#her character development is also really good

[thegroundhogdidit]

don't apologize for the essay! i once talked to someone for four hours straight because i found out she liked lucifer lmao. i'm just gonna respond to a few things because you make some great points.

what really, truly pisses me off about this show is that no one ever believes him, and everyone who does is made out to be a horrible person by the text of the show. charlotte believed and corroborated everything he said, and thus was an evil villain who tried to blow up a carnival. cain understood what he went through with god because he was ALSO pitted against his own siblings to compete for god's attention, so they had to completely reverse any good character development he had right at the end.

i'd also like to point out that lucifer didn't just have suicidal ideation. after uriel died, he textually tried to commit suicide via standing in front of a sniper near chloe. and even that wasn't actually taken seriously.

and chloe? in terms of who believed him the least, she was definitely number one. i'll never forget how in season 5, michael told her that she was a gift from god, and she immediately started antagonizing lucifer for not telling her that god had been controlling her life as if he hasn't spent FIVE SEASONS telling her that god controlled HIS life. and he couldn't even fight back, because then, as you said, he would be proving them right.

why doesn't he get to defend himself? why does EVERYONE get to stomp all over him and he just has to take it? why does linda ENCOURAGE this??

there's something about taking a victim of child abuse (in terms of being the child of the abuser not being a child at the time) who believes himself to be evil incarnate but desperately doesn't want to be, who is paranoid, and hates himself, and self harms, and is never fucking believed by anyone who could help him heal. taking that man and showing him over and over that if he tries to change, that's not his doing, he's too evil to contribute anything positive toward himself. and if he gets tired of that, if he snaps? then he never really changed at all

the most annoying part of lucifer on netflix is that he was literally right the whole time. i don't give a shit if the literal actual god was "just trying his best." lucifer was 100% right to be angry at god and in fact, i think everyone should've been downright pissed when they met him. ESPECIALLY linda. fuck her for real for telling him that his conflict with god was partially his fault. lucifer described an abusive father to her countless times and the second she met him she started fawning over him? fuck that. chloe should've punched god in the face

[mask131]

I am re-reading the Silmarillion, and something strikes me. The women of Tolkien's world have been talked about TO DEATH especially with all the recurring debates surrounding the Rings of Power series.

As we all know, Tolkien was not a "feminist" in the modern sense of the word. He had a very male-centric point of view and appreciation of the world, he had male-driven and male-centered stories, and actual women characters were sparse and rare. There are only five really big female characters in "The Lord of the Rings" - the quintet of Galadriel, Eowyn, Goldberry, Lobelia and Shelob. [No, don't talk to me about Arwen, she only really was a character in the movies, in the book she's just there in the appendix and she was literaly an afterthought of Tolkien to act as Eowyn's romantic double...]

Consider this. Galadriel, Eowyn, Goldberry, Lobelia and Shelob. This tells you everything you need to know about Tolkien's women, in good and bad.

The Silmarillion has the same motif of having a lot of female characters, only for most of them to be just footnotes, secondary characters with no lines, under-developped one-liners... with in a contrast a handful of super-cool, super-badass, complex and developed heroines at the center of the plot.

Aka, on the bad side, when listing the Valar, while Tolkien gives an interesting personality, great domains and cool attributes to all the male ones, half of the female ones are just... there. And do one stuff. And never appear again. I mean come on... Vana and Nessa? Estë and Vairë were done dirty... That's the actual type of "non-feminism" Tolkien has. It isn't about him hating women or trying to be offensive in his depictions - it is about him just, not putting as much thought, effort and care into his female characters as his male ones, a bit the same way he creates the vast expanses of the East and South of Middle-Earth and then never bothers actually developing more of it or seeking to tell tales of it - but that's for another discussion about Tolkien's "racism". Here we talk about women.

But here's the thing, aka the good side... When Tolkien does find the time and care to develop and flesh out a female character, by Iluvatar he goes all out! Again, we are back on what I said earlier: the women of Lord of the Rings can be counted on one hand... but these fingers are Galadriel, Eowyn and Shelob, so you can't claim he isnt writing powerful, important or uninterestng female characters. Which leads me to my original remark - as usual I get driven away in digressions of all sorts and kinds.

Have you ever noticed that Melkor's greatest enemies, the ones he fears the most, and his most effective foes... are women? Tolkien might not like to put them front and center of his tales, and he might have been a man of the early 20th century England in culture and mind, but boy does he has something to say about how women are actually the first enemies of the literal embodiment of evil and destruction! I mean think about it. Varda of the Stars, and Yavanna of the trees. Nienna has her ambiguous relationship to him - her tears work against him, and yet without her plea for him he likely would not have been released from the dungeons of Mandos. You have Melian with her Girdle, and Luthien with her Hound. And of course most of all Arien, guardian of the Sun, not only one of the rare fire spirits that Melkor couldn't corrupt (despite him basically ruling over all fire), but that frightens him so much he keeps hiding away and doesn't even dare to attack her... [I also reblogged some times ago a post praising the brilliance of Tolkien keeping the old European sun-moon motifs but switching the genders. The weaker, inconsistant, lustful, whimsical, disorderly, untrustworthy Moon is now a male principle, while the steady, dangerous, strong, powerful and beautiful Sun is a woman.]

It is actually REALLY easy to do a feminist retelling of Tolkien's work. Melkor doesn't fear Manwë as much as Varda. Aulë's works and servants get corrupted by Melkor, while Yavanna's do not. Melian and Luthien actively works against him. He friggin' pisses himself when the Woman of the Sun shows up. Sure, there are some evil female characters that serve him down the line and are relegated to the "obscure footnotes and undescribed secondary characters" zone - Thuringwethil the vampire or queen Beruthiel. I coul also dropped deleted characters from early drafts, like the ogress Fluithuin. But among them stands Ungoliant... THE only true female big bad on the dark side of Arda. THE badass, nightmarish, creepy eldritch abomination. And who ends up double-crossing Melkor, almost KILLING him, and again making him basically shit in his pants - as Varda and Arien do.

The first enemies of Morgoth are not the Valar, or the Maiar, or the Elves... It's women.

