraid. They might even develop liminal powers, if that's your kind of headcanon.

Danny may or may not be ghost king, but i like the idea that he's the crown prince and wont be coronated for several more decades. He's got time and all the resources that position affords him. Danny still gets hounded by the observants, but the batkids have made a game of pranking the annoying eyeballs.

Danny is a founding member of the justice league and of jld (the rest of his team might be as well). Batman is much more knowledgeable of the supernatural because of danny. I like the idea of constantine being more terrified of phantom than batman. He still gets called on for advice because he's the demonology and magic expert, while danny specializes more in ghosts and Realms technology.

Ellie and dante are not allowed to join the vigilante scene until they turn 12 (they managed to argue it down from 14), but because of their powers (and potentially retaining memories and experience) there are numerous occasions before then that they functioned as a sort of vigilante retrevial unit - zooming out and retrieving anyone who was injured or otherwise hit their emergency beacon and bringing them straight back to the cave. They might have even done this once or twice during justice league emergencies.

I'll leave their vigilante identities open to discussion, but im partial toward a really old drawing i remember seeing here on tumblr, someone designed a pink batsuit for ellie with exaggerated bat ears, and a sort of glider cloak that attached to her belt or her wrists to disguise her flight as gliding. (If someone knows the post im talking about, please leave a link so the artist can be credited!)

As for danny's old team...

Jazz works at arkham, helping to reform the place and causing many of batman's rogues to reform a bit earlier. She is the expert called in by the justice league to formulate ways to both detain and to help various rogues globally. She especially likes the flash because of the friendly attitude he has towards his own rogues.

Sam is a humanitarian. If she has plant powers, she's using them to establish food stability in poorer nations, helping the people there become more self-sustaining, as well as providing relief for disaster-stricken areas whose farms need to be completely rebuilt and regrown. Jazz introduces her to poison ivy, and the two end up joined at the hip, helping to reform ivy much earlier. (Would it be weird to make this au have sam x ivy and jazz x harley?)

Valerie probably stays in Amity Park to be its designated hero since danny moved out. If the fentons are good, she works alongside them as the fentons also develop tech for the justice league. If they arent, im gonna assume theyre the reason dante and ellie got de-aged, danny absconded with their cores to keep them safe, and the rest of team phantom descended on the fenton parents like hungry wolves. When the dust settled, valerie and her dad were left in charge of protecting amity and with ownership of fentonworks.

Tucker is a freelance hacker slash tech expert, and will kit out any vigilante's tech and security free of charge. His unique blend of magitech is very difficult to counter, making it all-the-more sought after. He probably helped set oracle up and maybe even trained/mentored barb to some extent.

There are lots of other potential changes, but ill stop here.

[houxe]

Regarding my SBI/DSMP Fics

TW: Abuse, Trauma, and Mentions of Suicide.

With all that has happened, I did want to come out here and make my stance clear. I will always stand with Shelby (Shubble) and all of the victims who are speaking out against Will Gold (Wilbur Soot). If you still support that bastard, unfollow me and leave my blog and whatever small community I made.

I've already stated this is my Discord channel, but I want to put it here too.

For me, c!Wilbur is so far removed from cc!Wilbur that I don't connect the two. The characters are vessels for my own characterizations and stories. It's a bit like writing Supernatural*, Twilight, or Hazbin Hotel fanfics. I don't support the guy, monetarily or otherwise, he does not interact with fanfics, I have plans to be very vocal that I'm on Shelby's side no matter what/make it clear that what Will did is wrong, and I don't use his real life events as plots in my stories. At least, I certainly don't try to. It's why I typically change traits about the characters. (I.e. Tommy is shorter, Phil is taller, Techno is bulky, and Wilbur always has golden/hazel eyes.)

I'm aware that it's a tad different because it's rp and not something like a full on book or an actor in a movie, but DSMP has also been over for over two years and the characterizations I make for SBI are not at all based on the CCs. Real life Techno isn't a literal terrorist, Phil ain't a father married to a goddess, Tommy is not a traumatized child soldier, and Wilbur isn't suicidal and blowing up countries.

I think I'll likely focus more on Techno, Tommy, and Phil for a while, but I'm not gonna let one dude ruin a fandom and things I've made for myself. Nothing I write is ever made for Wilbur, as I've seen people saying. Additionally, Wilbur was not the only writer. Technoblade, Philza, TommyInnit, and so many others made that story what it was. Not him.

However, if any CCs come forward saying they don't want their old characters interacting with his, I will respect that.

Though I do think there is a tendency to take real life events (i.e. Techno's cancer, LJ's music, Tommy's real life parents, etc.) and put them into fiction about DSMP. I, however, don't try to do that and have stated before that I don't feel comfortable doing so. The truth is that we have not gotten any genuine SBI content outside of DSMP for years. The dynamic in real life is very different from what was presented in the DSMP. Did personalities still bleed over? Yes, I'm not going to deny that, but I'm not going to act like they're exactly the same between character and person either. We've had that conversation like in 2021, it's why we have C! and CC!.

The rather sad truth is, SBI is what got me really into writing and it's a comfort for me that nothing can compare to. Obviously, I don't think it's appropriate to be writing certain types of stories right now or to be involving characters made by CCs outside of the DSMP. I think it's up to everyone else to decide on what they want to do, however, rushing it also isn't the way to go either. Give yourself time to heal and think it over first instead of throwing away something that gives you comfort and has not been associated with by the creators for over two years.

Anyways, fuck Will Gold. Fuck the fact that he hurt so many people, and fuck that he lied and manipulated his way around the damn internet. ESPECIALLY fuck the fact that he tried to diminish what he did and not take proper accountability.

Go and support Shelby so so much, she and everyone who spoke out really deserve it. I'm glad silence on these types of issues is not being normalized.

Here is a list of (American) resources for DV help:

TNLR

RAINN

WOAR

Love is respect

The Trevor project

Futures without violence

National domestic violence hotline

Resource on what DV and abuse looks like

*Changed it from Harry Potter to Supernatural because Harry Potter is a significantly worse and more problematic franchise, even just within the content of the books. It'd be better left in the dust. I've talked about it before, but it was the first thing that came to my mind at the time and was a poor comparison on my part, I'm truly sorry for that.

[archibaldtuttle]

Alien : Romulus - a 7/10 reason to stop making Alien films

This review will be spoiler-free

When I came out of the theater yesterday, after having gone through a viewing of Alien Romulus, I caught myself agreeing with my friends - this was pretty good!

And I am beyond poisoned about the Alien franchise since Ridley Scott got his grubby paws all over it with Prometheus. The only reason I made the effort to move my ass to the theater to see this one was because he wasn't directing (and also I didn't have to pay for it) (thanks sib).

I knew Alvarez from two of his previous films, the 2013 remake of Evil Dead and Don't Breathe. I am pretty mixed on both - they demonstrate solid filmmaking abilities and (in the case of Evil Dead), a deep respect for franchises he's adding to. However they are also a little heavy on the jumpscares for my taste, and in the case of Don't Breathe I just can't praise the film without having to mention that the third act twist is gross in an entirely unnecessary, shock-value way, that does nothing for the film thematically.

That did give me some hope for Romulus however, because that third act twist told me Alvarez likes talking about rape and impregnation. And contrary to Don't Breathe... that's right at home in Alien.

So what about the film then? It's good. Solid premise, I like that we're finally, finally, seven films in, seeing the planet-side society that births all those rundown spaceships. Good pair of main characters with on one side a demonstrably resourceful Rain and on the other a very nuanced look at the franchise's synthetics with Andy. The others are more forgettable but I can't blame that too much on the film - they're well characterized in a few short scenes and that's all I can expect really. The build-up is solid, the various ticking clocks and sources of tensions well established.

What I find particularly notable is the really good setpieces and the use of facehuggers in a way I've wanted to see for a long time. Very good physical effects supplemented by good to ok-ish CGI. The writing is very heavy-handed - I wish more people looked at what O'Bannon did with exposition before they write their own Alien scripts. I do give credit to Alvarez and his co-writer Sayagues for the cool concepts explored and the way they thread Andy's character exploration through them.

The editing is mostly blameless - I wouldn't call it great or even that good, especially with how hectic it gets during some more action-ey scenes, but you can tell Roberts isn't specialized or even used to horror films. I guess he took from his experience on Pressure which would explain a lot... The score is really good, one of the highlights of the film in my opinion - I've liked almost all I've heard from Wallfisch so I wasn't surprised to find out he did this one.

So why did I give this review a very baitey title. It became clear as I was watching the fourth, then the inevitable fifth act unfold, that we were, collectively, scraping the barrel on what can be done with Alien. Prometheus and Covenant, beyond the fact that they were garbage movies, were already trying desperately to find new things to do with the concept. Romulus succeeded, for the most part, in finding new ways to twist it into something interesting, something we hadn't seen before (or at least not entirely). And I'm pretty sure that's it.

I don't want more directors to spend months racking their brains to try and find three or more scene setups that haven't already been done in seven main films, two AVP films and countless video games, in order to string them together into a coherent 2 and a half hour flick. I don't think it's impossible, Alvarez clearly demonstrated that he could do it and I'm pretty sure other people could. But why waste so much time, talent and energy on a series that objectively does not need expanding upon?

I know why, it's because the current studio system is allergic to anything that doesn't have brand recognition. But I think it's sad. And I think it would be a lot more gracious to put an end to a franchise after a pretty good film that did all it could to honor its predecessors rather than try to keep squeezing more out of it until it turns into the horror version of Star Wars.

[hollowed-theory-hall]

ok so what are some of the changes you would want in the upcoming harry potter hbo series. and since your blog is Harry centric so I'll ask how do you want him to be portrayed in the series ? what traits of him do you think the series makers should shine more light on ?

Okay, I have, like, a list of things I didn't like in the movies and could be improved upon by the show. The list I have here isn't just about things the show could improve, but also things I want to see in the show in general. I think most of my opinions are pretty common, though.

(Also I'm not sure how good the show will be, like, I'm somewhat hopeful, but also very cautious with my expectations. We should start getting casting announcements around in a few months, which could help indicate where this show is going)

Regardless, here's my list of top concerns for the upcoming show:

Harry's character

This is the one you questioned specifically and one that could make or break the show for me. I want Harry's sass and anger, I don't want him to be a self-insert for the audience the way he was in the movies. I want his actual character. The sass, anger, and tenacity that is Harry Potter combined with his kindness, compassion, and sometimes clueless awkwardness. Let him be smart, clever, and talented.

Harry in the books is so much more than "just Expeliarmos" and the fact people could think that about Harry is a legitimate crime against his character the movies committed. Truly character assassination that Harry isn't an exceptional wizard with the world's lowest self-esteem and cheeky attitude.

(Also, for the love of god, give him green eyes, please. Contacts exist for a reason and it'll be a good way to differentiate the new actor from Radcliffe)

2. Ron & Hermione's characters

I could probably just put a "make all characters like in the books" category since this is true for a lot of them.

