#hes there for three total episodes but does not add to a single characters development and least of all the overall plot

[axolotlclown]

So I finished Moominvalley season 4 and here is my review:

Of course, spoilers ahead! It's long. It's detailed. It's a bit much, and I spent hours writing it.

I greatly disliked this season, not just from one particular angle. When Moominvalley first came out, it was advertised as the first narrative-style adaptation. This would imply one concrete story that ran throughout the show. They said the story would take time and required patience, but there was a larger narrative story. What was that story exactly? In the beginning, each character was established with certain flaws that they needed to grow from.

For Moomintroll, throughout season 1, we see him struggle with his father's expectations. He never quite makes his own decisions—either doing what he's told or what other people in his life would do. In the last episode of the season, Midwinter Ancestor, Moomintroll is told by Too-Tikky to not open the closet door. Going against her wishes, he does so anyway. This is the first instance of Moomintroll making a decision for himself. In the end, it was a bad decision, and he regretted it, but it still was a big moment. We understand the importance of this journey when he changes out the picture by his bedside table. It was a baby photo with his parents; now, it's a photo of Moomintroll fully grown. This was meant to denote a journey of independence.

We see him continue with this struggle in season 2. The Hobgoblin's hat adds to the internalized identity crisis. During the lighthouse arc, Moomintroll is mostly doing his own thing, somewhat. Although, I think that cutting out his glade from the book sort of hurt this theme of independence. I hoped that they would revisit that somehow, but they never did. In season 3, Lonely Mountain, we see a sort of regression with Moomintroll. (Ignore how this affected Snufkin, I'll come back to this later.) When Moomintroll unpacks his things, we see a collection of items that represent Moomintroll's past. One of these items was the old baby picture. Aside from this episode, we don't see any notable growth from Moomintroll this season.

In season 4, we watch Moomintroll fall right back into his father's shadow. He continues to struggle to carve his own path. The set up for Comet in Moominland was promising, but ultimately did not deliver. When Moomintroll goes against his friends to make a decision for himself, it turns out to be a bad decision that he regrets later, and someone else has to guide him out of the situation.

Moomintroll ends from the same place he started as a character. All growth is erased and ignored. While this is the most egregious example—with him being the protagonist—he is not the only character that this happens with.

Snufkin probably upsets me the most, as he had so much potential to be the most interesting character in the series. In season 1, The Spring Tune, we see where Snufkin is starting as far as his strengths and flaws go. What particularly intrigued me was his relationship to attachment. We see that Snufkin ultimately fears abandonment, and he copes with this in conflicting ways. He wants to be with Moomintroll out of fear of being left behind, but he is afraid that he feels this way. He tries to create distance between him and Moomintroll in an attempt to ease what he experiences as pain. This is demonstrated further in the next episode, The Last Dragon in the World, when he frees the dragon. We see his struggle with responsibility and commitment in Snufkin and the Park Keeper.

In season 2, The Hobgoblin's Hat, Snufkin is explaining to Moomintroll what the King's Ruby is. The ruby functions as a metaphor for love throughout the season. Moomintroll imagines that the Hobgoblin must love this ruby, while Snufkin argues that he only wants to possess it. While both may be correct in their own ways, they fail to understand each other. As a result, Snufkin decides to leave Moomintroll out of fear of being possessed himself under the false pretense that he is helping with the hat (he did not). We never visit this plot point again.

Snufkin has some large developments in season 3. In the Lonely Mountain, we see Snufkin break down his walls and let Moomintroll in. He acknowledges his responsibility to him and his longing to see him. Unfortunately, this aspect of his character is completely abandoned in season 4.

Back to season 1, Snufkin and the Park Keeper, we get a flashback in which Snufkin is enjoying a party with Moomintroll until he is overwhelmed by the presence of others. He winds up abandoning Moomintroll and the valley. He does this again in season 2, The Hobgoblin's Hat, as discussed above. In season 3, Snufkin and the Fairground, Snufkin chooses not to abandon his responsibility to Moomintroll or the valley. When faced with an uncomfortable challenge, he chooses to stay and support Moomintroll.

In season 4, The Great Cold, when faced with a crowded challenge, Snufkin abandons Moomintroll again. While he appears later in the episode, it felt disingenuous to me. The original problem had already been solved. In Comet in Moominvalley, Snufkin does not abandon Moomintroll. In fact, he makes an active effort to stay by his side. But it feels strange, almost undeserved? We saw so little of Snufkin this season, and when we did, he spent his screen time backtracking his progress.

In season 3, Lonely Mountain, Snufkin has a small monologue about listening to the campfire as the sparks dance and fly. Well, the whole episode was about listening. Anyway, that was a call back to the season 1 episode, The Invisible Child, in which Too-Tikky tells Moomintroll that there are many lost souls in Moominvalley that needed to be heard. The screen then cut to Snufkin leaving the valley. It would have been really cool to find out what that meant!

His abandonment issues never really get addressed. Refusing to let Snufkin meet his father was just baiting the audience. It was also just bad writing! What's his deal—where's his lore?? Who made him like this? Why is he so afraid of intimacy? Why are basic fundamental questions about this main character being left unanswered?

It really is disappointing. Every adaptation (and the books, if we're being honest) treat Snufkin like a stoic hero. He doesn't want to be looked up to, yet he's always painted as a character that you should. This is the first adaptation that gave him flaws. He felt like a character that needed growth and time. He was never given either.

I won't spend so much time on Snorkmaiden, even though she was robbed, too. She never grew to be more independent apart from Moomintroll. In the same vein as Moomintroll and Snufkin, her character ends exactly the way she started. All of her character growth vanished in seasons 3 and 4. I love this version of Snorkmaiden. I certainly prefer it to her other portrayals. But the writers screwed her over so bad, it's heartbreaking.

None of the characters actually learn or change. Everyone sort of becomes a static character, which makes any semblance of a plot impossible to write. For the fun of it, I will try to decode a plot, anyway.

So, you're not crazy. Moomintroll and Snufkin were set up to be endgame. There was a way to make Moomintroll and Snorkmaiden endgame in a satisfying way, but the writers chose against it. It's a very suspicious backtracking that reeks of queerbaiting, but let me explain the narrative romance angles first.

I feel unsatisfied with the ending Moomintroll and Snorkmaiden got. Throughout seasons 1 and 2, they would frequently lie for each other's approval, and jealousy was a common player. They would ignore each other when someone more interesting came along. Ultimately, what led to the break up in season 2, Farwell Snorkmaiden, was the understanding that Snorkmaiden was just more mature than Moomintroll. In her own way, she was ready for a serious committed relationship, and Moomintroll was not.