[porter-pumpkim]

ii posting again!

ngl I hope when we do get more ii we get to focus on some of the less popular or less seen characters

I wanna see salt finally outgrow her code like the others and figure out if she ever even liked oj or the idea she had of him, I want her to actually figure out her relationships beyond what they were in season 1, to realize she hasn't changed while pepper has and has likely been trying to help her change too

I wanna see how soap has changed during her time at the hotel! She seems like she calmed down a lot from her time in season 2, and was even willing to hold tissues hand to help him in the finale when at the start of season 2 she definitely would've left him for dead purely out of crippling germaphobia

speaking of tissues, I wanna see how he's doing! He was already kinda isolated compared to other hotel residents pre finale, tissues is perfectly fine being social and is entirely willing to just casually talk things out or gossip from the looks of it, but nobody even wanted to be near him thanks to the sneezing and major congestion issues, and is now aware he was created as a gross out humor joke, and he genuinly found that devastating in the movie! I mean, his self doubt about his condition genuinly almost killed him in the red line game! I wanna see how he's doing now, if he's actually got decent connections with other guests, if he's still dealing with the self doubt of being made as a literal joke, it's just such a good character building point and I wanna see it!!!

I wanna see how bomb is doing, we haven't seen him since season 1 and the literal end of season 2! I genuinly don't remember much about him aside from he's a gamer, and he has a stutter, he seems like a cool dude and I remember I really liked him when I was a kid watching season 1, it would be fun to see him more! (my memory of season one is really fuzzy im sorry- it was a little too chaotic for me now that I'm older xD )

Hearing more from the cherries could also be cool, I barely remember anything about them besides they liked making paper puppets and i think they were mischievous, I don't think much of them was explored unless I just don't remember, and the whole conjoined yet separate situation is a genuinly inturesting dynamic to explore, we already have yin yang sharing a body, but the cherries technically being separate could add a new detail to the two in one situation

Just

It would be so cool seeing more of characters we don't really see often! Even if it's just a casual slice of life setting it woukd still be so fascinating watching new relationships form and new dynamics between characters who hardly ever interacted on screen before

Plus the situation with almost everyone "knowing" box but literally nobody actually knowing her, all of them competed with and casually lived with her dead body in the room and now there's the situation of her actually existing as a person, none of them know her, not really

IMLOVE CHARACTER DYNAMICS AND WEIRDLY COMPLICATED SOCIAL SITIATIONS! (from an observing perspectuve anyway, actually experiencing em sucks but its so facinating to observe in a story!)

[floralcavern]

The difference between male wish fulfillment vs female wish fulfillment in romance anime

There’s kind of a different gaze that can be targeted to in romance anime. 

In male wish fulfillment anime romances, there’s usually a much heavier emphasis on the male love interest’s pov than the female’s. Also, women tend to be much more.. objectified and there’s an unnecessary amount of fan service. An example of this is Rent a Girlfriend and Don’t Toy With Me Miss Nagatoro. It’s more about the male lead being hit on by.. really horny women than actual romance.

However, in female wish fulfillment anime, it tends to be more told from the female’s perspective. The way the male love interest tends to be written is to make him emotional and aware and.. kind, rather than objectifying him or even making them horny, because women.. we don’t really want to be lusted after like that, typically. We’re already objectified enough. My favorite example is Kimi Ni Todoke: From Me To You. Kazehaya admits he’s a ‘pervert’ but in a respectful way. The writer doesn’t make him fully pure or naive or anything like that. He’s still a teen boy. But in this series, the male character is written to be sweet, emotional, and aware but he’s not stripped away from his inherent masculinity (nontoxic masculinity!). Not just.. a guy, if that makes any sense. Meanwhile, in male wish fulfillment anime, the women are just women, rather than characters. Again, I hope this makes sense!

Now, I’m not saying all romance anime that’s written from the female’s perspective is the best! I think MY Love Story!! is a good example of this! The main character is a male and he’s a genuine, total sweetheart while still having a sense of masculinity! And the female character isn’t objectified! And I would even say even say that this show could be considered a male wish fulfillment romance, based on how it’s written.

And then there’s shows for both, like Kaguya Sama: Love is War. In this show, the two love interests have complete equal power in focus, making them feel completely balanced and real. Neither are objectified and both get treated like humans. Same with The Apothecary Diaries, if not more so!

Anyways, sorry for this ramble. I just really like (well written) romance anime. And I will leave off with a list of romance anime recommendations!

•Kimi Ni Todoke: From Me To You (adorable, fluffy, amazing character development, doesn’t beat around the bush the entire fucking series. Half of the manga is pining and the other half is the complexities of being in your first ever relationship as you try to navigate it all)

•Snow White With The Red Hair (amazing female lead with cool world building and interesting dynamics)

•MY Love Story!! (SO CUTE! Amazing show about not judging appearances)

•My Happy Marriage (Really wholesome Cinderella type story)

•Kaguya Sama: Love Is War (hilarious. I actually recommend the dub. Genuinely really sweet)

•Sasaki To Miyano (so sweet it’ll give you cavities)

•Tomo Chan Is A Girl (there is sadly quite a bit of fanservice in this. I’ve seen way worse, but ya. If you’re wanting something to watch with your parents, this may not be it. Mostly just close ups on boobs)

•Monthly Girls Nozaki (romcom that leans really heavy on the comedy more than the romance, but I love it too much to not recommend. Watch it in the dub, you won’t regret it)

•Fruits Basket (Really sweet)

•Toilet Bound Hanako (THE MANGA! READ THE MANGA! DON’T LET THE TITLE WEIRD YOU OUT, I SWEAR IT IS INCREDIBLE! READ!)

•Komi Can’t Communicate (I would, however, like to apologize for Yamai ahead of time. The entire fandom hates her, don’t worry)

•Toradora (haven’t seen it in a while, but it’s a classic lol)

•Horimiya (Another romance anime that doesn’t beat around the bush!)

•The Ice Guy And His Cool Female Colleague (SO. CUTE. AGHHHH. Despite it being ice themed, it certainly makes me feel warm and fuzzy)

•Love, Chuunibyou, and Other Delusions (so silly, amazing story about maturity while also keeping your inner child alive)

•I Want To Eat Your Pancreas (be sure to bring tissues! You will cry!)

•Kamisama Kiss (I really like the characters and world building in this one. Sadly, we’ll probably never get another season 😔)

•Words Bubble Up Like Soda Pop (SUCH A CUTE MOVIE! Amazing feel good romance that just makes you happy)

•My Little Monster (not my usual first recommendation, but it’s an overall fun watch… still so desperately want another season. False hope lol)

•Ouran High School Host Club (an absolute classic romcom. Another situation where I actually recommend the dub)

•Apothecary Diaries (AGGHHHHHHHHHHH!!!!!!! …full stop. I love this show.)

•Princess Tutu (I LOVE THIS STORYBOOK SETTING! And Ahiru is so silly. She’s just a duck, she can’t handle all these responsibilities!)