Specifically for the other two members of the Golden Trio, I want Hermione to have her flaws, and Ron to be smart. He is talented and smart and just as skilled as Harry and Hermione. He isn't the dumb comic relief and I'm so mad the movies made him such. And Hermione isn't a perfect Mary Sue who can do no wrong. Let her put Rita in a jar. Let her show how much she actually appreciates Ron and Harry and their approach to problems, different as it is to hers.

3. Voldemort's everything

I didn't like Voldemort's design, I didn't like his characterization, I didn't like how he spoke, how he walked — none of it felt like Voldemort to me.

I want Voldemort to be scary, not some odd caricature of himself. Give me a Voldemort design that looks scary. Give him the red eyes, and make him look actually skeletal. And let him move elegantly, talk softly. He isn't shouting and throwing tantrums, usually, he is very deliberate in what he says and does.

Also, give him his weird sense of humor. In the books, he makes bad puns ("Wormtail is here to lend a hand"), I like my villains a little campy with bad puns but also terrifying.

4. Dumbledore's everything

Well, honestly, I have no complaints about Dumbledore in the first movie, my problems started after he was recast.

I want Dumbledore to speak softly. I need an actor who could say "Nitwit! Blubber! Oddment! Tweak!" and make it work. I want an actor who'd smile like he knows things you don't as his eyes fucking twinkle, but could still look intense and even intimidating for the later seasons. I also want him to look whimsical and dress in the most absurd eye-catching robes you've ever seen.

5. On the matter of robes — wizard fashion

I want wizarding fashion. I want long robes, silly hats, colors, and patterns. I want the costume designers on the show to have fun with it. I want them to go wild.

The wizarding world should look whimsical and campy — that's part of the magic. I want it to look like a foreign world. Even the most purebloods of purebloods (like the Blacks) are more like the Addams Family than any serious drama. They have a sense of campiness and whimsy. Let wizards be weird as shit and show it in their dress and interior design (I mean, the Blacks hang house elf heads and have a troll leg umbrella stand, the Ministry of Magic has paper airplanes flying all around, they're weird).

6. About the more filler-y sections of the books

I want all the silly little plots that were removed from the movies. I think some of the more filer-y things add a lot to the books and to the whimsy of being a student at Hogwarts. I want the trio to sneak out Norbert, I want to see Peeves, the deathday party, all of these things that make Hogwarts truly feel like a magic school.

7. Hogwarts Castle

I love the castle of the movies and that of Hogwarts Legacy. Honestly, I think Hogwarts Legacy did a good job of capturing the feeling of the movies castle while making it its own new unique thing. I think the TV show should do something similar and kinda create a Hogwarts castle amalgamation of all previous iterations that would feel familiar and allow them to still use some of the same merchandise but also be new and unique at the same time.

8. Time period

I think this is a pretty common opinion, but I want the muggle clothes and sets to clearly be set in the 1990s. I want the show to be a period piece. I don't want to see smartphones, or modern fashion, or modern cars — none of that.

9. Age-appropriate casting

I'm not the only one who says this, but as great as Allen Rickman was, he was too old for the role. Part of the tragedy of Snape and the Marauders is how young they actually are. I think it'll just be much more heartbreaking if the actors looked as young as they're supposed to be.

(Including James and Lily in the flashbacks!)

10. Worldbuilding & extra scenes

Since it's a TV show and not a book, which opens up more perspective options, I would like to get, maybe, some extended Pottermore facts into the show. Like, to flash out the world in a way the movies didn't.

Additionally, I wouldn't mind if some extra scenes were added to build up characters we don't get as much of in the books and it could serve the plot. Like, as long as the scenes are added in a way which is like 'they might've happened in the books, we just didn't see them cause Harry wasn't there', that sort of thing without subtracting from anything else and without retconning or contradicting anything. Like, with good writers, this could be really well done, I'm just worried about them adding anything because I don't know how much faith I have in the whole project. But it could be cool if done well.

[itsajollyjester]

yessss that defo answers my questions! ur thoughts on compassion & community intertwined w rebellion definitely show up in ur art lol. something more specific i have been curious abt is ur version of the endings of each specific hunger games & ur characterization/portrayal of the victors at those points! if u have any more thoughts abt any of those characters or their games id love to hear.... im also very not neurotypical abt hunger games

For sure!! But this is a novel and a half so I apologize in advance (also most of this is from memory so anyone can correct me if I'm getting any details wrong)

((TW: For visual depictions of Blood, Gore, and Wounds))

I realized I'd seen barely any art showing what the victors would have looked like when they won their games. They were all just kids and I feel like it can be easy to forget that sometimes

For all of them, I made the background one of their main "weapons" but tried to make it look like its turning back on them instead since there are no victors as Haymitch said.

I'll try to explain them all more in depth individually going in the order I drew them:

Finnick Odair, 65th Games:

His main weapons were his trident and nets that he made with vines. His background is one of the nets ready to trap him.

Finnick was the youngest victor ever at only 14. I really really wanted to emphasize just how little that is. (Especially since we know exactly why the Capitol loved him from the start…) Once I actually drew him looking that little I had to step away for a bit because I made myself too sad…

Outside of just how horrific his age is as a concept, I tried to think about what circumstances would lead to him actually winning when surrounded by older tributes. I think he would have had to avoid any kind of fight he didn't have the upper hand in. We know that he got the most expensive sponsor gifts in the history of the games (a trident), so he probably got plenty of sponsors outside of that as well. Because of that I doubt he needed to go looking for supplies much if ever so it was easy to avoid people there. He was also probably in a career pack, despite his age, due to his training and his popularity, and they would have hunted other tributes down together much like the one we saw in the first book (safer in numbers). Once it was narrowing down and the pack broke is when I think he started catching people in nets. All of that is a long winded way of saying that's why, unlike the other victors I drew, I only show him with minor cuts and bruises.

Originally I was going to draw him with a kind of strained smile like he was acting for an audience from the start. But I decided I actually think its sadder if he believed he was popular because of his skill and strategy as a fighter and only learned the whole truth after he won and that's when he started acting more for the camera. Instead I gave him a more muted despair kind of look, like his world is crashing down. One of my favorite parts about the movies, mainly THG and ABOSAS, is when they give the career tributes at the end a moment of realization about what they've done, and I wanted to give Finnick his. I'm a person that believes Finnick had to have volunteered for his games. I think he would have legitimately believed in the propaganda the career districts were fed and had a bit of a (very middle school boy) ego about his abilities. (I was NOT expecting to write so much about his lmao)

Enobaria, 62nd Games

She's most well known for ripping someones throat out with her teeth. (Her background is her sharpened teeth getting ready to eat her.) This is treated by The Capitol, and by Katniss, as grotesque and terrifying blood lust (Which obviously the Capitol loves her for). However, and I'm not at all the first to say it, that sounds more like a terrified and desperate attempt to survive a fight she was losing and an example of hysterical strength. We know that Career packs have had bloody betrayals in the past and I can see Enobaria being a part of one of them. Enobaria doesn't have a canonical age, but I decided to put her on the younger side (15 or 16.) I can imagine some of the older, bigger tributes deciding she was the weakest link towards the end and that was the result. I tried to make the blood around her mouth and down her shirt look more faded, like she tried desperately to wipe it off (Also I had to step away from drawing again after I drew her little tooth gap)

I think she probably leaned into the bloodthirsty image afterwards as a way to protect herself and (maybe even started to believe it too)

Annie Cresta, 70th Games

Annie's known for losing her mind after seeing her district partner decapitated in front of her. After that, she ran off and hid until the game makers started an earth quake, which made the large dam in the arena break and cause a huge flood. Annie was the only survivor because she was the strongest swimmer. So I decided to make her background dark water that's churning up and over her head. I also think it can work well as a way to show her mental state in the moment (and afterwards) Annie is actually one of my favorite characters in the series and I've been writing out a plan for a possible comic series about her that'll go more in depth about my headcanons for her. (when I say comic series, I mean sketches and oneshots, not a full thing lmao) It wouldn't take place during her games (outside of a few flashbacks when I need more context), instead it would start at her Victory Tour and go into her first (and last) year as a mentor for the 71st Games. Which is a perfect segue to-

Johanna Mason, 71st Games

Johanna is actually first mentioned early on in the first book when Katniss is wondering if the reason Peeta is crying is because he plans to act weak and helpless as a strategy in the games. (Katniss, he just found out he has to fight in a murder tournament with his crush. He's just Sad.) She bases her theory on Johanna, who pretended she was a "sniveling, cowardly fool" in the arena until the final stretch of the games when she proved to be deadly with an axe.

OR….. Katniss is an unreliable narrator and Johanna was actually a terrified kid from a district with so few victors that she was the only name in the bowl for the Quarter Quell… This is totally just a personal headcanon of mine tho lol. I think there would have been a point in her games where she realized she actually had a chance and that's when she seemingly had a huge character turn around. Maybe there was a infighting with the careers that ended in multiple deaths and there was only a few left along with any other tributes hiding away like her. Maybe she poked around what was left of their camp, found the axe, and felt strength from her district.

Her background was a little harder for me. Just slapping a big axe behind her felt cheesy. But them I remembered her saying there was no one left that she loved. So instead I put trees that could represent her loved ones (Two fully grown trees, a younger "teenage" tree, and a sapling) that are in the process of being cut down.

Haymitch Abernathy, 50th Games

Don't worry, I'm almost done. I don't have as much to say about Haymitch since we know SO much about what happened in his games. But his background was probably the hardest for me. His main weapon was invisible after all. I thought maybe the axe that was used, but again, That would look cheesy. I tried (and kinda failed imo) to draw the cliff side the force field was on instead. But the main thing I did was split the three panels I had on the previous drawings into six for two reasons. 1: Because he had to face twice as many tributes in order to win and 2: Being the only victor of a district that's tributes are seen as fodder for the blood bath means he had to meet and watch the death of twice as many kids every year.

[rabarbarzcukrem]

The eternal opposing relationship between the two sides of a mirror

or: In defense of Shiori

I feel like Shiori is one of the most controversial characters in Utena. Some love her, others despise her. And I don't have a problem with people having strong opinions on her character. What bothers me is the tendency to exaggerate her most negative traits, focus on her most harmful actions, completely ignore any redeeming qualities she might have and then paint her as a one dimensional villainous caricature, a mean straight girl who plays with the lesbian's feelings for the sake of it, without anything deeper going on.

I'm aware of the fact that some people refer to her like that in endearment or in a satirical fashion, and I'm not saying that you can't consider her your favorite problematic evil girl representation. I'm only trying to make people realize that it's her complexity that actually makes her such a compelling character.

I've seen people call Shiori all sorts of names, some of which were baffling enough to make me wonder if they even remembered what happens in the show, and weren't just judging a version of the character that they made up in their head.

So, let's look at the things Shiori actually does, throughout the course of the story.