However, there was never a formal conversation of them getting back together. They just sort of were? And all of the problems in their relationship were never resolved. They still lied to each other and ignored one another for something shinier all the time. It was irritating. These two became no better than Sniff in the end. I'm standing on business with that.

I'm also not convinced that Moomintroll and Snorkmaiden can have a healthy relationship after the finale. They will definitely break up again. They haven't resolved any of the issues that led to their original break.

Okay, so Moomintroll and Snufkin. Let's chat about that for a while. The first three episodes establish Moomintroll, Snufkin, and their relationship together (in that order). We, as viewers, are led to believe that their relationship (either romantic or platonic) is the key to understanding the story. Throughout seasons 1 and 2, every single motif for love (lanterns, fires, the ruby, etc.) that is introduced is done with Moomintroll and Snufkin. Regardless, different expressions of love and intimacy were the focal point of the show. That was almost completely abandoned in seasons 3 and 4. While turning the focus on the greater community could have added depth, it ultimately detracted from the close personal relationships that were driving the narrative.

So, the Groke. She does not just represent fear, she is a reflection of each character's own fears. I loved this! I thought it was a really cool concept, and the ways that she was portrayed in seasons 1 and 2 were excellent. Here's the thing. In her introduction in season 1, Night of the Groke, we are also introduced to lanterns/fires as a motif about love. The Groke is chasing love and craves acceptance. It's not quite something you can catch, and trying to is a failed endeavor. Brilliant episode. We saw what Snufkin's greatest fear was earlier in the season (loving Moomintroll), but we needed to pay more attention to see Moomintroll's fear. I think it was complex. On one hand, with the lanterns, Moomintroll could also be afraid to love Snufkin. However, as we saw at the end of Moomintroll and the Seahorses, he needs to learn independence before he can love someone. This was also reinforced through Snorkmaiden in Farwell Snorkmaiden. The fires and lanterns were constant reoccurring motifs (not just for Moomintroll and Snufkin, though that's where the focus is right now). Rewatch the season 3 episode, Lonely Mountain, and that one monologue that Snufkin gives will start to make sense.

By abandoning these important motifs, the Groke's conclusion feels unfinished. It just felt wrong. In the end, she did just represent fear. This completely erased the layer of depth that she had to start.

For Moomintroll to learn to be more independent and self-reliant, he needed to learn from Snufkin. For Snufkin to learn to accept love and responsibility, he needed to learn from Moomintroll. They were the keys to each other's growth. When they were together, the plot moved. When they weren't, the episodes felt like filler for the most part.

Also, small detail, despite the change in one photo (the baby photo to grown Moomintroll) the photo with Moomintroll and Snufkin never changed. Which narratively makes no sense.

The writers originally set this up for them to be romantically involved. Which, given the context of their dynamic in the books and comics, makes sense. It's not as much of a stretch as people are trying to gaslight themselves into believing. These characters were originally heavily queer coded. However, the original text is sort of a tragedy. No matter what happened, Moomintroll and Snufkin could never truly be together—no matter how much they tried. This mirrored Tove Jansson's relationship to her first fiance Atos Wirtanen as well as her relationship to her own queerness. However, it looked like Moominvalley wanted something different. Queer people had enough tragic stories told already. This one would tell queer kids that it was going to be okay, and that they were going to find love. Tove Jansson's original message about love and freedom was finally going to be understood.

Instead, not only was this potentially beautiful story abandoned, it was mocked. In the season 4 episode, Midsummer Meddling, there was a scene I found quite shocking. Sniff had convinced himself that he was to fall in love with somebody. One of his "love interests" was a male scarecrow. This is the only openly queer semblance of romance that we got and it was played off as a joke. In the final season. They didn't even backtrack Moomintroll and Snufkin, they just completely ignored everything that was set up.

In the final episode, Comet in Moominland, there was an incredibly brief exchange between Moomintroll and Snufkin about who looked up to who. This would have been a fantastic place to give these characters some sort of conclusion, but we don't get that. In all of the 45 minute special, the characters are never prioritized. In the whole season, even. Really, not a single character got a satisfying conclusion, but Moomintroll and Snufkin were the most important.

This is a powerful and historic piece of queer media. Tove Jansson's queer legacy was so iconic that she was directly cited as an influence in the legalization of same sex marriage in Finland. Her work proved to further the queer community. Despite sodomy laws and fear of incarceration, Jansson continued to do what she could to tell her own queer story. That is what Moomin is. That is its legacy.

I was prepared to defend Gutsy if Snufmin didn't go canon. At the end of the day, it's usually TV execs threatening to pull the whole show off the air. The show was too costly to risk any interesting writing. However, the writers didn't recover, and some of the writing just felt downright melicious at times.

Anyway, if you love slice-of-life content, you probably loved this season and the show's conclusion. It is such a shame that the creators promised something completely different from what the show turned out to be. It's no surprise that viewers are disappointed.

I do have one more thing to say ☝️😀. This is going to hurt Moomin's mission to expand to the US. It's been very obvious that they have been trying to expand to North America. Brave and bold writing would have caught the attention of new viewers. Instead, few Americans are going to recommend this show to others. Aside from that, the next logical move is to make an American adaptation. Good luck trying to find a competent YA cartoon creator that won't threaten to walk off the project if they can't have Snufmin. That being said, they'll have better luck making that canon here anyway. (Everybody say, "thank you Rebecca Sugar and Pendleton Ward.")

Well, in the end, I don't think the fight to make Snufmin a real, transparent queer story ends with Moominvalley. I can say, though, that the prioritization of profit over respect and love for others is not at all what Tove Jansson would have wanted.

Seasons 1 and 2 were peak, and season 3, episode 8, was batshit insane. That is all.

[otp-armada]

If Jason wanted to convince me that Lxa was the love of Clarke's life, he wouldn't have killed her off, effectively cutting their love story permanently, with 4.5 seasons left of the show. Their arc, starting with their introduction in 2x07 and concluding with L's death in 3x07, is 17 episodes long, accounting for 17% of the entire narrative. If I generously add 3x16 to the count, an episode in which L is already dead in the corporeal world Clarke is trying to return to, it's a whopping, grand total of 18%. An 18% congruous with Clarke's intense connection to Bellamy and vice versa, which even A.lycia confirmed as romantic. Feelings romantic enough to spur the formation of a love triangle. An 18% ignoring Clarke's ultimate choice to go back to her people when L wanted her to stay.