[n7cloacadestroyer]

Here’s the thing: The reason that people say Ashley is racist is because of ME2.

ME2 is the game that shifts the trilogy into a character driven story. Loyalty missions are required for the best ending, for one thing. Every character gets a fully voiced side mission with unique cutscenes and characters, and they are firmly the center of the narrative.

Ashley portrays her apprehension for aliens in ME1 as a sour grapes sort of scenario due to her family history. What she leaves out (because presumably Commander Shepard would know this, although the player might not) is that the Turians committed war crimes not seen since the Krogan rebellions to secure Shanxi—orbital bombardment using fusion torches and asteroids. They Bring Down the Sky’d civilians during first contact, most likely because humanity was not a yet a citadel species, and therefore was not explicitly covered by contemporary citadel regulations. Their occupation of the colony, although short-lived, was brutal enough that by the time that Mass Effect 2 rolls around, the Turian Hierarchy is considering a second dispersal of reparations to the survivors and families of those at Shanxi.

Ashley’s dislike of Turians and their government is well justified. The fact that it bleeds over into mistrust of other aliens isn’t right, but it’s sort of understandable. The problem is that you won’t know that without supplementary material, be that the in-game codex, the novels, the comics, etc.

In ME2, instead of getting her own side mission that might actually explain or develop this element of her character, she instead gets a quick and dirty character assassination on Horizon. One that actually sort of makes sense given that all of your Shepard’s dialogue options in that cutscene more or less stick up for Cerberus. We’re not given the much more reasonable choice of telling them that this is a very temporary “enemy of my enemy” situation.

The majority of ME3 focuses on the broken trust between Shepard and Ashley for that character assassination I mentioned earlier, and doesn’t really address any of her ME1 conflicts at all.

So a relatively common scenario for many players is this:

-Has initial conversation with Ashley, her prejudice puts a bad taste in their mouth.

-bad taste is often reinforced because it’s very easy to accidentally trigger a romance in ME1, and Ashley is very aggressive toward Liara in the “pick one” cutscene.

-having a bad taste for her already, player forgoes putting Ashley in their party. She has no tech or biotic abilities (heavily beneficial traits for squadmates), so it is relatively easy to do this regardless of your class selection. Since ME1 doesn’t have (real) loyalty missions, you have no reason to ever take her with you again.

-bad taste further enforced if player fails to convince Wrex.

-ME2 does nothing to alleviate these issues and indeed makes them a good deal worse

And thus her fate is more or less sealed in the player’s mind because ME3 does nothing to address problems the player may have had with her in ME1, only those which developed in ME2. And if you didn’t like her in ME1, you’re probably not going to put her in your team in ME3 because she’s also mechanically one of the worst squad mates.

This is part of a larger problem with the narrative structure of ME2, but it affects both Virmire Survivors most blatantly.

For example, MShenko in ME3 is actually one of the better written romances in the entire trilogy, but most people will never know that in large part due to how poorly ME2 does its narrative job as a sequel.

Ah yes, the mass effect trilogy squad members:

Cute blue scientist girl who inadvertently becomes a mafia boss

Former cop who can't WAIT to do vigilante justice but he's nice so it's hard to hate him

Bounty hunter who becomes the greatest leader his people have ever known (if he doesn't die)

Guy with psychic powers whose most interesting trait is that he gets headaches

Racist soldier lady (many such cases)

Cute engineer girl who dies if you sneeze on her

Genetically engineered super model genius

Guy with daddy issues whose most interesting trait is that he cheats on you if you romance him

Bald girl with tattoos who kills you

Unethical Science McGee but he's in denial that he feels bad about it and also he has ADHD

Basically Captain America if he was a klingon

Really Old Guy In A Profession Where Most Die Young

Lizard assassin who has a lot of flashbacks

Thief girl with barely any screentime

Hot paladin mommy who kills vampires but in space???

A bunch of computer programs in a single guy

Guy with muscles whose most interesting trait is that he's Spanish

Your ship's computer in a cool robot body (this is awesome)

Guy who went into cryo sleep during one war only to wake up in another war (this guy's life sucks ass)

[nobodyfamousposts]

I remember reading a post by @critical-thinking-is-mandatory a while back about how Lila would realistically be disliked by people because of how self centered she is even if they don't think she's lying.

With this logic, Adrien's public friendship with Chloe (a school wide bully) should have a lot of people side eyeing him, if not outright avoiding him all together.

What do you think?

That's a valid point, and one that I and I think a number of others have considered.

Origins played with it but not nearly enough. By all counts, when a bully comes in with their "celebrity best friend" and parade him around the way Chloe does, there would be a mix of people being put off by him being her friend as much as there would be people impressed by Chloe being his friend.

Honestly, it would have been a more interesting setup and added extra layers to the love square dynamics if they started off going from enemies to friends to lovers. Or at least slow down and not dive headfirst right into over the top crushing.

But in that case, it would likely work better as a reverse love square. Ladybug loves Chat who is Adrien who loves Marinette who is Ladybug. Have Marinette be someon who gives Adrien a chance which builds a friendship and starts up his crushing on her.

Otherwise it would just lead us back into cringe with Marinette crushing on Adrien despite having valid reason to not trust him for being Chloe's friend or potential boyfriend.

I'm fairly certain I pointed this out in another essay/critique/salt post that they completely missed out on a potential character arc for Adrien in having him actually ADJUSTING to public school. Having him struggling to make friends with his stigma both as a celebrity and as "Chloe's friend". The effects would be two-fold.

First, it would help the Adrien salters better sympathize with him. Yes, I know there's his horrible HORRIBLE father, but storywise, the "Gabriel sucks" angle doesn't really matter if Adrien isn't having to be the one to face that. In addition, he seems to have no trouble with acclimating to a public school and making friends. Heck, he's not making friends, people are jumping over themselves to make friends with HIM. Part of what makes people sympathize with characters is seeing them try and fail and just generally make an EFFORT for what they want. Turn that around. In the hands of competent writers, this would be a setup that would do that more for Adrien. We see that in some aspects with the manga where it has Nathaniel mistake Adrien as a snob who looks down on comics and him as an artist. It would have been great to see more like that with Adrien getting to know his classmates or being the focus through which we get to learn about the classmates since he is supposed to be the new boy.

Second, it would be a stepping stone/building block to the eventual confrontation with Gabriel—which yes, should happen. Building relationships and forming HEALTHY bonds really helps to understand when other ones you have are not. (COUGHCOUGHScarletLadyCOUGHCOUGH) They can help you gain strength and courage and build a new identity for yourself. They also give you support in dealing with major conflicts. They can help him form attachments that make him NOT so willing to jump in to join his father's craziness. And they can help him become a better hero in his own right.