Disclaimer: I'm only going to take the series into the account here, because I think we can all agree that everyone's characterization and personality differs at least slightly in the movie. Background characters also get a lot less screen time to explain their motivations in order to fully focus on Anthy's journey and struggles, which is understandable.

1. She "steals" the boy from Juri.

This is her biggest crime, which seems to define her from the very beginning. Even though Juri didn't actually have any romantic feelings for him, this action is detrimental to their relationship - it breaks the trio apart, isolates Juri from the pair, is an act of betrayal against her and proves it was done with full awareness that it would hurt Juri emotionally.

Shiori is a deeply insecure person, who constantly feels inadequate and beneath other people. The only reason why Juri seemed to actually like her that Shiori could think of was pity, and even when she found out she was the object of her romantic affection all along, she still struggled to comprehend it. Her self loathing and constant perceived inferiority make her desperate to gain any sort of control over her life and relationships, but they're also the exact reason she feels that the only way she could ever do that is by hurting others. She's always one step below and incapable of crossing that distance, therefore the only way to become equal to people is to bring them down to her level, by humiliation.

When she "steals" the boy from Juri, she achieves that. For a moment, she feels good about herself and leaves Ohtori thinking that she has found the answer, the solution. But she's wrong. From that moment on, it becomes more and more apparent to her that what she did was never out of love for the boy, even though she doesn't let herself acknowledge it fully. Because the truth is, Shiori actually regrets hurting Juri, which she admits herself during her elevator confession.

When the guilt starts getting to her, her confidence high wears off, and she ends up feeling ever worse.

That's why she breaks up with him and comes back. She's not ready to leave yet, not ready to progress. There's still something binding her to Ohtori - Juri, and Shiori's unresolved feelings for her.

2. She tries to set things right with Juri and to fix their relationship.

Even though at this point Shiori still thinks that Juri only ever associated herself with her out of pity, she still makes several attempts to get closer to Juri, who understandably (albeit coldly) turns her down ever time. This is a very clear sign of conflicting feelings Shiori has for Juri - jealousy and admiration, resentment and longing, hate and love. After all, Shiori admits that the two practically grew up together. Their friendship may have always felt fake to Shiori, but she clearly cherished it deeply.

3. The Black Rose Arc.

First of all, we should establish what is the purpose of this arc and how it functions. It explores the motivations of background characters and shows their worst side to the audience. The characters that end up in the elevator are the most unstable, vulnerable ones, with the least power in the system, in unequal and/or exploitive relationships with the duelists and their agency under threat. Mikage offers them a way to gain that power by making them follow their most toxic, negative emotions. And despite all other characters doing exactly that, from what I've seen Shiori is the one that gets the most hate for it. I don't think she should be judged any harsher for what she did under the influence of the black rose than, let's say, Wakaba or Kozue. Especially because the reason all of them ended up in that elevator is because they recognized that these urges were harmful and were seeking help and counseling.

What this arc does do is reveal how Shiori's inferiority complex drives her to act against her own desires. Even though she longs for things to be different, even though she is not happy at all with how her relationship with Juri looks like, she is unable to fix it, because that would require her to consider her own affection for Juri. And she can't do that, because it would mean admitting that she's not stronger than Juri, that she hasn't beaten her, that she's doesn't have control and an advantage over her. Although she tries to keep up this smug, self-assured facade, the reality shines through.

They key to understanding Shiori is noticing that she specifically doesn't want to acknowledge that Juri's feelings are reciprocated, and the obsession is mutual. If you paint their relationship as one sided, you're actually falling for her act.

4. She enters a relationship with Ruka.

Ruka is a handsome (arguable), respected boy who appears out of nowhere and starts showing interest in Shiori. It's obvious that for an insecure girl, who in addition struggles with confusing repressed feelings, this would be something unthinkably wonderful. The affection and praise she gets from him is exactly what her low self-esteem craves. You might be wondering why she didn't perceive Juri's feelings for her in the same way. And a part of the answer might be that, post nameless-boy-incident, Juri was nothing but cold to her. She might have been pining after Shiori from afar, but in the end she's distant and untouchable, and they're divided by their messy past. Meanwhile Ruka is a clean slate, seems openly affectionate, engaged in their relationship and he pays attention to her. But I think the main thing that makes Ruka so different from Juri is the fact that...he's a boy. Because, as Revolutionary Girl Utena establishes, gender plays a crucial role in interpersonal dynamics. Attention from a boy is fundamentally coded as romantic, desirable, necessary and most importantly: increases the girl's worth in society's eyes. It makes one a princess. Meanwhile Juri's advances could only be seen as an invitation to friendship, at best. But Juri's status and beauty make her special, while Shiori is not. Therefore, it can only be pity and mockery.

Of course, Ruka only uses Shiori to influence Juri and dumps her as soon as he achieves his goals. It's true that Shiori could have listened to Juri's warnings, but then again... why should she? From her perspective, Juri's her ex-friend that doesn't want anything to do with her, who only suddenly comes to Shiori when she's finally happy and fulfilled, and encourages her to end it. She doesn't know the wider context of the situation, nor does she remember the Black Rose arc. Juri's warnings don't sound sincere to her.

And so, Ruka gets rid of her in the coldest, most indifferent way, not explaining anything or showing even the slightest sign of compassion. Before that though, he makes an interesting remark, about Shiori putting on an act and polishing somebody else's sword.

Honestly, I don't really know how to interpret it in any other way than Shiori actually having feelings for someone else, despite trying her hardest to conceal it. Are my shipping lenses not allowing me to see any different possibilities? Am I going crazy? I don't know.

Nevertheless, Shiori begs him to stay, devastated. Her life got turned around so suddenly, she found appreciation, status, comfort and stability, and now all that's been taken away from her as abruptly as it was given. It's a public humiliation.

I once heard someone say that this would be the perfect moment for Juri to step in and defend her. And to be honest, although it may be true, I'm not completely sure. It may have been the one display of open care that Shiori needed from her, but it might as well have been interpreted by Shiori as Juri affirming her superiority over her and feeling sorry for her again. We will never know. In my opinion, so much of their relationship is going on in their own heads that the only thing that could ever cause positive progress is communication (which neither of them seem to be a fan of).

Instead, Juri only tries to console her after the fact, when Shiori's at her absolute lowest. In the context of all the assumptions Shiori holds and Juri's previous indifference, it quite understandably comes off as a sneering attempt to gloat.

That's about it. You may have noticed that I've summarized all Shiori's appearances into 4 points, and only one of them includes an instance of Shiori hurting Juri voluntarily, out of her own free will, not influenced by anyone. I'm not saying that she was forced to taunt Juri during the Black Rose Arc, I'm not trying to diminish the suffering she's caused or trying to paint her as a perfectly good person. I am trying to make it clear that she is not some cunning plotter, dedicating every minute of her life to finding ways to make Juri suffer that some people seem to take her for. I am trying to humanize people's perception of her a little bit. Especially considering the fact that last scenes of her include those when she waits for Juri and follows her so that they can go home together, and then joins the fencing club. If this doesn't show that she's capable of change, I don't know what does.

She's not an innocent princess, that's true, but she's not just an egoistical, manipulative liar either. She's a bit of both. After all, if Revolutionary Girl Utena is supposed to teach you anything, then I think it's that we're all just people, and the complexities of human experience make it impossible to fit anyone into a box, assigning them definite labels like "princess" or "witch".

And if you look at a teenage girl who, like all people in Ohtori, struggle under the system of patriarchy and heterosexuality, and all you see is a wicked, sinister witch, then you may have just fallen into the trap that the narrative had set for you.

[demonslayedher]

Well... after spending most of my day languidly sighing about having to wait for more content but how much that content is gonna hurt, I did my rewatch with a friend and we spent about an hour pouring over every detail of it and how good it was, as well as our apprehension about the pacing of combining other content into movies. As much as we'd love to see a return to a 60 episode anime arc for the sake of momentum, we come to Ufotable expecting quality, and they wouldn't decide to do this unless they had a plan for how to make it quality. Try though I might to guess how and where they'll split this into three movies, it's all guesswork (heck, maybe they'll even switch the order of things around so that Douma's defeat comes before Akaza's for the sake of a more complete-feeling movie.

But the thing that makes me most sad about the announcement, now that it is official and not just a rumor, is that I don't know how long I have to wait.

And what will I get at the end of this wait? The death I fear watching the most, and they're gonna make me go through that in the theater, and not even at the end of the movie. That's gonna be almost right at the start.

Phew. Anyway. We really did gush and gush and gush and gush about everything that was so good in this episode, and it's because of this that I trust Ufotable (mostly). There is SO MUCH to gush about it, and it doesn't just come down to the slow-mo explosion and use of color to show how healthy Muzan is in comparison to Kagaya and the layering and timing of images and sound, but also just what the editorial decisions did to take Gotouge's characterization and make it unmistakable.

It's such a good reminder than what has kept me so deeply in this is the characters themselves, the layers going on between what we're given. Like, Kagaya only being able to trust Himejima with this mission, knowing there is a possibility Himejima will have to hold his own against Muzan, for who knows how long, and how is touched by Kagaya's faith in him, and how the unsurprising realization settles that this will indeed be a fight until sunrise, and the relief as well as the pride he feels when the other Hashira assemble so quickly, and the way his voice cracks when he announces who they are looking at? And nobody else made that connection except for Tanjiro, for their thoughts were so wrapped up in either holding out some desperate hope that their master might respond to them calling out his name like Mitsuri and Iguro, or like Sanemi consumed with the thought this demon, whoever he is, killed their master, for again, only Tanjiro who smelled the explosives seems to realize right away that this was on purpose? And the fact that Kagaya thought through every one of those five Hashira, and decided one by one that he couldn't tell them his plan? Even Shinobu, who herself has the very same plan and has discussed it with Kagaya, cannot be entrusted with the knowledge that he plans to use himself as bait. And that Kagaya, for every word he said, he was very consciously stretching that out, second by second, knowing that any extra innocuous thing he can get Muzan to listen to, whether it be prattling about tigers and dragons or asking Amane what he looks like, is going to save his children precious seconds of having to keep an onslaught going until sunrise. The little touches of characterization, like drawing us in to wonder if Zenitsu is sleeping and then revealing that no, indeed he is not, and the fact that Nichika and Hinaki had to choose to go outside, to a courtyard where a stranger was already standing, to start playing and do their best to play up their innocence for the sake of adding seconds more of distraction, and the way Kagaya turns toward Amane in the very last second, and Giyuu looking for Tanjiro as they fall, and despite everyone else stuck in free fall or smacking into things, Tanjiro, the only one who has seen Muzan before, is the only one to find his footing, is such a good main character moment.

And the "people's feelings are inextinguishable" moment among candlelit graves? Thank you. I had been thinking about those graves ever since we didn't see them in any of Muzan's strut through the previous episode.