CL is a chapter in the story begun and wrapped up in the first half of the narrative. And that's omitting further illumination on the finer details making CL so problematic for Clarke. Do you expect me to believe it was coincidental for CL to occur at a time when Clarke was spiraling down a dark path, commencing with Finn's death? Who played a hand in forcing Clarke's own hand, with Finn, and TonDC, and Mount Weather? Whose example inspired her to ensnare herself in armor and warpaint to be strong enough to save her people? Whose behavior did she emulate in the pushing away of support from her people? Who gave her a place to continue hiding from Bellamy, her mom, and her friends? A place to be someone other than Clarke Griffin? In lieu of facing her fears like the heroine she is? The purpose of CL wasn't to provide Clarke with a magnificent, fairy tale romance gone tragically wrong. I believe Jason's intent with the relationship aimed to further damage Clarke's psyche after L's death, to solidify the belief that her love is not only deadly to its recipients but renders her too weak to do what must be done for survival.

After 3x16, CL is an often superfluous namedrop or two per season for Clarke to briefly react to before carrying on with the plot. Season 5 aside, most of these references are needless enough to be able to interpret them as attempts at reparations for the L/CL fandom's benefit -and their views- without altering the course of the story. Crazy me for thinking it's not enough to constitute an ongoing love story. Crazy me for not thinking this was on par with interactions between living characters. Crazy me for thinking it doesn't befit a love story for the protagonist.

This sliver of the story is what Jason and the CLs would have us unquestionably believe is the pervasive love story of The 100's seven seasons?

Despite his lie and the constant gaslighting from the pineapple CLs, some of us know how to decipher what a temporary love interest is. Lxa? I think you know where I'm heading with this.

I'll acknowledge my admittedly negative appraisal of CL as someone who recognizes its value to the LGBT+ community and treats it as valid while not caring for L/CL on a narrative level. I felt, when swayed by L's influence, Clarke became the antithesis of what I found admirable about her. I resented Clarke's acquiescence of her power to the commander. I wanted nothing more than to remove the wedge L had driven between Clarke and Bellamy.

Let me try to give L/CL the benefit of the doubt for a minute. I don't hold L as responsible for Clarke's choices, but I recognize the prominent role she played in their upbringing. The push and pull was an intriguing aspect of their dynamic, as was the chance to meet a manifestation of who Clarke might have been if she was all head, no heart. Her fall from grace was arguably necessary for her to be a fully-rounded character, not a Mary Sue. It wouldn't be realistic for the protagonist of a tragic story about a brutal world to be a pure cinnamon roll. When forgiveness is an innate theme with Clarke, it would be my bias at work if I was content with her applying it to everyone but Lxa. Clarke saw enough commonalities between her and L to identify with the latter. When she extended forgiveness to L, I believe it was her way of taking the first step on the path to making peace with herself by proxy. None of this means I wanted them paired up. At best, I made my peace with seeing the relationship through to its eventual end. In time for L's death, ironically. My passivity about them notwithstanding, my conclusions are, however, supported by canon.

If I may submit a Doylist reason for romantic CL? Jason knew he had a massive subfandom itching to see them coupled, thereby boosting ratings and generating media buzz. A Watsonian reason? Without relevance, I think L would have been another Anya to Clarke. Grapple shortly with the unfair taking of a life right as they choose to steer towards unity, melancholy giving way to the inconvenience of the loss of a potential, powerful political ally. Romance ensured her arc with L would have the designated impact on Clarke's character moving forward in the next act.

For a show not about relationships, Jason has routinely used romantic love as a shorthand for character and dynamic development. It's happened with so many hastily strung together pairings. And when it does, everyone and their mother bends over backward to defend the relationship. It's romantic because it just is. Didn't you see the kissing? Romantic.

No, The 100 at its core is not about relationships, romantic and otherwise. But stack the number of fans invested exclusively by the action against those of us appreciating a strong plot but are emotionally attached to the characters and dynamics. Who do we think wins? Jason can cry all he wants over an audience refusing to be dazzled solely by his flashy sci-fi.

Funnily enough, "not about relationships'' is only ever applied to Bellarke. Bellarke, a relationship so consistently significant, it's the central dynamic of the show. The backbone on which the story is predicated. Only with Bellarke does it become super imperative to represent male-female platonic relationships. As if Bellarke is the end all, be all of platonic friendship representation on this show. In every single television show in the history of television shows.

Where was this advocacy when B/echo was foisted upon on us after one scene between them where he didn't outright hate Echo? When one interaction before that, he nearly choked the life out of her. If male-female friendship on TV is so sparse, why didn't B/ravens celebrate the familial relationship between Bellamy and Raven? Isn't the fact that they interpret Clarke as abusive to Bellamy all the more reason to praise his oh-so-healthy friendship with Raven as friendship? They might be the one group of shippers at the least liberty to use this argument against Bellarke, lest they want to hear the cacophony of our fandom's laughter at the sheer hypocrisy of the joke. Instead, they've held on with an iron grip to the one sex scene from practically three lifetimes ago when the characters were distracting themselves from their feelings on OTHER people? They've recalled this as "proof" of romance while silent on (or misconstruing) the 99% of narrative wherein they were platonic and the 100% of the time they were canonically non-romantic.

Bellarke is only non-romantic if you believe love stories are told in the space of time it takes for Characters A & B to make out and screw each other onscreen, a timespan amounting to less than the intermission of a quick bathroom break. If it sounds ridiculous, it's because it is. And yet, some can't wrap their heads around the idea that maybe, just maybe, a well-written love story in its entirety is denoted by more than two insubstantial markers and unreliable qualifiers. B/raven had sex, and the deed didn't fashion them into a romance. Jasper and Maya kissed but didn't have sex. Were they half a romantic relationship? Bellarke is paralleled to romantic couples all the time, but it counts for nothing in the eyes of their rival-ship fandom adversaries. Take ship wars out of it by considering Mackson. Like B/echo, the show informed us that Mackson became a couple post-Praimfaya, offscreen, via a kiss. Does anyone fancy them an epic love story with their whisper of a buildup? Since a kiss is all it takes, as dictated by fandom parameters, we should.

If Characters A & B are ensconced in a romantic storyline, then by definition, their relationship is neither non-romantic nor fanon. "Platonic" rings hollow as a descriptor for feelings canonically not so.