I'm not saying make Adrien suffer and be friendless. Far from it!

I'm saying to USE this as a plot point to develop Adrien and give him focus and room to grow. Or at least a point that ISN'T just him being half of the endgame pairing and desired by everyone in the city.

Show Adrien try to interact with each of the classmates. Show how Adrien becomes friends with others. Show how he comes to care about people who aren't there just to give him what he wants or tie him to the plot.

And yes, this would inevitably also lead in to some changes for Chloe as well...for good or bad.

[muntitled]

I have to say, your entire salesman series was perfect. It helped me get distracted from the immense amount of anxiety I've been feeling these days, and it was so good I started it when I arrived to work and didn't stop until I read all of them. I just re-read it and I have so many favorite parts but I just want to say that the pet names, when you mention his gray hair, when he waits for her outside her campus, god, the entire chapters of protecting his investment, indebted and forced fed made me giggle and kick my feet. I have so many ss of lines I've loved, and the sensation of his firm and well developed character breaking when he was jealous and didn't want her to work! I LOVED IT!!!!

Also, I'll be honest, I wanted to call him daddy the second you mentioned he went to pick her up while wearing his suit and holding his briefcase, the image inside my head was just so fucking perfect! When reader said dad and he came, I almost died because I wanted to call him daddy so much the entire time!!!

[here are some of my favorite parts, I wish I could put more because you wrote so many good scenes I could spend a whole post saying why I liked them but it's probably a bit too much haha]

Im literally floored by this comment.

Ive needed this.

You're helping me as a writer, I hope you know that. So many times I read comments like 'this was so good' and thats so kind but I don't even really know what was good about that specific part or how to build on that and make it BETTER

It seems that it's the psychopathy coupled with the fatherly + older man qualities that people seem to like so I'll expand more on that!

I always think nicknames in fiction can be sooooooo fucking cringe and I tried as best as I could to not make him sound weird, or the nicknames too so I'm so gladdd

Knowing the exact lines and paragraphs that made your tummy flip genuinely helps me and I'll be using this as a study guide I hope you know.

Ugh. Thank you doesnt begin to cover it

[caligvlasaqvarivm]

Hey, I don't think anyone has asked you about Jane <3 Equius and I'm going crazy I want to know why (with sincere curiosity and thanks for answering in advance)

The primary reason is because 3/4 of the Alpha kids are introduced with "by the way, here's the dead troll you're supposed to date." Roxy goes on about how much she fucking LOVES wizards, and she writes a fanfic where she describes an evil arrogant despotic slytherin harry potter as incredibly hot, and she has a crush on an eccentric hipster prince... (and on Eridan's side, he's tried getting in red with a bubbly pink girl and a cat-themed rogue, and roxy is a bubbly pink cat-themed rogue...)

Jake is introduced with a small digression where he yammers about all the "cerulean babes" he's obsessed with, and in specific, neytiri from avatar, wishing he could've been the one to "overcome his paralysis on an alien adventure planet to become her boyfriend". Basically, he wishes he'd been in tavros's place while vriska was crushing on him. He's also immediately attracted to aranea, a dead ringer for vriska. vriska also pursued red with john and tavros, the former of which shares a lot of genetic similarities with jake, the latter of which is also a page and also shares a lot of personality similarities, and she also has a thing for nic cage, whose rugged adventury-ness (but also cringeness) echoes jake

jane is thus introduced with a wall of "cobalt beefcakes," with ron swanson being her ideal man. she's also constantly described as a "tightass" by her friends, correcting their grammar and being initially reluctant to swear, and catches a lot of 100%'s, not just from hal. equius's primary flushcrush was aradia, who was also a maid, and whom equius's attraction - as he describes - was primarily based on the fact that she was so dignified, if only she wasn't of such low caste - !

We also see with tiaratop!jane that at her worst, she's incredibly dominant and controlling, treating jake as an object and breeding stud. equius is a massive sub and he would be so down bad for this. she's technically the condy's heiress, so of incredibly high status; shes dignified in ways reminiscent of aradia; and to top it all off, she's domineering and bossy and has a part of her that wants a partner that can shut up and look pretty and do whatever she says.

this is all said with the MAJOR CAVEAT that none of these romances work without all the characters experiencing some pretty major character development - eridan as we last saw him is too volatile and dangerous for roxy, vriska as we last saw her is the same way, and i'm pretty sure jane would be fairly :/ about an equius as we last saw him. but an eridan who has his shit together and is actively crusading for the powers of good while still being an evil harry potter wizard would sweep roxy right off her feet; a vriska who's come to realize she doesn't need to be so switched on and dangerous all the time would get along well with jake, since her specific brand of "yeah 8itch let's go adventuring" meshes well with his; equius who's not a weird casteist anymore and has some prudence about his fetishes would basically be jane's ideal ron swanson? gruff, masculine, a cobalt beefcake, not really wanting to engage with everyone's dumb horseplay, except that he'd do anything jane tells him to do and she's into that tbh

like unfortunatelyyyyy i think they'd work well together & i think aradia would be so damn relieved about it

[nitttstdsdtoastd]

does disney know how to have 3 main characters without watering down 1 one them

in 92sies, jack, david, and sarah (as a romantic interest) are the 3 main characters but it’s really obvious that david and or jack are a bit more complex than sarah with jack being the optimistic dreamer whose only hope at this point is santa fe and david is the practical one that’s trying to help his family despite the fact that he’s only sixteen.

and sarah is like. yeah.

in livesies, we get a new rendition of sarah (aka katherine) and she also acts as denton with being the newsies’s journalist. she just seems to fall in love with jack at the last minute when she had been telling him that the santa fe thing is tiring for him and everyone (literally disney, what were you thinking, this doesn’t make any sense). but she’s ambitious, willing to put up and fight, and uses her power as a journalist for good.

and jack still gets his angsty-santa-fe-dreamer origin which is intensified in his solo song (which is canonically better than the one in 92sies, kill me).

so for now, our main characters are pretty good!!

but david/davey. uhm.

davey is still in the story of course, but his character development in 92sies was reliant on the intensity of the betrayals he had with denton and jack. he learns how to grow as a person with being more confident in his abilities.

but in livesies, the only character development we see from him is his costume, him sometimes talking to katherine, him looking longingly at jack, but yeah. that’s kind of it.

also creds to “this movie is gay” on spotify for helping me realize this :DD

[greenerteacups]

What do you think of jkr as a writer? I for one has always felt like she didn’t treat her female characters well. It felt strange, being critical of her when she was god queen of the earth, and also being 10

I think most of the problems in her books can be chalked up to genre hopping. Books 1-3 are perfectly good and serviceable children's books — great children's books, even! They have compelling, relatable characters and juicy mystery plots. They have problems, sure, but for the first three books someone's ever written — especially someone with little or no background in creative writing — they're really fucking good. So: there's her flowers.