Okay, speaking of linking images with sounds and lines, the fact that Kagaya brings up how Muzan hasn't been forgiven for ruthlessly taking away others' lives, and how it focuses especially on Hinaki and Nichika, whom Kagaya has already chosen to do the same to? And the hot linger of slaughters innocents represented by all those toy balls? AND HOW EVERY MOMENT MADE US MANGA READERS FLINCH AND THINK "NOW IT BLOWS UP"? Yeah, that was good.

Also, Japanese Netflix did not include the Taisho Secret. I don't know if this extra-secret Taisho Secret was only available on FujiTV or something, but when it comes to the mood this episode set me into, I'm glad I didn't initially see it. While I'm generally happy it exists (and I've been hoping for this kind of content ever since the previous season), I wish they would have had a little more restraint to make it sweeter. But hey, it was still sweet and I bought a sweet potato today for obvious reasons.

[drawingoddessy]

I wanna talk about the subject of escapism in Inanimate Insanity.

To discuss this I need to do a deep dive into 3 characters that push this subject the most and how they do it differently.

Lightbulb, Fan and Mephone 4.

The three that demonstrate escapism in 3 different ways.

Lightbulb

Throughout season 2 we see Lightbulb as this goofy character, that’s her whole character up until you begin to notice little habits or cracks in the persona she lets others see. Up until episode 12 we don’t exactly know what is going on with her. We see her get sad in spurts of moments, but it’s never dwelled on. Until she faces the loss of working with Paintbrush, this causes her happy facade to begin to unravel and we see a whole new side of her. Now while she does the literal definition of escapism, which involved her leaving to a different realm that’s more like her to hide from the scary reality of Paintbrush not liking or wanting to be friends with her. I want to talk about the reason as to why she does so.

Escapism isn’t solely defined as only wanting to leave your reality in favor of a fantasy. It can also include intensifying more positive emotions to cope with or hide the negative.

Lightbulb demonstrates the latter, We see Lightbulb throughout season 2 use humor and a heightened amount of positivity to hide from her peers. Even beyond episode 12. In episode 13-14 you can very easily tell she has gotten a lot more comfortable with Testtube. But beyond her, you can see Lightbulb continue to hide from the other remaining contestants. When upon getting scared or frustrated she instantly masks it with a silly response or an over the top reaction.

Even in the first half of the II movie she is seen continuing to be silly upon facing literal DELETION to cope with how terrifying it is.

Fan

Fan demonstrates the more literal form of escapism. Which would be, as mentioned before, escaping reality in favor of a fantasy. His entire character arc is centered beyond his incapability and fear of looking beyond the show, his main source of comfort. While Lightbulb hides behind a forced, intensified feeling, Fan hides behind an interest. His intense love and passion for the show cuts him off from the real world. And he’s okay with that, not only is he okay with that, he craves it. The world beyond the show scares him so much that he rather be contain within himself and his interest. This is shown most in episode 14, where he gets taken out of the show. Fan has characterized the feeling in later Livestreams as “the end of the world”. Because, for him, it was. Leaving the show begin to crack Fans shell of bliss and oblivion. It wasn’t about winning to him, it was about staying with the only thing that had a pattern, that gave him comfort.

He is shown time and time again to want to say in a “shell” of Inanimate insanity. That when he got thrown out of that shell it made him spiral. That and met harshness on how it happened, and loosing Test tube and the egg left him destroyed. Everything that gave him comfort was violently stripped from him. His feeling becomes clear when he says “Test Tube, to be honest with you, I don't want him to have to hatch, okay? I mean, wouldn't that be great? He could just... stay calm and secure in his little protective shell, and have... and have his... have his patterns. Right?”

He doesn’t want to leave Inanimate Insanity because it’s his protection.

Mephone 4

Now last but not least

Mephone 4

The epitome of escapism.

Now it’s quite obvious that Mephone definitely “programmed” the latter 2 characters to have these issues because he himself has them too. BUT since I wanna demonstrate the 3 different ways II shows escapism I’m going to talk about the reason he created the characters.

Mephones form if escapism is through creation

He created a whole life and show to escape from Cobs. He created a good majority of the characters to project his feelings and struggles onto. Lightbulb with the struggle with hiding her emotions behind smiles, because he also does that (shown in the later half of season 2 and all of season 3). He created Fan with the obsessive attachment to Inanimate insanity, and the desire to stay in that fantasy rather than reality. Because he himself MADE the show to hide inside of it.

Even season 3 characters: cabby and her memory issues, clover and her seeing her ability as a curse, silver and seeing himself as worthless and balloon and his desire to change.

The character is an extension of himself and THROUGH THEM you see everything about Mephone’s struggles.

Speaking of season 3

The entirety of that season is literally him running away and creating another reality for himself. He consistently is shown to run away and hide from his problems, especially behind his creations.

It’s only when that fantasy is stripped away from him is when he can truly grow and face reality. Face cobs

[sharpth1ng]

Since the photo of the pope on Stu’s fridge has been discovered I’ve seen a lot of takes about how Stu would definitely have religious guilt and would have more issues with his feelings for Billy. I want to be clear I don’t think there’s anything wrong with that take, it’s definitely something to explore if it interests you but it also flattens the breadth of responses to a religious upbringing and religious trauma. There are so many ways a person might respond to that kind of experience and it doesn’t just stop with internalized guilt.

What about the people who just kind of never fall in line? They’re punished for it over and over but it doesn’t make the religion make sense to them. And maybe they learn over time hide their disbelief, they learn to be quiet at church and hide their same sex partners but the moment they’re 18 they are gone.

What about the people who believed when they were young and have had an experience to change that? Maybe they saw religion used to justify the mistreatment of a sibling or a friend, and they thought “if there is a god, they wouldn’t think this is right”.

What about the ones that swing hard in the opposite direction? The ones so angry with the beliefs instilled in them that they do almost anything they can to enrage their religious family? They may not even be doing this intentionally, but teenage rebellion is teenage rebellion, and if your family is catholic then Catholicism might be what you rebel against. What better way to rebel against the anti gay religion than to kiss another boy? Do you know how many queer pagans and Satanists I know who have a history of religious trauma?

Have you ever felt so mistreated by someone or something, so deeply wronged, that almost anything they disapprove of becomes enticing? I definitely have.

And here’s the thing with Stu, he might have a religious family but he sure does talk about sex a lot. Unabashedly too. He spends the night at his girlfriends house, and she confirms that they have sex. He fills his house with people, feeds them booze, and kills a bunch of them. This isn’t giving me the picture of a fearful catholic son.

Before I saw the pope picture I had already been writing Stu’s family as conservative and religious. He definitely grew up with the idea that sex is a sin and gay sex is even worse. But he’s not a guy that likes authority. He likes sensory pleasure and chaos, and at least some of that is a rejection of his upbringing. Dude watches slasher movies and raunchy comedies like clerks. He fucks and he talks openly about it. He gets drunk and he directs his best friend to go take his girlfriends virginity in his parents bed.

He’s rebelling.

To me? Yeah he might have been the kind of kid who had religious fears and guilts when he was younger. He’s definitely been baptized and his family probably still makes him go to church sometimes. But he’s not isolated. It’s the mid 90s and he has access to more media than kids did ever before. He’s had access to alternative view points, narratives that contradict the ones instilled in him when he was young.

And the 90s are a time characterized by a loud rejection of convention. Grunge rocker Kurt Cobain wears dresses, the riot grrl movement is in full swing, and people are getting really into modern forms of paganism. It’s popular to reject your parents beliefs.

There’s an interview with Neve Campbell where she talks about how she thinks Billy and Stu were partly motivated by the rage of being unable to be themselves in Woodsboro and I think that works really well here. What better what to say a fuck you to your religious parents than to have buttsex with a pretty dude and kill a bunch of people?

Again, this is just the way I see the character. There’s nothing wrong with different interpretations and fandom would be boring if we all saw these characters in the exact same way. But yeah just an alternative way to look at it.

[thefandomenchantress]

A Very Long Morgie Analysis

Warning: As the title says, this is a very, very long post. You should fear that keep reading button. /j

So I watched Descendants 4 with pretty low expectations a week or so ago, since I heard a lot of people criticizing the film. I’d watched the first three Descendants and thought they were a very fun kind of over the top, and figured that this one would be similarly kinda cheesy but hopefully in a charming way.

The first time I watched the film, I liked it. While I thought the beginning of the movie’s plot dragged slightly only for a far too hasty conclusion, I figured that with a supposed part 2 coming, things could possibly wrap up nicely in the future. That was my mindset throughout almost the entire film…Until suddenly Morgie got a scene.

This is a post mainly for people who’ve seen the film, but just in case I’ll explain the scene. Morgie, son of Morgana, is assigned as look-out during the villain heist. He then makes an amusing comment about what the signal should be if he sees Merlin, and no one answers him. We leave his character for a bit before coming back when Merlin returns to his office, about to catch the villains. Morgie does his signal as planned, and when Merlin looks at him, he hides behind a branch as though that’s going to do literally anything to hide him.

By the end of his little dose of screen time, I was quite amused and wondered how I hadn’t really noticed him earlier in the film, since his character archetype seemed right up my alley. After a day or two, my curiosity peaked and I decided to watch the movie again, but this time pay lots of attention to him whenever he was in a scene. I both wanted to appreciate his character more as well as reevaluate the movie after my first viewing, wanting to decide if it really was ‘bad’ like people said it was (spoiler alert: I had fun watching it the second time as well, while it is flawed it’s a fun movie and I like it and I will die on this hill—).

On my second watch, I realized that Morgie is surprisingly pretty well-characterized for a character that doesn’t have too many speaking lines. And I really wanted to hyper-analyze his character and all that, so now I’m making a very long post about it. I really just need to ramble for a bit because for some reason I have become deeply fixated on this character and NEED to blurt out all my thoughts.

So without further ado, how about we watch this movie for a third time and point out every single little thing about Morgie and appreciate it? Let's go!

(There's also my theory about how the new and old timelines work below all the movie analysis, in case anyone just wants to see that).

YAY HE SAID HIS FIRST LINE WOOOO!!! After a whole 48 minutes, the best character has finally entered the movie /j.

Now on to actual thoughts and stuff. Morgie's first ever words in this film are, "Son of morgana", which, from an out-of-universe perspective, can be easily explained by the movie needing us to know who he is, since he's one of the two completely unheard-of characters in the villain gang.

But Uliana, notably, only has her relation to Ursula mentioned after her verse. So the "son of morgana" line didn't have to be the first thing to ever be said by him, but it is.

That could just be because it flows best from a music standpoint, but in-universe, I think it could possibly represent how Morgie got into the villain gang in the first place.

You see, while I was trying to dig up all the Morgie information available before I made this post, I found these blurbs:

(From an official Descendents book, 98% sure it's called "Descendants: The World Of Auradon: Royals And Villains").

Notably, Morgie's entry says he isn't the most well-liked in the group. But in that case...How is he still in the group??? The villain gang don't exactly seem like the types to keep someone around just to be nice. So here's what I think the reason is.