If the rest of the fandom doesn't want to take our word for granted, Bob confirmed Bellarke as romantic. Is he as delusional as we are? Bob is not a shipper, but he knows what he was told to perform and how. Why do the pineapples twist themselves in knots to discredit his word? If they are so assured by Jason's word-of-god affirmation, then what credibility does it bear to have Bellarke validated by someone other than the one in charge? They're so quick to aggressively repudiate any statement less than "CL is everything. Nothing else exists. CL is the only fictional love story in The 100, nay, the WORLD. CL is the single greatest man-made invention since the advent of the wheel."

We've all seen a show with a romantic relationship between the leads at the core of the story. We all know the definition of slowburn. We can pinpoint the tropes used to convey romantic feelings. We know conflict is how stories are told. We know when interferences are meant to separate them. We know when obstacles are overcome, they're stronger for it. We know that's why the hurdles exist. We know those impediments often take the shape of interim, third-party love interests. We know what love triangles are. We know pining and longing.

Jason wasn't revolutionary in his structure of Bellarke. He wasn't sly. Jason modeled them no differently than most other shows do with their main romances. Subtler and slower, sure. Sometimes not subtle at all. There's no subtlety in having Clarke viscerally react to multiple shots of Bellamy with his girlfriend. No subtlety in him prioritizing her life over the others in Sanctum's clutches. In her prioritizing his life above all the other lives she was sure would perish if he opened the bunker door. There is no subtlety in Bellamy poisoning his sister to stave off Clarke's impending execution. In her relinquishing 50 Arkadian lives for him after it killed her to choose only 100 to preserve. In her sending the daughter Clarke was hellbent to protect, into the trenches to save him. In him marching across enemy lines to rescue her. In her surrender to her kidnapper to march to potential death, to prevent Bellamy's immediate one. No subtlety in Josie's callouts. No subtlety in Lxa's successful use of his name to convince Clarke to let a bomb drop on an unsuspecting village. Bet every dollar you have that the list goes on and on.

There are a lot of layers to what this show was. It was a tragedy, with hope for light at the end of the tunnel. It was, first and foremost, a post-apocalyptic sci-fi survival drama. Within this overarch is the story of how the union of Clarke Griffin and Bellamy Blake saves humanity, ushering in an age of peace. In this regard, their relationship transcended romance. But with the two of them growing exponentially more intimate each season, pulled apart by obstacles only to draw closer once again, theirs was a love story. A romantic opus, the crescendo timed in such a way that the resolution of this storyline -the moment they get together- would align with the resolution of the main plot. Tying Bellarke to the completion of this tale made them more meaningful than any other relationship on this show, not less.

Whereas the trend with every other pair was to chronicle whether they survived this hostile world intact or succumbed to it, Bellarke was a slowburn. A unique appellation for the couples on this show, but not disqualifying them from romantic acknowledgment.

Framing Bellarke in this manner was 100% Jason's choice. If he wanted the audience to treat them as platonic, he should have made it clear within the narrative itself, not through vague, word-of-god dispatches. A mishandled 180-degree swerve at the clutch as a consequence of extra-textual factors doesn't negate the 84% of the story prior. It's just bad writing to not follow through. And Jason's poor, nearsighted decisions ruined a hell of a lot more than a Bellarke endgame.

The problem is, when Bellarke is legitimized, the pineapples are yanked out of their fantasies where they get to pretend the quoted exaggerations above are real. Here I'm embellishing, but some of them have deeply ingrained their identities in CL to the degree where hyperbole is rechristened to incontestable facts. An endorsement for Bellarke is an obtrusive reminder of the not all-encompassing reception of their ship. A lack of positive sentiment is an attack on their OTP, elevated to an attack on their identity. Before long, it ascends to an alleged offense to their right to exist. The perpetrators of this evil against humanity are the enemy, and they must attack in kind, in defense of themselves.

Truthfully, I think it's sad, the connotation of human happiness wholly dependent on the outcome of a fictional liaison already terminated years ago. I'm not unaware of the marginalization of minorities, of the LGBT+ community, in media. I haven't buried my head in the sand to pretend there aren't horrible crimes committed against them. I don't pretend prejudice isn't rampant. When defense and education devolve into hatred and libel for asinine reasons, though, the line has been crossed. You don't get a free pass to hurt someone with your words over a damn ship war. No matter how hard you try to dress it up as righteous social justice, I assure you, you're woefully transparent.

[sleepingcrisis]

Sk8 The Infinity: Thoughts

I- like many- have finished Sk8 and have a lot of thoughts about the show. I was going to make this three parts but opted for just one. This is split into three sections though: 

Adam’s “Redemption”

Character Relationships

Overall thoughts

Adam’s “Redemption”: 

Okay let’s not get it twisted, Adam wasn’t really redeemed. At least I don’t think he was. When I initially pictured a redemption I pictured an ending where he got along with Cherry and Joe and the three were skating together again or something. That would be super badass for a shot- but it wouldn’t work and would have ruined any tension between the three in my opinion. So in the eyes of our main six Adam isn’t redeemed which is nice. If anyone wants to argue that he is then… sure? You can do that- I don’t really care though because it is quite clear that he isn’t redeemed in their eyes. 

This doesn’t mean I like what they did with Adam’s character though. First of all, he was never going to jail. They set that up to build suspense but it was never really going anywhere which I hated. Despite him not getting redeemed in the eyes of our main six, he still didn’t face any consequences for what he did. I understand that him going to jail would not have been him facing consequences for his actions at S, because they weren’t related, but he got off. In the eyes of the viewer him going to jail would have been consequences for everything he did at S even if that wasn’t why he would have been goin to jail it still was supposed to serve as consequences. Instead he faces no consequences for what he did. He was never going to jail either which is what really pissed me off. The writers of the show made it so that the threat of him going to jail was sorta a red herring. It was something that was under developed and that a lot of viewers really cared about, but if you went to the bathroom during the episode you might not have even known about this subplot at all. The least the show could have done was make this a genuine threat and not something that was just used to build suspense- and it wasn’t even done well. 

I get not wanting to send Adam to jail though, I really do. He is a central character who a lot of people really like (even I really like Adam as a villain- I think he makes a really effective villain and his character is explored decently well). Perhaps sending him to jail would have been an ending to his character that was too clear cut. The ending they did decide felt too good for him though. In my opinion he hadn’t earned it. While I’m not entirely sure if I wanted him to go to jail, I think that he should have faced more consequences for how he behaved. Again I think if anything the end of the show paved the way for him to have a larger character arc.

