#doe eyed girl

[deadwhispering]

[oshiawaseni]

Izuku said Kacchan never received any valentines in elementary and middle school. Izuku observed Kacchan open his locker and watch how nothing fell out or was inside his desk every single year. Izuku has always kept his eyes on him, so every Valentine’s Day, Izuku knew Kacchan did not receive any chocolates or love letters from girls, even friendship chocolates because Katsuki doesn’t mix well with women, period. Izuku can so confidently speak for Kacchan, that as far as he’s aware (I mean… he can’t take his attention off him for two seconds - Kacchan.exe is always running in the background of Izuku’s mind), Kacchan has never received a.single.thing which means that Izuku has always been watching over him, listening in to his conversations should he ever mention it. Izu-

[sf-renard]

tha deadly silly dude gives me strong Siberia/Alaska/Finland vibes since 2022 🤷🏿‍♀️

[diaryofaprettyprincess]

.・。.・゜✭・.・✫・゜・。.

[dolybun]

So.. when is an older woman gonna come up to me and pursue me

[mercuryspit]

this is for an extremely niche audience and the niche audience is me

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[hyperfixatedwhor3]

No, because block me if you compare Focalors and Furina to each other and somehow come to the conclusion that Focalors is an adult while Furina is a child. First of all, they look exactly the same with the difference being that Focalors has longer hair and Furina dresses in a style that people see as childish. "Oh, but it's because Focalors acts more mature" the only time we ever see Focalors was after she spent hundreds of years coming to terms with the fact that she was going to sacrifice herself to save the people of Fontaine, of course she was calmer than Furina who's always on the verge of a mental breakdown having to put on a constant act to fool celestia otherwise everyone dies

[deadwhispering]

[seriousbrat]

let sirius (and james) be mean

Obviously in SWM both James and Sirius are atrocious towards Snape but I think it's pretty revealing how mean they also are to their best friends, especially Peter:

And while I think James possibly grew out of his mean girl phase to some extent Sirius didn't, at least not fully. To be fair he's usually not outright rude unless he dislikes someone-- mostly, he's dismissive or impatient especially when someone says something he perceives as stupid, as well as being overall insensitive to the feelings of others.

In the prequel they're both fairly insensitive and rude to two terrified Muggles lol, I mean who cares and it's funny but there are examples of Sirius being something of a mean girl later on as an adult. obviously, the famous one:

and yeah you can defend this by saying he was stuck in grimmauld place and frustrated, bla bla bla, I do get it and I still love him and don't think it makes him a terrible person or godfather but objectively this is an incredibly mean thing to say to Harry.

Other somewhat minor instances that nevertheless paint a wide picture:

OotP (I'm leaving out his interactions with Kreacher bc those are self evident)

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he's also kind of dismissive towards Harry's feelings at certain points. A good example of this is the stiff "one-armed hug" and gruff goodbye he gives him when they leave for Hogwarts after christmas, or this earlier conversation:

Also, how he talks about Regulus. obviously it's somewhat justified since Sirius believes him to have just been a Death Eater, but he specifically calls Regulus stupid rather than just saying he was a bad person. This is interesting because it can be inferred that Regulus was not stupid at all, given that he figured out the secret of the Horcruxes. imo Sirius was too dismissive of his brother to actually know who he really was.

(and bonus him being snippy with Harry)

GoF

like this is probably true but it's still rude lol, as is this from OotP which has definite mean girl vibes:

next:

so this on its own doesn't seem especially mean but it does come after Sirius has basically dismissed every single thing that Ron has said lol, even raising his hand at one point to shut him up. It's not the worst but imo does indicate his impatience with "stupidity" which we also see in SWM:

and James has this too:

imo this shared feeling of superiority and mutual delight in their own intelligence were big factors in his closeness with james.

ALL THIS TO SAY, Sirius was mean lol ESPECIALLY as a teen. my rude scorpio child. So I think when writing teen Sirius it's an important part of his characterisation (and James's) for him not only to be rude/disdainful to people he hates but also just generally. It's also why it's extra ridiculous that he's portrayed as dumb in fanon seeing as he's very often dismissive and judgmental to those he perceives as being of lesser intelligence.

And this isn't a criticism of Sirius at all, I love him and tbh his mean streak is one of the things that make him so fun to write for me. He's a beloved character and I understand the desire to paint him in a positive light, but he wasn't perfect. As others have said the friendship between the Marauders wasn't something idyllic and aspirational, it's a warning story to Harry. Furthermore, kindness towards Kreacher being something that helps them find the Horcrux is also a lesson for Harry.

Sirius's insensitivity to the feelings of others was what got him killed, his insensitivity and disdain for peter led in part to James and Lily's deaths too. it doesn't make him a terrible person, just a flawed one.

[floweringdawn]

༊*·˚

[bambi-eyes444]

mine <3

@ruby-loves-lambs3 xx

[through-broken-eyes]

Well maybe I was destined to disappear 🖤

[confused-book-noises]

I’ve never in my life known a casting as perfectly perfect as Ravi Singh

[tojiscrack]

I’M CRYING

tell me why i was scrolling through twitter at 4am, stalking the gojo tag cuz why not, and then i see that this man would probably be a freeloader or a swallow (japanese term for a literal sugar baby, according to my sources - correct me if i’m wrong) to older women if not a jujutsu sorcerer?

I’M CACKLING 😭 GEGE, WHAT IS THIS?

[doeyedangel]