Uliana wants to be the most feared person at the school. She wants to surpass even her sister when it comes to being mean and scary. And that means that her gang has to be mean and scary. And when she hears that the literal son of Morgana--Morgana, in this universe, seems to be a very powerful sorceress who almost took over the world--is attending her school, she knows that having him on her side will definitely give her more of a powerful, evil image. Afterall, if the son of one of the most powerful villains was willing to follow her, people would think that she must be very mean and scary.

Of course, she needs people to know that Morgie is the son of Morgana, so I wouldn't be surprised if she asked him to mention it the first chance he got, and he listened to her.

This was all a very long way of saying that Morgie says this line first possibly because Uliana told him to, since having evil, scary people on her side makes her look better. And it's also interesting that the first words he ever speaks are about his relation to someone else, not his own character, unlike all the others in his group.

But we're not done with this shot yet! I also want to add that the Son of Morgana's name is Morgie, which means that Morgana has joined the long, long line of Descendents villains who basically just name their children after themselves, (probably because they view them as a sort of mini-me). I wouldn't be surprised if his name was actually Morgan, though, and Morgie's just a nickname.

Also, something I noticed is that, if you look at the book-pictures above again, Morgie's paragraph is in past tense, while Morgana's is in present tense. Morgie's being in the past tense makes sense, since we know that in the future, the villain gang in Rise of Red no longer exists, all of them being their own solo acts. But Morgana's paragraph being in present tense means that she is still alive, powerful, and presumably still wants to take over the world. So I guess that means she's technically a candidate for antagonist in the next movie. But I'll get back to speculation about that sort of thing later.

Now we can finally talk about the next moment, haha.

(Morgie is the one singing the line here)

The first time I watched this I didn't catch that he called Uliana hot but--Yeah, he did. Which means that he either thinks she's so hot he must declare it to random strangers, or Uliana specifically asked him to say that she's hot. Either way it's kind of hilarious.

I am genuinely unsure as to whether they are trying to get us to ship Morgie and Uliana because:

-On one hand, we've got Morgie not being well-liked, and him "desperately wanting Uliana to like and respect him". Which seems to imply that, at least to some extent, she does not like or respect him, or at least not as much as Morgie wants her to.

-But on the other hand, we've got Morgie calling her hot, staring at her longingly, and Uliana calling him 'honey' later in the movie. Disney what do you want from us--

Personally, after reading that Morgana is cruel person who doesn't care about innocent people and who's first priority is world domination, I guessed that Morgie probably didn't have the most loving upbringing. It could've possibly been something like Red's, where his mother could be 'kind', but only if he did what she said and helped her take over the world and all that. In this scenario, Morgie tries his best to follow her lead, but most of the time still doesn't do well enough to satisfy her and fails to get much validation or love from her. When he goes off to school, he tries to get validation and love and respect and all that from Uliana instead.

But that interpretation sort of implies he sees her as a stand-in mother figure, which makes me think that no, them being a couple doesn't feel quite right.

But it's not like that interpretation is canon or anything, it's just something I came up with. So it can't prove that he has no romantic interest in Uliana and that's why he's so desperate to please her. But I did want to share my thoughts on that matter, so here you go. :)

Aside from Morgie getting hit by Uliana's tentacle and falling over being really funny, there is something else interesting that this moment made me notice.

I read somewhere that a character being lower in frame than another, or lower from a high angle in general, can symbolize them being less powerful. And I noticed that there are a few scenes where Morgie does crouch or appear at a lower angle than the other villain gang members, which reinforces the idea that he isn't the most powerful/well-liked member and is at the bottom of the totem pole in the group.

I don't know if I'm reading into that too much, and I don't know a lot about film-making techniques so maybe that's not completely accurate, but I thought that was interesting.

There's nothing too important about this one, I just think that all the villains frowning or glaring while Morgie goes :D is really funny. He looks so head-empty in this moment.

Morgie uses 80's slang confirmed!!

Also, Uliana lets Morgie call her Uli. Considering the fact that Uliana says her full name (Uliana) is what will strike fear into people's hearts, her letting Morgie use a semi-cute nickname is fun. It proves they're at least a little close, since she didn't sock him in the face for calling her that, especially in public. She cares a lot about her image, so her not minding definitely seems to imply she cares for him at least a little bit.

I don't have much to say about this one, I just think it's amusing.

Though the fact that so much of Morgie's dialogue can go unheard/unnoticed without captions on or on a first viewing is interesting. I couldn't actually hear the 'wicked' line, I'm just trusting the captions. And both this line and the last he says while not on-screen, which seems to put the other's reactions in more of a spotlight than what he's saying.

I suppose this is part of the reason I found Morgie harder to notice and keep track of when I wasn't putting my undivided attention on him. Throughout a good chunk of the movie, he's treated as nothing more than Uliana's lackey. Him not having too much to do besides follow her is true to his character, though. His entire role is all based around doing anything to gain her affection. He cares about her more than anything, and sometimes that leads to him not being a character of his own. Which is pretty cool, if done purposefully.

Hm, I've noticed that Morgie's main ship in this fandom seems to be Hook and him, and is this one moment the reason for that? I've heard people say they have chemistry on-screen, but after watching the movie a few times, they only have a few close moments from what I can see. This and introducing Uliana are probably where their friendship is most prominent. Hook and Morgie definitely seem the most dedicated to Uliana, so they are similar in that regard. And the ship is cool, don't get me wrong. I suppose I just wonder if there's some sort of logic behind it, or if it was more of a "ah yes two conventionally attractive men it's shipping time" situation, haha.

This is an interesting frame, because Uliana is suffering as she's turned into a...uh...flamingo-squid-human hybrid? And you'd think that Morgie, since he cares so much about her, would be the most distressed. Instead, in this moment he seems to be smiling (not sure if you can tell as much in this screenshot, though). This could mean a few things:

As stated in the Descendents book, Morgie is rather dense and still hasn't realized that Uliana isn't fooling around anymore and is in genuine distress.

He is happy Uliana is in distress because that means he gets to help her, and she will feel grateful for that and like him more in result.

As shown later in the movie, he likes animals enough to even learn how to mimic the sounds they make, so he's just happy that two of his favorite things are being combined, haha.

Some sort of theory about him secretly not being super loyal to her, though there's not much of a case you could make for that other than this moment in particular, as far as I'm aware.

I'm not sure which one I believe, though I think I'm probably leaning towards the first one, even though possibility 2 would be quite interesting. After all, he looks very visibly worried when she falls into the fountain later, so him just not realizing at first probably lines up the most.

Not too much to say about these two moments, besides the fact that they once again showcase how desperate Morgie is to please Uliana. First by him being the first person to try to help her (but he fails and falls over, which he seems to do a lot). And second by him being the first to sprint out of the courtyard after her. Though it seems Hook caught up and got him to stay with the others to cut off Bridget and Ella at the other side, since we don't see him running behind Uliana anymore in the next shot, and then we see him standing beside Hades after we move to the fountain scene, implying he went the way Hades did instead.

(Side note, I think that Morgie's the one who shouts 'Uli!' but the captions just say student so maybe not, I can't tell).

Okay, so, the captions claim that Hook says this line, but not only can we see that Hook has his mouth shut as he pushes branches out of the way, not speaking, the voice also sounds way more like Morgie to me. Originally, I was going to use the nickname Uli as evidence that it was Morgie, but then I remembered Hook also calls her Uli earlier in the movie. So I guess I can't prove anything, but I'm 99% sure this was a mistake on the caption-er people's part.

To get on with the actual scene, Morgie compliments Uliana in an attempt to comfort and please her, though it doesn't seem to work like he'd hoped it would. Other than the last scene of the movie, this is probably the only scene that remotely shows that maybe she doesn't like him as much as some of the others, like the book claims. But more on that later.

I had a hard time getting a good frame of it, but I wanted to point out that Morgie kinda froggy-hops on the first two stones in this scene, before jumping across them normally. Whether he stopped because he realized the others weren't doing it or because he simply remembered that he is Not A Frog, I found it to be a fun detail and wanted to point it out.

Pfft, he's so eager to participate, his worryingly excited vocal delivery never gets old to me here. You could also argue that this is another lower-in-the-frame moment, since he sort of crouches and then rises up here.

It's noteworthy that Morgie is the only one of Uliana's gang to not come up with his own idea for a way to get revenge on Bridget. Which at first glance seems like a strange choice, since all the members getting individual lines is a chance to characterize each one a little bit more. And that's especially valuable with a character like Morgie, since most kids probably don't know a lot about Arthurian legend and therefore Morgana. And Morgie's not even actually her, he's her son. Meaning in his limited screentime, they really need to put the effort in to make his general personality clear.

But the fact that Morgie just copies someone else's answer does characterize him. Like I said earlier, at least to me, Morgie seems a lot more eager to participate in the conversation than to come up with ways to punish Bridget for what she totally definitely did. In fact, he begins to climb on top of the rock-thingy to jump off it and excitedly repeat Hades' idea before Hades even has a chance to finish his thought (he's still on "we could"), meaning Morgie was probably going to excitedly parrot whatever Hades said no matter what it was (or maybe that just happened because the actor didn't have enough time to climb up, jump, and say the line if he waited until Hades finished speaking but shhhhhh).

This would imply that Morgie doesn't really care as much about evilly getting revenge and whatnot as much as he cares about getting to be included in the conversation and following what the others are doing. This may be getting into more headcanon-y territory, but Morgie seems to crave the love and companionship of his friends, and I think this scene sort of demonstrates his want to do what they deem as good and acceptable and what will make them happy rather than come up with anything on his own.

I suppose that's one thing that makes his character morally grey to some extent. Sure, he doesn't seem to take as much direct joy/satisfaction in torturing Bridget, but he still cares far more about his friends' approval than her well-being. As long as his friends are happy and want to keep him around, Bridget and anyone else's happiness doesn't matter.

I have no idea why they put in a random shot of Morgie jumping in the middle of the song, but it's really amusing to me so I'm happy they did. I just needed to mention this really quick, I find the hard cut to Morgie dramatically jumping off something way too humorous not to.

Off-topic, but since it's sort of implied Morgie likes animals at the end of the movie, I like to think he feeds this guy sometimes, and when asked why he'll say sadly, "No one comes here besides us anymore, so he hasn't been able to eat any innocent people in a long time :(" like it's this terrible, tragic backstory. Idk I just think it'd be funny. Anyway, back to your regularly scheduled programming.

Ah yes, the scene I keep mentioning. The one that made me go, "woah, he's funny and has a discernable personality :0". The one where he asks what the signal should be and all that.

This scene finally shows us what the Descendents book from earlier kept claiming, that he wasn't the most well-liked among their evil clique. When Morgie talks, Uliana rolls her eyes in exasperation and walks off, not answering his questions. And the others follow suit, ignoring him.

For most of the film, Morgie seems to be on even ground with the other members, and at first, I thought maybe that wasn't on purpose and they just wanted to shove this in at the end, like how most of the ending was rushed. But now I'm thinking that maybe the reason Morgie isn't as well-liked is being shown throughout the scene, revealing why it's only more obvious now.