Character relationships: 

Oh what probably everyone is here for: the topic of queerbaiting. 

If you are reading this in hopes that I support the idea that this show was queerbaiting then you won’t find that here. I don’t think the show was queerbaiting in the slightest. I think that it is incredibly obvious that Cherry, Langa, Adam, and Tadashi are all queercoded as gay characters. Every other character is up for interpretation, yes Reki and Joe are included even if I personally headcanon them both as bi. 

The show presents some beautiful friendships and handles them in a way that I love. Reki’s breakdown and self doubt feels realistic and how he and Langa reconnect was handled well and I think the pacing was good too. Langa and Reki contrast one another really well and obviously the same applies to Joe and Cherry. I have said it before but a spin off show with Joe and Cherry as central characters would be *chef’s kiss*. 

Had these two pairings been explicitly flirting with one another then yeah we would have been queerbaited. Does that mean you can’t interpret romantic undertones from all of this? No it doesn’t mean that at all, I interpret both relationships as romantic- but they also make really well written friendships. 

Where the show falls flat on its face and where I do take issue with the queercoding is the ending. By the end of the show I think it is quite obvious that Tadashi/Adam is canon. Their relationship isn’t normal by any means but they are in a relationship. Do I think it is a healthy relationship? No. Like k*nks aside- Adam treated Tadashi like shit through the bulk of this show. Adam is the most heavily queercoded character in the show so it rubs me the wrong way that this relationship is the one they make the most explicit. It rubs me the wrong way that Cherry and Langa’s sexualities are made more clear after having interactions with Adam. It presents the narrative that gay people turn other people gay and by having Adam be a flamboyant gay character it pairs gay with the idea of being evil and promotes sterotypes. Someone made a really good video covering this and I can’t find it- If I do I will repost this with a link- or if someone else wants to comment it then I’ll repost and add it into post. Flashbacks aside I wish we had gotten some scenes where it was a little more obvious that Adam cared about Tadashi. Don’t get me wrong- I know he does- but Adam acted like an asshole towards tadashi for the majority of the show and then pulled the “all is forgiven” between the two right at the end. Healthy relationships aren’t needed in a show and I don’t think these two need to have one, but having it be the only/most explicit relationship in the show is upsetting. I would have loved to see a healthy queer relationship be made canon. 

Not having these other relationships be made canon is fine. I understand wanting representation, but it is just eh- 

I get both sides of this- the side that desperately want’s queer rep that they are willing to settle and thirst over the crumbs they get and then demand an explicit relationship when we aren’t handed one. I also understand the argument of the cultural differences and how I can only ever look at this through a western lense. Japan has a vastly different culture and their media reflects that even if obviously they do try and appeal to a wider audience. I am very conflicted on this and am totally fine with matchablossom and renga not being made canon even if I do understand the appeal. Again what rubs me the wrong way is the relationship they do decide to make pretty much explicit. Anyone who wants to argue me that Tadashi/Adam is a healthy queer rep can- but from what we have seen… it really isn’t.

Overall Thoughts:

I love sk8 the infinity and I hope they get another season. The difficulty it must be to tell a full story with fleshed out characters in around four hours of run time is something I can’t imagine. Every single character feels fairly well done and they are all loveable in their own way. I understand the appeal people have towards any character. In fact there isn’t a single character that I actively hate. At the end of the day Sk8 The Infinity is meant to be a light hearted anime about having fun skateboarding. The animation is amazing, the music is wonderful- in fact I don’t think it could have been better- the characters that fill this world are all incredibly lovable, the show is so much fun to watch. The creators did that, they gave us a beautiful and fun show. Ending the show with Adam going to jail would have pulled away from what the show was trying to accomplish. The show was trying to have fun and I sincerely hope they get a second season so we can see every single one of these loveable characters again. I hope I got my thoughts across in this show but I am definitely willing to clarify if anything is confusing.

[misterbitches]

i had the misfortune of finally watching/getting through what happened in whatever episode where he gets raped so im gonna talk about it and tag it cos that's what a bitch fuckin feels like, got it? i do what i want aint no limit bad ass bitch aint never been timid. woopsie realized i got the nicknames confused oh well lmao

it's just logistically and plot wise like there's literal plot holes in this and i'm taking the production and set-up into account along with the actual content and development. im an ARTIST OKAY im jk i mean i am and i am pretentious and terrible but look. i didnt get that degree and im not in a house worth of debt for nothing ok. it's called writing on tumblr about my grievances of shows that dont matter and do not respect me as a fat black american woman either so it is my fault yet here i am.

anyway it was worse than i imagined and their talk after (with chengren) was even worse. that's what i mean about making the lines their own (the actors) bc teng teng sounded like a straight up motherfucking moron and im like

bECAUSE IT'S HIM EVEN THO IM LIKE WHAT THE FUCK DID U JUST SAY U STUPID BITCH? but then it's like awwww and they also care about his wellbeing obviously??? but no? but it's like ok still teng teng said it even if it's stupid because he is a character and charles puts that forth. the people that fail the most to do that are xing si's family but that's not the actors fault because it's the literal material. you're like wait what but you just said...?

so i know they have no script editors i guess i think i find this season ACTUALLY fascinating because of just how egregious it is. i also went back and watched history: obsessed which i thought i liked because of their chemistry even though god the production....but i tried rewatching it and i was like wow this is worse than i remembered and the production issues were even worse because some of the music was SO LOUD AND BAD HOLY FUCK and their whole rship isssssss a sight to behold lmao

so man i guess it really is the power of anson/charles. which is good cos we love to see it...sort of but also a lot.

i honestly....because i've been able to pay attn more to the aftermath of the rape going back and putting it into more context and focusing (just barely lmao) is hm even worse. the inconsistencies are insane. it's not even just about the act but the writers have zero idea where they are going because they have no interest in exploring it. but the way in which it happens is like fascinating. yong jie literally thinks he owns xing si and it doesn't matter if he was kissing him or not or asked for a kiss on the lips (which dude what the fuck? i'll get to that) because he was plied with "extremely strong drinks" and his mom knew about it....which girl congrats you're an accomplice to the rape of your son by your other son?