The last four books pivot sharply into much more emotionally complicated and sociopolitically loaded territory, because they're describing a war. And it's hard to write children's books about war. I would venture you can't really do it, at least without dramatically misrepresenting what war is! And so Rowling makes the executive decision somewhere during the writing of Book 4 that she's not going to flinch away from that, she's going to go for dramatic realism, and she kills Cedric Diggory to let us know. People had died in Harry Potter before, of course — Quirrell gets sent to the fucking shadow realm, for example. But children haven't. (It also gives parents who are reading these books with their children a warning shot: shit is about to get significantly more real, think twice before you buy the next one of these for your 10-year-old.) After that, Rowling starts leaning much more into dramatic realism, and the fast-paced mystery-novel plotting of the first few books is replaced by a slow, simmering political conflict that unfurls over the course of about a million words.

The problem — besides the fact that she's picking one of the hardest things to write about, like, in all of literature, war is really insanely complicated and emotionally intense and hard to portray well — is that she's now trying to use characters, plot points, and technologies she developed for a children's series to enact a sprawling war drama among teenagers and adults. So Hermione, who was a reasonably precocious snobby eleven-year-old, becomes this sort of encyclopedic all-knowing savant of the wizarding world, who somehow remains functional and mostly even-headed despite her identity being the chief target of a prolifically murderous terrorist group. Draco Malfoy, a schoolyard bully whose primary tools included 1. namecalling and 2. telling teacher, JOINS said terrorist group (and admittedly does react reasonably, i.e., has a total crashout and takes to sobbing in a girls' bathroom whenever he gets a free minute). Dumbledore, who starts out as "whimsical friendly winky-wink trustworthy grandfather type", ends up being Magical Winston Churchill in a violent game of spycraft and espionage, eventually revealing he's only been keeping Harry at all these seven years because he wants to KILL him! And like, maybe really good technical writing could smooth out these transitions and make the first-order dramatic choices seem more natural, but Rowling is like, a Fine Writer, technically speaking. meaning she's reasonably consistent in characterization, her plotting is well-paced and believable, she has a clear authorial voice, and her prose is readable. personally, that's not enough to get me to buy into some of the changes that happen in the later books, and because she stuffs these things so full with new elements every installment, a lot of stuff ends up getting glossed over.

And like, I still love the books. I think they're wonderful, and they taught me how to read. but i can say that and also say that Rowling probably did herself a disservice by trying to write four giant war novels as sequels to her first three mystery children's books.

[littlemisssquiggles]

Alright, I need to gush about Dandadan for a hot minute…

So this squiggle meister has hopped onto the Dandadan hype train. Ever since its anime adaptation release last year, I’ve been riding the high of my newest anime craze.

Not only am I all caught up on the anime (eagerly awaiting season 2 coming out this year) but I’ve also taken to following the manga; which I’m all caught up on too.

Speaking of which, the newest chapter of Dandadan dropped today - Chapter 181- and I’ve got some things to say about:

Firstly, the return of Unji Zuma. It’s nice to see that the Danmanru Arc wasn’t the last time we’ve seen our Umbrella King.

Zuma’s a cool character. I basically see him as a male Momo since the two share the same stubborn, headstrong yet surprisingly compassionate and loyal personality traits that make them really fun characters to watch further develop. In this squiggle meister’s eyes, Zuma is as much as cool older brother character to Momo as Jiji is.

However, judging by Zuma’s new look in the upcoming arc, I have a sinking feeling the manga is setting us up again for yet another wrench in the ongoing development of the Okarun and Momo love story.

I already made this point over over Twitter but ---

It CANNOT be a coincidence that Zuma, who was described as “Momo’s ideal type” cause he bares a resemblance to her celebrity crush Ken Takakura, now with his hair grown out and sporting a pair of glasses looks like a punk tough guy version of Okarun.

That can't be a coincidence, no? Like I said, I think the manga is setting us up yet again for another fake red herring love triangle and misunderstanding to further push the Momokarun ship into official couple status.

After all, we’re already half way there with Okarun’s recent confession.

Not to mention that last time, during the Space Globalist Arc, after the whole misunderstanding with Vamola, the first time Okarun actually admits to being in love with Momo is while “rejecting” Vamola.

I feel like Zuma is being set up to be Momo’s Vamola, y’know what I mean? I don’t know if Zuma is going to be confirmed to secretly like Momo.

I mean I hope not cause like I said, they have way more sibling energy to me than that of Momo and Jiji and Jiji is literally her childhood best friend and first crush).

But I do hope that Zuma’s presence will provide the catalyst to Momo professing her love for Okarun.

I mean, Zuma did over hear Momo whispering “tell me you love me” in her sleep and he gave her a look.

Surely, that’s got to come back sometime later just as how Momo’s “Lova Ya” note to Okarun came back, right?

While I doubt this will mean that Zuma will develop a romantic interest in Momo, if so is the case then I hope it will lead into Momo turning him down cause she will FINALLY admit that she’s already in love with Okarun.

THIS HAS TO BE WHY ZUMA IS BACK!

Outside of him bringing in a new arc, Zuma is here to be the FINAL PUSH for Momo to admit she loves Okarun. He has to be!

Zuma is literally the embodiment of everything Momo wants in a potential boyfriend. He looks like Ken Takakura. Underneath his tough exterior, he is genuinely courageous and has a benevolent spirit that drives him to go above and beyond for others in his care. Zuma is such a “good guy” that he got a whole school gang of delinquents to rally behind him. He is such a “good guy” that he’s even willing to help the poor Daiki kid with his curse.

I mean Zuma is just a really cool character.

And him being around again rocking dem big glasses and fluffy hair like Okarun is definitely gonna be confusing for Momo. At least that’s what I think.

Either way, I stand by what I said.

I think we’re entering the home stretch to Momo x Okarun being official.

I don’t know how many more arcs and chapters again it will take to get us there but we are getting there.

Zuma is the key.

If he isn’t gonna be yet another lying ass fake "potential love interest" like Aira, Jiji and Vamola all were then at least let him be a “real bro” to Momo.

I know he kinda blind right now but please let Zuma have the emotional wisdom to see through Momo’s BS of stalling her confession to Okarun and give her a firm kick in the ass with dem big Geta sandals he’s got on to get her to FINALLY return her feelings.