You see, Morgie's easily excitable personality fits in when Uliana and the gang are all just messing around, like how they were laughing and making jokes at someone else's expense earlier in the movie. Morgie just has to cackle evilly behind Uliana and be supportive. But when they try to do more 'serious' evil things, like this heist, his attitude doesn't translate quite as well.

Uliana wants to be taken seriously as the threat, and I assume the other villain gang members do as well. They want to be evil and scary and tough and all that. But Morgie doesn't really have a more serious, threatening mode. Well, he does, like when he's trying to be threatening during his introduction. But when there's no bystanders to impress, only his friends, the real Morgie isn't the serious type. He's still energetic and excitable, even in situations such as these. And the others find this a bit grating, since they want to be real villains. They don't want all of this to be childish or a game, they want to be taken seriously as villains. They want to be real villains. And Morgie's demeanor isn't as cut out for that sort of environment. Or at least his natural demeanor isn't, and he has trouble reading when they want him to be more serious.

Side-note: I swear I love every line this character delivers, something about the way he talks makes my ears happy. So I just wanted to point that out really quick.

"Ah yes, this extremely small branch will guarantee that no one will see me! >:D" I find this very funny. I want to say this isn't very smart of him, but I mean it works and Merlin doesn't see him so you can't argue with results--

Anyways, Morgie impersonates a few animals and hides behind a small tree branch. I thought about screenshotting all the animal noises but they're pretty straight-forward and for this you just need to acknowledge that they happened, so I didn't.

Morgie is the son of Morgana, and presumably has the capacity to be an extremely powerful magic-user like her. Which means there are a lot of cool magic things he could be doing. So I think the fact that we are directly shown that shape-shifting and mimicry are the skills he focuses his energy on the most, is important. Well, I suppose it's possible he isn't using magic to mimic the animals, but I've always assumed he is. And even if he isn't, the fact that even in scenes where he's completely alone he's still mimicking something else is rather telling.

...

...Oh, wow, we finished analyzing the actual movie! Yay! Time for one last thing, then!

Apparently, there was a deleted after-credits scene where Morgie finds the sorcerer's book. Unfortunately, I couldn't locate the original post, which supposedly came from Morgie's actor. It's not that I doubt it's real, I don't know how someone could fake this photo, but I would've liked to see it and know what he said about it.

(Warning, a lot of this gets even less objective than it already was, and most of it is just me theorizing with varying degrees of evidence to back my statements).

So what implications does this photo have? Well, it confirms my suspicions that Morgie being forced to stay behind wasn't for nothing and was setting up something else. I heard there was a lot of cut content in Rise of Red, and the fact they thought the 'Morgie barks like a dog scene' was important enough to keep over other things seemed telling.

If there was a scene dedicated to him finding the book, then him finding it must somehow be important. But in that case, I'm guessing we'd have to assume that Morgie can open the book. After all, if he can't open it, what's the point of him finding it? And it sort of ruins the original timeline, too.

If Morgie can't open the book, then that means all of the villain gang couldn't open it. And in that case, how would they prank Bridgette in the original timeline? They couldn't, because none of them would be able to read the recipe and give the cupcake to Bridgette.

However, if Morgie can open the book, then things make more sense. I wasn't sure if I was going to share my whole theory here, but so far I haven't seen anyone have the exact same idea as me (though I haven't read every Morgie post out there, so it's possible), so why not share it?

What if the thing that changes the timeline isn't that the villains were able to get the book without getting caught by Merlin, it's that the villain gang knew Morgie could open the book?

Let me explain.

Let's start with the fact that I don't think we often acknowledge, at least in my experience, how random of a choice putting Morgie in this movie was. They could've chosen any classic Disney villain to be in this movie, yet they chose Morgana. A character who has never even shown up in any Disney project, besides a live-action film and Sofia the First. They could've chosen to round out the pirate trio from the second movie and added in Gaston, or chosen one of the core four's parents from the first movie, or picked literally any famous character from any Disney movie ever. And yet, they decided to go with not just Morgana, but the son of Morgana.

And personally, I think that if Morgie really was just a throwaway character, they probably wouldn't have gone through the effort of making a whole new character instead of just choosing an already established one, like with Hook, Maleficent, and Hades. There has to be a reason they did this, right? Anything Morgie did in this movie could've been accomplished by anyone, since his only large contribution to the plot was being a look-out and failing.

And there are two things I realized. One, that being the child of a villain basically gives you automatic redemption arc privileges in this franchise. The core four, the pirate trio, and Red in this movie are all proven to be good deep down in the end, and we're supposed to see them as heroes. And for some reason, they decided their new character couldn't just be Morgana, it had to be the son of Morgana.

My guess is that they want to be able to push the "Oh their parents taught them that being evil is right but deep down they're a good person" angle they did in all the other movies with the Descendents. Especially since it would parallel Red, who's basically the main character of these movies, even if Chloe is at a close second.

The second thing I noticed is that even if you read just the first paragraph of Morgana Le Fay's Wikipedia page, it says that a significant aspect of her character is her unpredictability when it comes to being good or evil. She has the potential for both, and since they seem to have decided to just make Morgana evil in this universe, I'm guessing that trait is being handed down to Morgie.

They needed a morally ambiguous villain who could open the book in order for the timeline to work properly, and choosing a villain we know is 'evil' thanks to their movie, wouldn't allow that. So obscure villain's son it is.

Alright, so if we assume my logic makes sense and isn't just incoherent rambling, Morgie can open the book. How does this tie into the way Chloe and red changed the timeline? Here's what I've come up with:

In the new timeline, Red and Chloe steal the book for the villains and the villains take it, opening it in front of them just to brag and getting frozen. Red and Chloe take the book and, assuming that Uliana and her friends can't go to the dance, leave the book behind off-screen. In the deleted scene I think they left it...Is that their room? I genuinely can't tell, but Morgie finds it. Possibly via following them after seeing them leave the building, since we know that the trip from Red's room to Merlin's office is in direct eyeline of the tree.

But even though Morgie found the book, the prank isn't enacted in this timeline. If Morgie can open the book, why is that? After all, he could just do the prank for Uliana, right? Well, here's what i think happened:

Uliana and the gang don't know that the book is enchanted so that non-good people are unable to open it. That's why they try to open it without a second thought. Which means there are two possibilities going forward:

Morgie did indeed follow Red and Chloe back to their room so he could get the book back for Uliana, and overheard their conversation about how the book proves Red is a good person and won't turn out like her Mom, etcetera. When he finds it, he's aware of what could happen when he opens it, unlike his friends.

Morgie doesn't know about the enchantment on the book when he finds it, because he didn't follow them or couldn't hear them through the door or something else.

Both options, for my theory, garner the same outcome, it's just that things take slightly longer to happen.

If we go with the second option, Morgie is unaware that opening the book with no side effects means anything and after he opens it, he decides to show Uliana and the others the book whenever Merlin gets the spell off of them and all that. But when they do meet up, Morgie asks how they got caught before he shows them anything. And Uliana's answer would be something along the lines of, "That stupid book was enchanted and froze us in place! Only some goody-two-shoes could open it without that happening" (she would know because she heard Chloe's explanation of the spell when her and Red were talking). And Morgie takes a moment to process that...Uh oh, wait, that didn't happen to him. Why didn't that happen to him? Cue Morgie having an identity crisis as he realizes that the book doesn't seem to think he's a bad person, even though that's what he's supposed to be. He's the son of Morgana. He's part of a group that knows their actions are bad and they don't care. His entire motivations are around getting his mother, Uliana, and whoever else to give him validation for being good at being a villain.

But according to this book, he's not one.

Morgie tries to play it off and decides not to show them the book. Uliana and the gang are all about being evil, and they are all he has. What if this was the last straw and they kicked him out of the group because they think he's not evil enough? He'd have no one left.

He's decided that he can't tell them about the book, but what if they figure out that he has it? As long as he has the book, it's a liability. So, he does the only thing he can think of.

Burn it to a crisp.

And with the book destroyed, the prank can't happen. The recipe that can turn Bridget into a monster is no more.

If we went back to those first two options and say Morgie knew about the spell when he opened the book, then everything is the same except the book gets destroyed sooner, the night Morgie's friends are still frozen and won't be able to catch him actively sabotaging their revenge plans.

So that's the new red-and-Chloe timeline. What about the old timeline? Well, in that timeline, let's say Uliana doesn't feel the need to show off and open the book in front of Red and Chloe, so they escape Merlin's office unharmed. That means they get to meet up with Morgie, and whenever they open it, they're around to see that oh, Morgie isn't frozen, that's weird.

And they can't know for sure why, since they don't know what the enchantment is or what its qualifications are, but they do know that Morgie can read the recipe and do the revenge plan, so Morgie is able to read the instructions and they're able to prank Bridgette.

And ta-da! That's how the timeline got changed! At least in my mind, there are probably tons of other possibilities, but this is the one that made the most sense in my head.

And with that, the post is finally finished! I'd love to hear anyone's thoughts or ideas on this! Despite this being an analysis, a lot of it is dictated, at least slightly, by my own opinions. Morgie is the centerpiece of the timeline changes for a reason, haha. With such a large fanbase compared to some other pieces of media I like, I'd love to hear what the masses have come up with and like or disagree about in this post.

Thank you so much for reading if you've made it this far! I can only imagine that if you have read all this, you're some sort of Descendents or Morgie super-fan, and for that you have my respect.

[bluecatwriter]

I watched the Wildhorn/Black/Hampton Dracula rock opera!

Okay, okay, okay. As some of you know, one of the guys in my theater troupe got me comp tickets to see him in Dracula: The Musical. You guys. It was an EGREGIOUS adaptation that didn't even make narrative sense on its own terms. I also had a TOTAL BLAST. 

If you like the musical, no shade to you— please just keep scrolling and like what you like! However, I had so many thoughts about this that I had to word-vomit about it, and thought some of you might have fun reading my thoughts on the good, the bad, and ugly for 3,000 words.

TL:DR: Very fun experience, so glad I went, the play's narrative choices make me want to throw hands in a Denny's parking lot, much dunking/adaptation-hate ahead, my friends are amazing, I'm writing my own play now.

(CW discussion of rape, ableism, drug use, suicide)

-First of all, everyone take a moment to appreciate my eyeliner. I do not usually draw eyeliner that well so I was very proud of myself.

-I went with my sister, since we both knew people in the cast. (I thought we knew three, but we actually knew four: the actors who played Dracula, Mina, Lucy, and Quincey.) My sister didn't know anything about Dracula except what she'd picked up from my incoherent ramblings (which I generally keep to a minimum around her). 