but first of all...the kissing thing. in what fucking world would he (xing si) want that unless he thought he (yong jie) was someone else. i can't say their attraction is evident because we are being lead by this team to think so; they create this false sense of sensuality already so to me that signifies that they never intended for them to have a bond as brothers. it just feels cheap and fucking lazy (which it is.) even if he did, which doesn't make sense considering the context THEY CONSTRUCTED, it wouldn't matter because he was so fucking drunk which.... at that point nothing is fun, you feel sick, who wants sex like that? does he not have whiskey dick? did they have a condom? was it not painful for him considering? even if this was something to easily get over like was the dick good? it couldn't have been. and then, on top of that, there's the fact that you can change your mind or whatever but also that people do get aroused in these situations bc it is human nature (that's if they can literally get aroused which if the drinks were allegedly sooooo strong that nigga would be out so....again like even practically here it doesnt add up. have these people ever been drunk? if not, write what you know girl. cos sometimes it's like i think some of u r trying to be cool when u dont have 2 b lmao)

so yong jie coming on to him previously may be seen as like push-and-pull but here's the thing. right after it happens (the rape and it's rape so call it that you'll be okay) xing si gets up and goes home and is terrified and upset. he acts like what we have seen or even felt after a violation. he's scared, clutching his bag, it's like...you know...decently coming off as truly distressing (the actor isn't bad at all and i like that he's dark. i just massively hate this for him but hey at least he can show some chops.) like honestly man that fucking sucks and hurts to see. if we've been there we feel it. or part of it is realizing belatedly what happened. a lot of times that drop in your stomach is the worst.

but somehow for some reason, to which i cannot understand, the three of them begin to talk as if xing si pressured him? which maybe i missed something and that is possible—dont feel like going back to look—but that also made no sense. like what kind of false memory is this? why would he think he wasn't willing? and if he thought yong jie wasn't and that he pressured him how does he remember like...anything about the sex?!?!??!? besides waking up and being with him. like i guess he felt yong jie's MASSIVE DONG imprint but ??!?!?!?!??!?!?!?!?!?!?!?!??!?!?!?!??!? MAKE IT MAKE SENSE!!!!!

god then the logic of the top/bottom thing is like i said i wasnt going to get into it but it's actually really funny. this whole thing was hilarious. honestly because I DO NOT UNDERSTAND WHAT THAT MEANS. he could have totally raped him in that way but how did you get to this CONCLUSION FROM THAT??????? BY YOUR LOGIC THAT'S NOT HOW IT WORKS? IF HE IS THE BOTTOM AND PENETRATION IS THE ONLY FORM OF TRUE CONSUMMATION AND RAPE BECAUSE APPARENTLY, BASED ON ANATOMY, IF YOU HAVE A DICK IN UR BUTT UR A GIRL THEN HOW. DOES. THIS. MAKE. SENSE. AND THEN

AND THEN

AND THEN

AND THEN

this whole stupid conversation happens so we get to the conclusion that xing si violated him ok cool but that means that something is wrong. that is the CONCLUSION WE CAME TO A SECOND AGO?

also the other rapist is a villain and muren isn't in love with him so, once again, you're breaking the rules of your own world about acceptability which is why most of this is absolutely mind bogggglinG that iit's fuckign comical. like i actually when i can stomach it start laughing or my jaw is slack because it's so insulting as a viewer because there is like 0 logical followthrough.

because whatshisface barges in, kisses him in front of his friends without permission, then says whether you were willing or not which is hm. at that point how u gonna change that around but let's not bother with logic here. i am simply here to point out how this makes no sense according to the rules they set up even outside of the basic rule of life which is hm dont rape people maybe.

so now we know xing si was raped, they believe he was raped, he himself believes he was raped, and whatshisface literally says he doesn't care even if he was willing (he wasn't) so he admits to rape. i don't believe in the police and i hate them (BL industry needs the cops but dont get me down that road) but no one...thought to go?

because according to history 4 logic nothing matters so im sure if he went to the police you could handwave the homophobia since there's no actual context for anything besides their whimsy. but they dont want to do that because they aren't interested in an arc of growth; redemption isn't possible unless he is removed from the family but again no work on thinking this through or thinking about the victim's feelings. because gay sex? who fucking knows. supposedly progressive taiwanese writers of gay shit (like how supposedly progressive the world is. as in it is not and this behavior is the norm and bl perpetuates that) can't think of transformative justice?

and then they gave bad advice so we wont acknowledge that because teng teng doing anything wrong/stupid is frequent but hurts me and also that storyline is not real so i pretend they are not there outside of this post

so all of this is just straihgt up clownery now because it's fucking absurd like logically, practically, human-wise. the kissing thing is inconsequential but it was such a lazy cheap way out lmao cos they really wanted it to seem consensual but that's not how it works. on top of that their attraction makes no sense because whatshisface is just there. he is just there. he's nothing and no one so the sentiments are even more empty and on top of that he doesnt listen to a single request fucking obviously because the basis of their relationship is fucking rape so fucking listening and respecting his partner is not on his list of fucking priorities. he's literally so fucking annoying even without being a rapist it's like someone please beat his ass.

and then after all of that you want us to feel bad? with your horrible writing, poorly misplaced music, stupid costumes (those fucking SHOES THEY ARE HIDEOUS, AND MOST OF THIER CLOTHES DO NOT FIT IT'S LIKE WHY), questionable fucking editing. we're supposed to wnat them together? this sounds literally fucking crazy but bear with me lmao even with the rape they could at least have SOMETHING i mean like i cant believe im fucking saaying this. but like in addicted heroin which is fuckin tragic and awful at least there's a MODICUM of interest but honestly that show s a fucknig drag. idk they lookd good together? here we have 0. nothing. and it doesnt motivate. watching obsessed again i can see why i liked it in the beginning bc they have good chemistry but the acting and production adn like everything about it plus the rape-y vibes it's just too much. you need to pick one thing so if you're going to be a shit writer at least supplement it with something. this thing is nothing.

and even more nonsensical and what boggles my mind frankly out of all this is the mother's involvement and the father's final response. there are NO consequences? theyre all happy?

ok so lets go through this:

1. 2 boys grow up 2gether, one of the boys is fucking psycho, the mother knows but does nothing??????????????

2. one of the sons moves out so his father doesn't get a hint that's he's fucking gay. ok fine. he has 2 best friends, a job, an apt. he is fine.

3. aforementioned brother is obsessed with him for SOME REASON besides being crazy?

3.5 no one has done anything during him growing up to help him not be crazy?