Bruh, we are almost to 200 chapters.

We need to see Momokarun canon before Luffy finds the One Piece. While we’re still young and our shipping hearts are still beating.

- LMS (2025)

[fictionadventurer]

Remaining Thoughts About Jane Eyre:

Diana may be the best character. Love Diana. Maybe the best-adjusted person in this story. When she responds to Jane's refusal to marry St. John with, "You're absolutely right, girl." So good. Not used to that level of sanity here.

St. John fascinates me. He's a foil to Rochester and Jane, but also similar to them in ways that he doesn't see. He's all about suppressing personal attachments and emotion, so you'd think he doesn't care about others' opinions, and yet, all his ambition is because he wants to be something the world considers great. He says himself he wanted to be some great statesman or lawyer or whatever--missionary's just the path he chose since he was already a clergyman. The religion is secondary at best--at worst, he values it because it's a means of power over people. His religion is all about duty--it's not a relationship. His inability to relate to people as anything other than a tool for his own glorification extends to his approach to God.

Also, the fact that Jane sees this, yet still insists he's a good man...I'm not onboard. He probably means well, may well be doing his best, but there's an insidious underlayer to everything that undermines it. He's kind of the definition of Eliot's, "This last temptation is the greatest treason/Doing the right thing for the wrong reason."

I'm still sad that he's dying in India, though. He should come back home disabled just like Rochester, and gets to learn some humility by needing help from other people.

Pretty darn convenient that Jane's prayer to know what to do gets answered immediately via miraculous means in the middle of her conversation with St. John. It's a good thing Jane's got God looking out for her, because she wouldn't have done anything in this story without miraculous guidance.

It's such overt author interference--so easy and simple--that it's hard for me to buy into a Providence reading. Wilkie Collins did it better in No Name.

I did love how Providence brought Jane to her family. It should have felt so cheap that she just happened to run into her only remaining cousins, but the fact that running away from the sinful romantic love of Rochester allowed her to know the love of a family--that got to me.

Okay, anyway, back on track.

Jane coming back to Rochester and immediately assuming they're going to get married now feels uncomfortably like, "Oh, good, now that your wife's dead, we can get married now." Like the only issue between them was the existence of his wife and not his incredibly toxic behaviors and history.

Curayl did this much better. Recognized that the convenient death of a spouse makes it awkward to pursue another relationship.

Also, Rochester's character development isn't complete enough. Like, Rochester's humbled, he recognizes that God was punishing him, but I get the vibe that he feels like it was only for the attempted bigamy and not for all the other things he did wrong.

No one calls him out for how horribly he treated Jane. No one calls him out for the mistresses--maybe they did mention it and I'm forgetting. There's a lot of bad stuff they gloss over because they love each other and they're perfect for each other, so of course they should be together.

I do like how Rochester called Jane out for just leaving with no money and letting her know that she could have asked for help.

I like how they handled Rochester's blindness. His eyesight gets better over time, so he's not completely helpless, but it's not like it's a miraculous cure. Nice way to have a happy ending while maintaining some realism.

"A good English education cured Adele's French defects" may be one of the worst lines in the book. I still feel like I'd rather have Adele's story. (You especially have to wonder how she feels about the about-fifteen-ish-years-younger "brother" showing up.)

I really worry about how Jane and Rochester are going to raise children. Their attitude toward Adele doesn't give me much hope that they're going to be affectionate parents.

For all my issues with it, the book did work much better than I expected it to going in. I'm glad I reread.

[tod-siegt]

This scene always gets me.

Both characters are just written so well. There's Steven, struggling to find himself, asking for good advice which he never gets, wanting something to build his life upon. And Connie, knowing exactly what she wants to do with her life, and pretty much independent.

They are both in complete opposite stages in their lives from eachother, and th complete opposite of themselves than they were 2-3 years ago. Steven used to know exactly what his life was for. He had a legacy to pursue from his mom. Connie used to not have any independence. Her entire life was run by her parents, which were her only influence, and had no friends to break her out of that bubble (which is such an amazing metaphor from Bubble Buddies omg). They both completely changed the course of each other's lives.

In Future, Steven is looking for someone to be there for him, or trying to find someone else to fix. But nobody really needs him, and when he asks someone else for help, they either leave him or don't understand why he needs help. Lars, Sadie, a the gems, his dad, all do the same thing. And when he finally gets to spend time with Connie, he feels that she's really the only one that still wants him. And she's moving to the other side of the country.

With that, on top of Ruby and Sapphire giving him HORRENDOUS advice, as they don't understand the difference between their situation and his, Steven makes the mistake thats the turning point for him in future. Which Connie handles litterly the best way possible. Steven coming with her to college would be extremely unhealthy for both of them. But with Steven in the state he's in, it's not surprising that he takes it negatively.

After this, he really has no one to turn to. He tried to reach out to his dad, but he too misunderstood what Steven was going through.

There's a lot of hate for this scene in particular. With it's second-hand embarrassment and a lot of claims that Steven's proposal and Future actions were completely out of character. But that's the point of this, and why I love it so much. Steven really isn't acting like himself. He's not the same person he was in the main show. That's what trauma does to you. In the main show, his character development is that he goes from being selfish and inconsiderate to over considerate and selfless. In Future, all that pressure starts to break him. So even though he's not in character for his old self, the old self that bottles up his emotions, he's completely in character for his Future self.

This scene really is tragic. Because what Steven is going through is tragic. It's embarrassing because we understand, as viewers, what a huge mistake he's making, and we know the outcome. And it's not just tragic for Steven, but also for Connie. She's completely taken off guard, and has to make an impossible decision between her own independence and Steven. But she responds in the best way she could. She just states what they both already knew, that they are ultimately going to spend their lives together, one way or another, just not now. They are in no way like Garnet, two beings who are always together as one person. But two people with their own lives who should be complements to eachother, not dependent of eachother. That's what Steven doesn't understand, because at the moment, he doesn't feel like he is his own person with his own life.

Anyways, sorry for the yap sesh, I just love this scene so freaking much. And not just the writing, it's visuals, and the song as well.

[tare-anime]

SxF 30 days challenge.

I'm gonna cheat this time and answered the day 14 first 🤣

Day 14: Favorite Couple?

Of course.... it's them!!

I am such cliche fan who always fall for the main female and male lead, and paired them. 🤣🤣🤣 (in every series/movies/stories etc 🤭)

So yeah, since the main female lead is Yor, and main male lead is Loid, thus my favorite couple is TwiYor 🥰🥰🥰

Tbh, It's been a long time since I'm this invested in a ship. TwiYor is such an interesting couple that manages to make me fall in love with them again and again. Their relationship development is what capture me in tight grip.