-It was a black-box theater, which I didn't expect: six or so rows of chairs on each side of the theater, facing each other across the relatively small room, with the stage in the middle and a live orchestra (!!!) on one end. The set was a minimalist Gothic castle design, with windows, a freestanding moving wall, and a large platform that, throughout the play, served as Dracula's coffin, a table, Lucy's bed, Lucy's coffin, and just a general place to stand and sing in a badass way. I absolutely LOVE black box shows because they're so intimate: you can almost reach out and touch the actors, and you can see every minute facial expression and gesture, the light glittering in their eyes, and so on. (Acting in a black box theater is much more like movie acting because the audience can see what you're doing with your eyes in a way that regular theater doesn't allow, meaning that things like eye contact between characters is much more electric and effective.)

-The sound design and lighting effects were doing a lot of heavy lifting in this show, and they nailed it. Very spooky!

-The play began with the weird sisters, and they were consistently my favorite part of the play— the actresses killed it (ha), bringing an intense, spooky energy to the story, often serving as narrators, background singers, extras, special effects handlers (such as portraying the wreck of the Demeter), and the physical manifestation of Dracula's will/presence. They were AWESOME.

-I had decided in advance that this play was a fanfiction written by Dracula about himself, and nothing about the show dissuaded me from this idea. The guy who played Dracula served major cunt from the moment he stepped onstage, wearing leather pants with laces up the side and a big sweeping coat and a huge amount of eyeliner that really brought out his unnervingly blue eyes. ("All guys should wear eyeliner and leather pants," I joked to my sister after the show, and she responded, with the most haunted look I've ever seen, "I agree about the eyeliner, but not the pants. I lived in San Francisco for three years, and you know not what you speak of. There are things I cannot unsee.")

-Actually, to be honest I liked Dracula's characterization (until the end; see below); whether because of the director or the actor or both, this version really did not downplay what a bastard he is. He was incredibly ruthless, in all senses of the word: focused on a single goal and not caring who got mowed down in the process. Anytime his sung lines talked about him being lonely or sad or whatever, the actor played it off as him trying to garner sympathy from his listener, rather than expressing his true feelings, which was a directing/acting choice I really appreciated.

-When Jonathan came on stage (from the door just a few feet away) I nearly squealed with delight! He just RADIATED "biggest sweetheart you've ever met" energy: tall and lanky and with a scruffy lil beard and clothes that didn't quite fit. I was in love with him from the beginning. Also he got to mention his Kodak camera, and I remembered that I could not actually cheer at moments like that because that would be weird.

-The Dracula-Mina "romance" was introduced very early, which I appreciated; from a storytelling perspective, it was good to have that continuous thread. Dracula looks at a picture of Mina, mentions how young she is, asks Jonathan if she is "pure," and then decides that they're soulmates. It was SO PERVY. Once again, I loved the Dracula characterization. If only it had stayed one-sided…

-I was fortunately warned that in this version Jonathan takes the crucifix off so the weird sisters can continue attacking him, but I still had to suppress a "BOOOOO!" (I did whisper "NOT CANON!" to my sister, and later she said that when that happened in the play she was like, "Oh, okay, I don't care what happens to this guy now.") But I guess it did have the effect of making him less sympathetic, which served the story the play was trying to tell.

-I was pleased that there was a Drac-drinking-from-Jonathan scene, and consistent with the storytelling, Drac had a whole song about how he needs Jonathan's blood so he can be young and hot and go seduce Mina (which, again, fits with the story they were telling). They decided not to have any sexual tension between Dracula and Jonathan, so the blood-drinking scene was pretty brutal (complimentary)— Jonathan laid out on the platform with Drac just. gnawing on his neck while Jonathan writhed and convulsed. It was still kinda hot though not gonna lie

-Lucy's characterization at first was pretty interesting, because her song about the three suitors (and the directing/acting) made it seem like she was just kinda stuck with three mediocre choices, and chose the least offensive one (Arthur, who she describes as boring and can't even think of one nice thing to say about him) and tried to convince herself that she would be happy. This was honestly the biggest moment where I had to just squirm in my seat to keep from actively booing. Don't be so mean 2 my boy! From a storytelling perspective, it wasn't clear at all why she chose Arthur, because Quincey was the only one of the suitors who had any personality at all (even Jack was bland. JACK. WAS BLAND. YOU COULDN'T HAVE HIM SIT ON HIS HAT OR AT LEAST FIDDLE WITH HIS LANCET? WHAT IS WRONG WITH YOU???). Anyway, Arthur was actually totally fine after that song (and had some nice lines in the group songs).

-Meanwhile, Drac is creeping on Mina by entering her thoughts without her consent and being like, "We're soulmates," and she just…. goes along with it???? With literally no rhyme or reason to her decision???? I know some of this is that I hate the whole concept of soulmates, but I expected at least SOME justification for why she was interested in him. There was no indication she was unhappy with Jonathan; there was no hint of any emotional connection; there wasn't even some weird "reincarnated lover" story to try to soften how incredibly strange it felt that Mina was randomly in love with this guy's voice in her head. His baritone is sexy BUT IT IS NOT THAT SEXY. GIRL PLEASE.

-In this version Dracula bites Lucy because he's trying to call Mina to him and Lucy comes by accident and he's like, "Well, nothin' I can do about that. CHOMP." Which, again, I honestly liked this characterization because he's not apologetic about who he is; he is just destroying everyone in his way and not caring about them as people. He just has a goal and he'll do anything to reach it.

-Then of course Lucy's like, "Oooh that was actually so sexy and I never want to wake up from that dream of him chomping on my throat." The directly seemed to imply that being bitten by a vampire just. instantly turns you into something that's not yourself, so I could kinda excuse it if I squinted, but it was still pretty icky.

-Renfield got to stab Jack! My sister felt sorry for Jack (because all his unethical science got shaved off in this adaptation) and I was just like, "YESSS RENFIELD YOU GO!" 

-Jonathan shows up again, in a wheelchair (a really cool old-fashioned one), and Mina goes to marry him, and their marriage is paralleled with Lucy and Arthur's while Drac looms in the background. The double wedding was a nice staging choice, although the optics of Mina somewhat reluctantly marrying disabled Jonathan while abled Dracula is standing by being All Sexy was… uh, it was not great. But on the plus side, maybe it emphasizes the ableism that a lot of people have toward Jonathan's disabilities in the story, bringing them out into the open? (I am grasping at straws here.)

-Van Helsing was perfect! The actor had wild gray hair and forehead bumps and a tenor voice that could shatter your heart into a million pieces. He did a great job of having the "weird professor" vibes even though his lines were more coherent and to-the-point than they are in the book. 

-No blood transfusions, sadly, but I see why they cut that part.

-Lucy turning vamp was very well done. I think I should mention at this point that the actors who played Dracula and Lucy are actually married to each other in real life, and they had really crackling chemistry and it was clear in every scene they were together that they were having just the best time. "Life After Life" was my second-favorite song in the play because it's just Dracula sending Lucy out to eat people— and again, both actors were clearly having SO MUCH FUN performing this song together. At the end of the scene I was all pumped up, like, "Yeah Lucy! Go eat some people!!!"

-Intermission. I told my sister this was like the part in Rashomon where the rapist tells the court his point of view and is like, "Oh, she totally wanted it." My sister shook her head at me and chuckled.

-The graveyard/Bloofer Lady scene was genuinely horrifying; Lucy's actress did an AMAZING job of amping up the horror, beginning the scene by cradling a baby and singing it a lullaby, then just CHOMPING down on it, and throwing it down and hissing like an animal when the Crew of Light approached her. Mina and Jonathan were in that scene, too, and even though Mina didn't have any lines, seeing her reacting to it (rushing to grab the child, dodging out of Bloofer!Lucy's snapping jaws) gave the scene a lot of emotional intensity. 

-Both Bloofer!Lucy's death and Renfield's death were directed beautifully; they were both somewhat quiet, almost slow motion, focused not on the violence but on the emotional weight of both their lives ending.

-Jonathan and Arthur, while both being incredibly bland characters, have I think more dialogue in this play than they do in the book. Every time they spoke I was like, :D :D :D! My blorbos!!!

-Throughout Mina's whole song "Please Don't Make Me Love You" (sung, of course, to Dracula) I focused VERY HARD on my friend's amazing acting, her beautiful voice, the way she was playing this with absolute conviction, while in the back of my head I was screaming. Just a primal, Nazgul-like shriek. GIRL WHY (I think my sister was amused by how much I was squirming)

-Van Helsing has a nice little song about his dead wife, saying that it was a vampire that killed her and that's why he's a vampire hunter now. He was also shooting up with a comically large syringe during this song, but sure, yeah, that's fine. Like I said, his voice was SO BEAUTIFUL, so I was entranced. If only he had gotten a chance to find connection and family ties in order to continue that character arc HINT HINT

-Ah, then we get the Blood Baptism scene. Mina sings a song about how she doesn't want to run away (because of that sexy baritone voice I guess) so she invites Dracula into her room, he knocks out Jonathan, and then they make out over Jonathan's body. Le sigh. The funniest part of this scene is that they had her drink from his chest but they didn't use any fake blood, so he just unbuttons his shirt and she buries her face in his boobs, no context. I asked my sister afterward, "What did you think was going on in that scene?" and she said, "I figured she was drinking from his vampire-milk titties."

-Van Helsing and Dracula got an "I will take you down!"-style song that was actually really cool.

-Then, suddenly, out of nowhere, BOOK-CANON MINA SHOWS UP! She was in a wheelchair now (a great directing choice, I thought), and demanded that Van Helsing hypnotize her, insisted on them keeping the information from her so that Dracula can't get to it, makes them all vow to kill her, and figures out where Dracula is going based on the maps. I was like THERE SHE IS! THERE'S MY GIRL! …But unfortunately this characterization makes no sense in the story the musical is actually telling. Why is Mina leading them to him? Why is she taking such pains to make sure Dracula is not warned of their coming? It didn't fit with any of her characterization in the rest of the play (and especially not with the ending), so it felt really cobbled-together and odd.

-Also Jonathan vows to kill her and there's a whole song about how sad he is that he will have to do that. I was gritting my teeth the whole song being like It's a storytelling choice it's a storytelling choice it's a storytelling choice it's a storytelling choice it's a

-Okay. YOU GUYS. YOU GUYS. The song "Deep in the Darkest Night" WAS AMAZING. It's a song by the Crew of Light (and in this version, sung by all six of them, including Mina) about their quest, and how they must be points of light in the darkness. It was SO BEAUTIFUL and SO THEMATICALLY ON POINT and it was EVERYTHING I WANTED from a Dracula musical and it is a CRIME that the whole play was not built around these themes and motifs!! *chewing on the scenery* Also, holy cow, everyone in the cast could sing like nothing else. Full-body chills. Stunning, incredible, showstopping, no notes.

-In one of the hypnotic sessions, Dracula came to stand behind Mina and they sang a duet, a reprise of "Life After Life" (the song for Bloofer!Lucy), and that was an incredibly effective storytelling choice (also their voices just blended so. well. together that even in the songs I hated, I still got chills because their voices were SO DANG BEAUTIFUL TOGETHER). Again, I am haunted by what this play could've been if the Drac/Mina thing was one-sided.