4. mom says to husband who is their father also just in case we forget "im afraid he will lose his humanity"

4.5 again, do nothing. 0. just like oh man hes crazy. guess that's just our son ;)

4. who cares. plies him with alcohol purposefully to rape him. not even dubious (even though dubious is fucked and not okay or is just not. fucking real. these shows are contextless when they want to be or even movies or whatever so it's like largely not up to the task to understand complexity in human rships and then oversimplifies it constantly because that's what we do IRL. but people have fucking feelings you know and we realize when things don't feel good or right to us either very quickly after or having to process it. and once you're eyes are opened you may feel as something was fucking ripped away from you. for the modc couple this would be a very logical conclusion for the high schooler the thirty year old dated but again logic or feelings are up to their whimsy. no one cares bc everything can be counted as dubious so honestly it's a fucking stupid fucking topic like again why are we litigating what is and isnt consent when you could just like idk. read cues? consent? wait? not be a freak? like we all know what is proper human shit so even if we are watching this uncritically which u cant bc it's glaring and stupid it's just even more dumb) so it was honestly a rape plot like he literally planned it soooooooooo??!?!

5. aftermath of rape the victim is like literally fucking bereft and confused. and a rape victim. like that's what they are insinuating and what also he is to be clear.

6. boy tells him "idc if i raped u i luv u lmao"

7. mom ENCOURAGED THE BOY to get him drunk because her other son was too nice? she encouraged her adult son to rape her adult step-son (but her real son because she repeatedly says you are my son and the dad does too THEY GREW UP TOGETHER WHEN THE KID WAS IN AN IMPRESSIONABLE STATE) so THIS ALSO MAKES EVEN LESS MOTHERFUCKING SENSE

8. everyone finds out about his rape and he isnt mortified he's just concerned about himself being gay to his dad?????? except it's not really about his gayness bc now it's about his sudden love for his rapist brother? which? hm ok. understandable the dad is like wow i do not think i like this

9. dad knows all of it is fucked up, everyone does, knows the mother fucked up, knows he fucked up. doesnt like it because he is normal. so we know this is terrible? ok great so—

10. father says "i can't accept this...but i'm willing to give you my blessing" ok see here's the thing. when you write you have to think about the things you are putting on the page and what you have written previously. this quite literally made no sense how the fuck are you going to not accept them but give them your blessing? does this crew know what the fuck words are? i'm assuming they went to some sort of school to obtain jobs here bc there cannot be natural talent or experience. maybe most of them are rich. fuck i do not know but this also makes no sense. just the literal logic of it it's like fucking insane the whiplash.

10.5 apparently this father is also shitty. everyone here sucks and they are basically begging me to think xing si is a fucking idiot so i dont even want to look at him if he is an object he doesnt matter so now i want to kick him. thanks a lot you made the victim get absolutely fucking nothing

they KEEP PUSHING the brother thing it is so insane and it's liek GUYS WE GET IT WE UNDERSTAND THEYRE "RELATED" BUT NOT RELATED SO IT'S OK HE WAS "RAPED" BUT NOT RAPED but you're GOING BACK ON YOUR OWN RULES!!!!!!!!!! WE GET THAT THEY ARE BROTHERS!!! WE'RE OVER IT NOW BUT WHAT IS THIS WHEN WE ALREADY ESTABLISHED SOMETHING? I AM CONFUSION? they flip flop between my son, my brother my actual brother, and cannot fucking distinguish between love for your father and love for your romantic partner? so to me what i see is that the father wants to fuck the son. that's the conclusion i am garnering now considering nothing matters and his love for his "brother" is the same as his love for his dad lmao. they couldnt even do that in a way that made sense. like damn anybody can get anything. these ppl who are doing this have to be fucking rich and/or have connections.

also this guy sounds literally like a textbook abuser like he says constantly "im the best choice" is a rapist is awful holds capital (oh hees "saving" smh ur trapping her!!!!! RETIRE!!!!) also wears terrible shoes so i am like ur alllllllllLLLLL FUCKING CRAZY ur all literally crazy and then they are trying to set rules and boundaries in their fucking house like WHY ARE THEY LIVING TOGETHER EVEN? even tho oh my god they know he raped him and for some reason they are both allowing to live in the house but they dont want them to have sex??!?!?!??!??!?!?!?!??!?!?!?!?!?!?!??!?!!?!?!?!?!!?!?!?!?!?!?!?!?!?!?!?!?!??!?!??!?!?!?!?!?!?!?!?!!??!?!?!?!?!?!?!?!?!?!?!?!?!?!?!?!??!?!?!?!?!?! i get that this is their house but this is like at this point these ppl are writing anything and now whatshisface is acting like a 2 yr old again and we are supposed to find this cute? like it makes 0 sense why do u fucking care u literally encouraged ur son to rape him so they cant have consensual sex under your nose now and have to wait four years? this is coming from the son who couldnt wait until someone was sober enough to realize hes fucking psychotic and should be killed also the fact that they act like being 20 means u have no fucking brain like this kid is in med school supposedly how do we know like hes a liar and an idiot so. also wait do they mean undergrad? how are you in med school at 20? is he a genius? girl i dont care lmao i guess i missed that but it's not like it matters so whatever

even if we ignore the stupidity of the literal acts, the grossness of the content, the absolute inability to write coherently or even remotely in a way where we would even want to see them together which is like....u set it up at the beginning so he punches "the love his life's best friend" also holy fuck im sorry remember when he punches muren because xing si got too drunk. so i'm guessing whatshisface is that good of a bartender that he makes super strong drinks and gets xing si drunk but his alcohol is magical therefore it doesn't make him sick. his alcohol is the type that gets you drunk but somehow doesnt get to your liver even though that's how we get drunk but dont ask guys he's only in med school and a bartender so i think he knows best (seriously have the main writers had a day of fun in their lives? have they ever been drunk? are they toddlers? drunk babies could probably do better tho.) i get that he was also jealous but if this kid is SOOOOOO genius (he understands social cues lmao he has the cpacity to project onto his victim so im like miss me with the not understanding shit. go to a fucking therapist like seriously did no one care abt this kid? his mother thinks he's like almost a goddamn murderer. how is she not dead? how are they all not dead? how do any of them know how to drive with this type of brain?) then he would understand that they are very clearly friends since he watched them part in a very platonic way and since he apparently knows what love is cos he thinks....he can....make someone fall in love with him bc he loves them? again, i wouldnt know hes 20 and taiwanese and im 29 and black from AMERICA so im WESTERN* so you know. different life experiences i guess XD