Which leads me to answer question for day 13

Day 13: Best moment of two of your favorite character?

I have 3 main TwiYor developments in mind (and so many in betweens. I can't spell them one by one or else this post will become an very long meta of TwiYor 🤭🤭)

First is during chapter 35.

Yor is a more open character. So obviously she can speak of what was bothering her mind a lot sooner than Loid.

In this particular scene, we see how Yor told Loid about her insecurities.

Yes, Loid has to do whatever it takes to make Yor keep her position for his mission. He can choose any tactics necessary, but..... during this scene, we see how Yor's honesty pushed Loid to share something very personal about him. And I bet he didn't lie when he told Yor how he admired her strength, that can be the "safe house" for Anya. He also didn't have to make things up when he told Yor to just be herself, because she IS special as she is.

I believe Yor never has anyone told her that (aside from Yuri), and it really helped her to overcome her insecurities as well (bit by bit). And in a way, this particular step of their relationship push Yor to be braver in speaking her mind. At least, to Loid.

And this moment lead to the second favorite moment of mine

This time, it is Yor's time (after she felt safe and confident to speak her mind) to remind Loid to stop being so perfect.

Because it IS tiring to be perfect all the time.

And Yor also told Loid to stop becoming a one man soldier (both literally and figuratively) and to share at least a little bit of burden to those around him.

She told him that he is not alone.

This push Loid to take baby steps in loosing that tight nerve of him, and maybe.... in the future, it enable him to appreciate the peace he is so desperately trying so hard to safe.

Which lead me to moment number three:

In this scene, a more confident Yor can casually told Loid to stop and take a breath (and she even tease him!!!! OmG!!! 🥰🥰🥰🥰🥰), and at the same time, Loid also casually admit that he IS NOT very good at being idle or take a break.

These moments of developments are so precious to me, that I always think back to these moments, whenever I think about TwiYor relationship development.

Of course the in betweens moments are also precious to me.

What can I say, I got TwiYor brainrot 🤣🤣🤣

[make-friends-with-the-rats]

Take this yap card!!

Feel free to yap about whatever in extensive detail:)

:O

for me?

I'll spare you Victor Hugo level yapping on some random subject and instead talk about how the musical adaptation of newsies took something away from every major character from the original.

Now, I've said several times before that I do not have any hate for the newsies musical and I really do mean it. If you've been here for a while you should know that I really do love the uk production and tutsies, but ultimately I prefer the 1992 movie. Really, I just think that Harvey Fierstein ran into the exact same problem in his adaptation that Kenny Ortega did two decades prior: newsies is just too complex a story with too many multifaceted characters to fit comfortably into a two hour runtime.

I think Fierstein tried too hard to make it fit and in the process had to cut important aspects of several characters. Namely: Jack, David, Medda, Sarah, Denton, Racetrack, and Crutchy. (For now we'll skip over the fact that most of the original ensemble was replaced.)

Beginning with the most obvious cut, Sarah and Denton were replaced with Katherine Plumber/Pulitzer. I personally really love Katherine as a character in her own right, but I think the issue with her replacing Sarah and Denton is that she is an attempt at combining two characters who serve two very different purposes. And the purpose that I think Katherine ends up serving turns out to be something very different too.

Denton is more than just a reporter who decides to report on the newsies strike, he is representative of all of the real adults who supported and aided the 1899 strike. If you aren't too familiar with the history of the 1899 strike, the newsboys' rally at Irving Hall was literally sponsored by the NY state senator, Timothy D. Sullivan (who by the way had once been a newsboy himself). The newsboys (and girls) had a lot of support from adults, and Denton in the film is helping the newsboys not because he's itching to further his career but because he truly believes from the start that the strike is an important story worth writing about. Yes, he gets reassigned and 'betrays' the strike, but he never stops encouraging the newsies to fight for their cause even when he feels he himself no longer can.

Denton is also very important in David's development as a character because Denton's betrayal (which comes before Jack's) is what really forces David to lead and to stop relying on other people to speak for him.

Sarah's purpose is to connect the strike to the other child workers (though admittedly, this isn't very well executed.) Sarah is the one who, in the aftermath of Jack scabbing and in the middle of her brother's anger, discovers Denton's article and becomes a catalyst for the Newsies Banner. It is she who realizes that the strike is so much bigger than Jack and her brother and she who understands it's impact better than anyone else because she's seen both the impact of child labor (being a newsie was actually a pretty good occupation in comparison to the jobs and working conditions of other kids) and the passion that Jack and the strike inspires first hand.

Again, Sarah's role in the film isn't as fleshed out as it should have been because so many of her scenes were cut, but when you fill in the blanks with context clues or by looking back at the scripts and what was cut, the purpose of her character becomes clear.

Keeping all of this in mind, Katherine isn't an adult like Denton and she isn't a child worker like Sarah. Katherine is very different from the both of them and brings an entirely different purpose to the story simply because she is her own character. And this isn't a bad thing by any means, but the meaning that Denton and Sarah brought to the story is lost by not including them. Katherine doesn't really 'replace' Denton and Sarah. So, to get the most out of Newsies, it shouldn't be Denton and Sarah or Katherine. It should be Denton and Sarah and Katherine.

Moving on to Jack and David, what these characters lose in adaptation is pretty similar. Jack visually loses his cowboy hat and bandana which might not seem like a big deal, but it is when you consider what these things represent. Jack's dream of Santa Fe in the film isn't about Santa Fe at all and Santa Fe itself is simply a form of escapism. It's a child's dream. The idealistic dream of a boy who's lost his family and is running from both his past and his fears. Jack also loses his moral ambiguity. In the musical, Jack isn't lying about his name or his family. His family hardly ever comes up and he freely tells Crutchie about his dad. In a way, the musical doesn't let Jack be a child. And not just because he's played by a grown man.

The musical sets Jack up to be misunderstood, he stole food and clothing to help his friends and dreams about Santa Fe because he wants something more out of his life. Yeah, that's fair. That's actually really darn reasonable. Jack isn't a scared little boy anymore, he's a young man who acts with a degree of maturity and clear moral intelligence. I don't like that change.

To me, Jack is seventeen and he feels trapped. He feels like he's suffocating. He has no family and he's left vulnerable because of their loss. 'Cowboy' is a façade to hide his fear. The musical just doesn't portray this as well as the original did.