-In this version, Quincey gives Mina his Bowie knife for protection, which I thought was sweet.

-Drac has a big sad-boy song about how he's actually in love with Mina now. BOOHOO MOTHERFUCKER. NO ONE CARES.

-Quincey got killed by trying to stake Dracula and Drac grabbing the stake and shoving it into his stomach. (My sister gasped and squeaked, "No!" when this happened.)

-Meanwhile, Van Helsing and Mina get separated, and Mina has a whole song about how she's made her final decision: she's gonna become a vampire and live with Dracula forever. At this point in the play I was like, Okay, girl, whatever, you do you…

-But then. BUT THEN. *frothing at the mouth*

-(Don Black and Christopher Hampton meet me in the Denny's parking lot I just want to talk)

-Drac's like, "Ooooh no actually I don't want you to be a vampire so you need to kill me now."

-Mina's like, "Nooooo this makes me so sad I have chosen to be a vampire and it is what I truly want!"

-Drac's like "Nobody cares what you want because the authors couldn't care less about your agency as a person"

-Mina's like "nooooooooo i'm so saaaaaad!"

-(Me: *still frothing at the mouth*)

-Finally, weeping, she takes Quincey's knife and places it over his heart.

-And then SHE DOESN'T EVEN FUCKING KILL HIM HE JUST GRABS HER HAND WITH THE KNIFE IN IT AND KILLS HIMSELF

-Like, I am just so mad that Mina doesn't even get the tiniest bit of agency here at the end. She is just blown about by the whims of the men, and at the end none of her narrative choices are respected in any way. A lot of this is, I'm sure, the directing for this particular performance: if I were trying to make this ending a bit more narratively satisfying, I would give Mina a moment where you can see her agreeing with him and deciding to kill him herself. This ending just felt… cheap. It didn't even form a satisfying closing even based on the rules of its own storytelling. It was so ridiculous that I actually had to cover my mouth to keep from laughing. 

-After the show we got to talk to all our friends who were in it and it was easy to sincerely compliment them because they all did an AMAZING job. I feel so honored to be friends with such amazingly talented people!

-We drove home in a lightning storm while blasting Blondie's song "One Way or Another" (my sister said she was thinking of this song all through the Drac/Mina story arc) and singing loudly along. "ONE WAY OR ANOTHER/I'M GONNA FIND YA/I'M GONNA GETCHA GETCHA GETCHA GETCHA!"

-I asked her which two characters she thought I shipped the most and she guessed Jonathan/Quincey. Not a bad guess.

-Got home, rambled to my very tired spouse, curled up in bed, turned to him and said, "I promise to never leave you for some random dude who speaks in my head and says we're soulmates," and he replied, "And I promise to never leave you for three sexy vampire ladies," and if that's not a wedding vow renewal I don't know what is.

-Laid awake for nearly two hours brainstorming a Dracula play (not a musical, I'm not that talented). And, uh… yeah. A script is gonna happen. I've written plenty of plays (and co-directed/co-produced a few times), so it's definitely in my wheelhouse, and my brain will not shut up with ideas. So! *tosses it onto list of creative projects*

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(P.S. If you reblog, please don't tag this as the Dracula musical because I don't want any fans to be exposed to the hate. Thanks!)

[gay-mooshrooms]

Part 1 of Spock TOS vs AOS

Ok so from popular demand I’m posting this. I made a post a lil while ago about writing an "essay" looking at the differences in Spock's characterization and relationship with kirk in TOS vs AOS so this is the first part of that cus I actually polished it up XD. First couple paragraphs under to cut :)

A lot of things bug me about the AOS movies and there’s a whole nother essay there, BUT, one of the biggest things that’s always bugged me is the difference in Kirk and Spock’s dynamic from TOS to AOS. If you’ve seen both you know exactly what I’m talking about. Obviously a large portion of the difference comes from the changes in individual stories and personalities. Kirk is made much more aggressive and the “macho man” he has become known to be in popular culture, and Spock is also shown to be more assertive. The timing in AOS is also different, in TOS they’ve already known each other for a short period of time, Kirk is already the captain of the Enterprise and Spock is already the First Officer, we meet them when they already have professional respect and admiration for each other. In AOS we don’t get that. They meet each other much earlier and at very different stages of their character development. This causes tension from the get-go which will continue pretty much throughout all 3 movies to some extent.

However, I think a lot of the changes in the relationship and personality, specifically on Spock’s front, can be attributed to the change in his relationship with his parents. In TOS we see, primarily in the episode Journey to Babel where we first meet Spock’s parents, that he has at least a semi-strained relationship with both of them. He hasn’t visited either of them in years, and Sarek declines to have him as a guide around the Enterprise. Amanda tells Kirk that the reason for this strain was Spock’s choice to enlist in Starfleet, which went directly against Sareks wishes and Vulcan teaching that he had been forcing on Spock from an extremely young age. In AOS we see something entirely different, while it is true Spock was originally going to go to the Vulcan Science Academy, as his father wished, he chose to enlist in Starfleet not due to a sense of alienation or a longing for a place to belong, but out of righteous anger at his and his mother’s treatment from the Vulcan’s of the Academy, so while Sarek might not have approved entirely, he didn’t object either. 

Sarek is not the only change we see, Amanda is changed a lot in AOS, and her change is arguably more important. The Amanda we see in AOS is a very kind and understanding woman, and Spock is shown to care very deeply for her and she was likely the person he was closest to before enlisting in Starfleet, which we can tell from how he reacts to her death. But the most important thing is how she treats him and his choices. It is established extremely early on that she would love and support Spock no matter what path he goes down, even when he asks outright if she would support him going through Kohlinar(the purging of all emotions), which would effectively eliminate his human side(or at least he hopes it would), and permanently distance her from him. This is EXTREMELY different from the Amanda we see in TOS. In TOS Amanda does seem to somewhat understand her son’s struggle, but she neglects to realize her own hand in that struggle. She so badly wants Spock to be human like her and tries to force him in that direction many times even when it’s clear he is unwilling or unable to do so, going so far as to slap him. Spock in TOS effectively comes from a divided household, as Sarek and Amanda have such different ideas about who they think he “should” be, Vulcan vs Human, which causes Spock himself to have even more inner turmoil. He is constantly being pulled in two different directions depending on what will make Sarek or Amanda the most pleased, rather than them trying to think what will actually be best for Spock himself.

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Will post the other bits later <3

@neil-perrys-glasses i know you wanted to read this so here ya go <3333

[aihoshiino]

The babygirlification if Hikaru is crazy in this fandom... I can't believe that people seem to believe he did zero bad things when ch109 literally showed him standing over Yura and saying that she died so he could feel something...? Just because he's not the one who pushed her, doesn't mean he wasn't an accomplice! (I don't see how Nino would've known about the hiking trip without his help. Also don't see why he would be there monologuing unless he's also a hiking enthusiast who just happened to be there.) He could be both! He could be someone Ai loved but also be a person who became lost without her! Look at Aqua who literally went on a maniacal journey of revenge that saved literally no one & killed 2/3 people whom Ai loved. Because she's gone. The way I see Hikaru's character is that, he loved Ai and understood her as a person instead of the persona she presented. Yet her passing made that persona the only legacy she left behind (in his eyes). She was seen as "the idol closest to the Dome" even though she didn't care! That title wasn't given to any of the other Bkoma members, just her. And, he wasn't really allowed into their children's life because she said so. The only thing he's got left were the "lies" and despite knowing that killing people for her legacy is not what she would've wanted, she's not around to stop him anymore. I think he was a man driven to desperation and doing terrible things because his love was genuine yet no one taught him how to love properly. And her final "rejection" made him believe that being a terrible person was the only thing he could be. Which was why Ai's video became such a huge blow to him: he could've lived without her knowing that her as a person didn't let go of him, yet he went down this path thinking that the true her rejected him & the "lies" was the only thing he could take.

I don't think Ai's rejection broke Hikaru, per se. I think she made him believe that he was worthy of love and not broken (like he thought). And the way things unfold drove him into a spiral that was planted long ago. Humans don't need to be innocent to be worthy of love. The HKAI relationship was two traumatised children finding comfort in eachother. And Hikaru's crimes were about someone letting intrusive thoughts get to them. I don't like how Akasaka handled it at all, but I think erasing Hikaru's grief and the destruction it brought isn't a good way to read his character.

SO, for what it's worth, I do think the way you've analyzed Hikaru here is how he was intended to be read by Akasaka, at least by the end of the story, I don't blame anyone at all who went into this final stretch of OnK legit thinking we were going to get a reveal that Hikaru was not just a straight up villain or at least sympathizing with him and interpreting him as a slightly softer character, because the story basically spends the entirety of the Movie Arc beating you over the head with Extremely Sympathetic Hikaru Characterization.

Hell, it starts asking you to sympathize with him basically from the word go. The first concrete fact we learn about him outside of Aqua's insanely (understandably!) biased POV immediately throws every explicit and implicit assumption we have about him out the window. Not only does his age mean that he was one of Ai's peers and not, as Aqua seems to have been assuming, an older man who had victimized her but we learn this information in tandem with realizing - as Akane points out - this means Taiki was conceived when he was eleven years old, with all that implies. Akane's disgusted reaction pretty clearly telegraphs to the reader how we're supposed to take it and… idk, maybe this sounds cynical, but giving a character a backstory of CSA is like the Press To Make Audience Instantly Want To Protect This Character's Smile button. It very much primes you to want to feel bad for him.

109 does throw a spanner in these works and I do remember even at the time feeling very fucking uncertain about OnK potentially going for the grody old trope of "this character was a CSA victim and now they're Evil" (IF ONLY I FUCKING KNEW) but the more I re-read 109, I felt increasingly uncertain of what, exactly, we were supposed to take away from it. I actually had a suspicion for a really long time that 109 was so heavy handedly and overtly portraying him as a straightforward villain specifically to mislead the reader When They Cry-style and that he wasn't the one responsible for Yura's death at all.

Add all this to the fact that the Movie Arc centers Hikaru's victimhood and his extremely sad wet cat pathetic boy characterization literally at the expense of Ai's story in the movie that was supposed to be about her but what the fuck ever and it's really hard not to think that this is how the story wants you to feel about Hikaru. Hell, the Movie Arc even asks us to empathize with Airi, who is a fucking child rapist. I don't think it's unreasonable for anyone to assume that we were not supposed to think of Hikaru as a straightforward villain, especially when Ruby basically, like, looks into the camera when she's having her meeting with him and goes "nobody is born ontologically evil btw people get fucked up by their environments and blaming individuals for systemic issues isn't how anything gets fixed".

Also, like… I want to be delicate about this but I think it's also important to remember that Hikaru's motivations and supposed villainy as portrayed in OnK as of late are pretty outlandish and hard to connect with. But there are almost certainly people in OnK's audience who are also C/SA survivors who are able to resonate with a more grounded portrayal of him. I don't blame anyone at all for preferring a more sympathetic take on him in that case.