David also loses a kind of childishness in the musical. Musical David (or Davey) scolds his brother for not wanting to go back to school/thinking being a newsie is better than school. Meanwhile in the film, Mayer Jacobs scolds David for expressing a similar sentiment. Maybe this change was simply to compensate for the exclusion of Mr. and Mrs. Jacobs and somebody had to say that David and Les were going back to school for plot reasons, but it's still at the expense of David. David isn't a parent. At the youngest he's fifteen, and at the oldest he's seventeen. He should be allowed to be selfish. He should be allowed to daydream about leaving school behind and doing something significant, or of being the 'man of the house' like his father. David should also be allowed to get angry and the musical robs him of that opportunity. Katherine's 'betrayal' doesn't effect Davey the way Denton's did and from what we see Jack's betrayal didn't effect him much either. He's disappointed, but he's not allowed to lash out. He's level-headed and reasonable and he knows that the show must go on. He isn't allowed to be impulsive, he isn't allowed to make mistakes, and he isn't important enough for other characters to have to earn his forgiveness.

Now you might be wondering how Medda's character loses anything from film to musical. First, we have to agree that there are really two Meddas. The first Medda is 'Miss Medda Lark[son/in] the Swedish Meadowlark' and the other Medda is the lady behind the stage name.

When Medda is on the stage, she's simply putting on a show. That's her job, after all, and we see this in both the film and the musical. What changes is the Medda we see in between her performances. Both Meddas very clearly care for Jack and the newsies and they are both given moments to show this. However, like the loss of Denton, the musical doesn't give Medda a moment where we see the injustice of how other adults treat the newsies in comparison to Medda. There's a heartbreaking scene in the original film where Medda, in the chaos at the rally, slaps a thug who's attacking Racetrack before she's dragged off the stage and out of harms way. "He's just a child! Can't you see that?" she screams. It's a case of an adult defending the newsies and shows us that these other adults are in the wrong. It's a small thing, but we just don't have an equivalent scene in the stage adaptation. Medda very clearly supports the newsies, but she's never given a scene that lets her directly challenge the adults who are actively harming and silencing the newsies, and I think that's a loss.

Finally, Racetrack and Crutchy(/ie) are both watered down. Racetrack's snark and serious side were projected onto the stage character Albert, leaving Racetrack himself to be mostly portrayed as comic relief. His older brotherly attitude towards Les is also lost.

Crutchy also looses his snark. His is more subtle, but it was still important because Crutchy isn't just a happy-go-lucky ball of sunshine. Remember when Crutchy snarked the Delancey brothers? Remember when he spat in Snyder's sauerkraut? Remember when he told Snyder to make friends with the rats? He also loses the line "I don't want nobody carrying me. Never, ya hear?" It's so important that Crutchy had pride, that he didn't want his friends to pity him or treat him any differently because of his disability. It's so important that his friends respected him and never did, even if they were just trying to help out of love for their friend. It's so important that Crutchy was defiant, that he fought back in his own ways.

There's just so much that wasn't included or explored in the stage musical in regard to the primary characters and it leaves them with less of themselves.

[yall-hate-kids-tourney]

Asuka Langley Soryu (Neon Genesis Evangelion) vs. Chloe Bourgeois (Miraculous Ladybug)

Y'all Hate Kids: Screwed By The Writers

Propaganda below the cut (spoilers)

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Asuka Langley Soryu (Neon Genesis Evangelion)

Fandom historically has treated her like she’s an irredeemable abusive piece of shit, despite the fact that she’s a 14-year-old girl in a terrible situation. She’s also not treated the most charitably by the writers.

Chloe Bourgeois (Miraculous Ladybug)

cw: Abuse, neglect, spoilers

haven't been in the fandom in a while so my memory is a bit fuzzy but the writers hate her sooooo bad it's not even funny. she started having a redemption arc where she realized the error of her ways and started working on herself as a person bc she wanted to be a hero and then did a 180° by siding with the villain. writer called her irredeemable multiple times on twitter despite the fact that she's just a spoiled bratty teenager who was also emotionally abused by her mother. her dad gets victimized despite the fact that he was complacent in the abuse and never tried to help her be a better person. overrall what the hell were you guys THINKING!!!

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SHE HAD SO MUCH GOING FOR HER.... The writers tried giving her a redemption arc but then the creator of the show said that she, a TEENAGE GIRL, was incapable of change and redemption so all of that development was thrown in the trash and she became a shallow character again. Meanwhile, the creator gives a mini redemption arc to the MAIN VILLAIN, who literally ABUSED AND NEGLECTED HIS SON. She deserved so much better man

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Typical Mean Girl character with an aborted redemption arc. Chloe has bullied the main protagonist Marinette Dupian-Cheng for a very long time. However, in Season 2 there was a beginning of a redemption arc that was wholly abandoned because the new showrunner deemed that a mean girl (who had an absentee/abusive mother and a limp noodle of a father) is evil incarnate and therefore can not be redeemed in good faith. The one good influence on Chloe's life abandoned her at the time of need and the fandom belittles and blames her for reverting back to her abusive ways when really she was left behind by the narrative. Even her own half-sister never gave her the time of day.

OH MY GOD. DUDE.Ok so she was a main (ish) villain within the first 1-3 seasons, but over time she was slowly getting a redemption arc, and we were getting more info about her past, and it turns out she was pretty heavily neglected as a kid (WHICH EXPLAINS WHY SHE WOULD ACT LIKE A BAD PERSON). And then, Thomas "dipshit" Astruc decided to THROW AWAY HER ENTIRE REDEMPTION ARC, AND WRITE HER OUT OF THE FUCKING SHOW!!!! AND THEY *REPLACED HER* WITH AN RANDOM NEW CHARACTER, EVEN THOUGH SHE WAS LITERALLY ONE OF THE MAIN HEROES???? And when confronted about why the fuck he would write that, Thomas said that she COULDN'T BE REDEEMED. Mind you, this is a TEENAGER, and a abused one at that! I'm sorry if this sounds like like a 2010's YouTube cartoon reviewer ass rant but oh my lord ,,,Chloe I could've saved you

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i havent watched nor caught up in a while, but from what i remember: she started out as a typical 1-dimensional mean girl, but then they gave her a surprising amount of depth?? like she got to be queen bee, learn responsibility as a superhero, she even is one of only a couple characters we know of to actually fight off hawkmoth's power. they were going to really interesting places with her character, and we were all excited for her redemption arc.

...and then they made her a flat villain again, taking away all of her complexity and development, and instead gave the powers and depth to a new sister of hers that suddenly arrived out of nowhere instead. what