even if we do mental gymnastics to get it to a place where they "had sex" and he didnt rape him there's 0 ZERO ZERO ZERO ZERO ties to the literal story they wrote and the rules they set up. i'm going ot assume they dont know wtf theyre doing and i know for a fact we all care more about their dumb show than they do but it's actually startling how piss poor this is it's like idek what to compare it to. the continuity is awful awful awful they needed a script supervisor majorly and they are making bank and are going to make fucking bank fof this shit. and itll just continue like that until IRL material changes and that's facilitated by these very same groups they choose to profit off of and exploit by propelling it into the mainstream and litigating homosexuality through capitalism. and i'm being specific with homosexuality. i dont want a GL market like at all and i know why we wouldnt have it either and that has everything to do with the nature of BL, capitalism, coercion, and the fanbase being young girls and women. i don't think in this day and age we can safely say all the fans are straight; i'm sure a majority but many women or people on the gender spectrum and sexuality spectrum also consume it. frankly, it's possible the women who write it could be or something too. i dont rly believe any1 is str8 lmao but im just saying it's not out of the realm of possibility. but it isnt about that at all. that's why we wont see "good" female characters (like well written) often that's why we won't see trans women or kathoeys or fat people or black asians in it. a lot of it is is a choice we participate in whatever. but holy fuck dude u could at least respect the audience's fucking intelligence. i'm talking about everything i think that is encapsulated in the project but it's even more jarring and worse because it's so insanely inconsistent and poorly done. like how we jump from one conclusion to another is wild to me. even their first "night together" and he wakes up im like girl....u no ur ass felt it. this nigga broke into his house and was like "im gonna have u" like it's getting weird

just make xing si suffer offscreen not us the stupidity is staggering, mind blowing, hilarious.

how wong kar wai, a straight man from HK (or at least married to a woman), or barry jenkins, a striahgt black man, write/do stories well about people they wouldnt knw about their experiences directly is....well thinking like using their brains and like knowing all types of people? the man who co-wrote moonlight is a hOMOSEXUAL, leslie cheung was fucking gay or queer (and he committed suicide and that's important also RIP homie) both are hailed as queer cinema like WKW wanted to do something else and invested time into it, changed the way he played around with structure, moved away from his crime oriented stuff. he THOUGHT about it and this film is about their reality. it's a harsh film, idk how i feel about it (but my fav movies of his are the crime ones or the messy ones where it's clear he didnt write a script lmao fallen angels is one of my fav movies its' abt assassins kinda) but i know it means something. and he didnt like what HK had previously wasnt enough. it is not the only cinema that should be shown since it's such a stark reality and depressing but it is a real depiction so we can have all sorts of stuff. no this isnt WKW level or moonlight level but i know for a fact these people think they are doing something because artists always do i say this as one and someone who is equally as useless. you're making a statement.

i also hate the westerner component of peoples analyses. first of all dont do cultural relativism. we can critique and respect. but second of all how are we going to keep saying "dont put western ideals on this" when that is what is happening anyway because that's part and parcel for soft power and capitalism. how about taiwan's history with the KMT? what about the regimes young people fought about? aided by US imperialism which permeates through society and affects material conditions, views, democracy, identity and that goes into culture and media. hm? what about that? is that reality too fucking western for people? that we are doing the same thing again now? is that okay to talk about or is that only on your time?

then there's the argument that this is just entertainment. yea no shit but the thing is if we r gonna talk about marginalized groups and watch bc of marginalized groups and then be expected to identify then i dont see why i cant put this in context. even if it wasnt fucking serious we'd still judge it. but it's so pompous and again like i wouldnt say EYE think it's art but it is "art" in the literal sense and no self respecting artist would ever go "man this means nothing." of course im not sure if they do respect themselves so hey but u cant just go oh man it's entertainment when it literally rests on the fact that HOMOS are MARGINALIZED. it literally rests on the fact that WOMEN ARE OBJECTS. you either want progress or you dont. i dont understand being so demanding but not beign specific in the demands and not trying to use your brain. if you dont want to use your brain don't. but if you are looking , engaging, and keep making these arguments or telling ppl it doesnt matter whilst complaining about how much others care is hypocritical at best, willfully obtuse at worst. both bad. :)

(also all this + another thing; it is insulting to have this like wedding happen based off of this stupid relationship when people fought so hard and had to push it. now they can use the material conditions to their advantage but it's so ridiculous. also because there is difficulty still in getting married in taiwan i'm honestly like....the boldness of the writers...)

[astraguardian]

Clover Ebi is Important

I was inspired to write this after seeing posts where people suggested that Clover was a “nobody” in-universe and that we were never supposed to care for him as a character. Clearly quite a few of us think otherwise, and I wanted to go into detail on why that’s the case. I’ll be primarily focusing on how the show used framing to set Clover up as an important character who we should pay attention to, while also touching on how Clover is shown to fulfill a high-level role in-universe in the Atlesian military. I previously discussed Clover’s role in the trailer for volume 7 and that post can be found here.

Clover and the Ace-Ops

For this section, we’ll mostly be discussing how Clover is given more focus than the other Ace-Ops in terms of both framing and screen time. Fun fact, a reddit user who ranks the word count of each character in RWBY found that Clover had 1,259 words this volume. So, what exactly does that mean? For starters, it means that Clover spoke more words than all of the other Ace-Ops combined, who add up to 1,176 words among the four of them. It means that Clover has the 22nd highest word count out of all characters in the series and it means that he has the highest word count for any character who has only appeared in a single volume, beating out Jinn by 27 words. It also means that Clover, in one volume, has spoken just under 100 more words than Penny Polendina, our winter maiden, has spoken in the entire series. The reddit user also found the characters with the top three word counts per volume, and Clover had the second most words spoken this volume, only beaten out by Ironwood. None of this seems fitting for an “unimportant” side character.

With that said, we’ll start by looking at episode 1 and Clover’s introduction to the show before we dive into the opening.

Our first shot of the Ace-Ops has Elm, Vine, Marrow, and Harriet looking off-frame at what we soon find out is Clover. From the very beginning, Clover is shown separated from his team as the leader, and most relevant member of the Ace-Ops. He’s established as the one they look to for orders.

When Clover finally comes into frame, we have not one,

not two,

but three shots of him before we see his face.

You don’t build up to a character reveal for someone considered irrelevant.

The rest of the scene sees Clover handling the relic and explaining why the Ace-Ops have been called to Mantle. Pietro asking what the Ace-Ops are doing down in Mantle suggests that this sort of work would likely be below their pay grade, that the Ace-Ops are expected to be undertaking more important missions. It should also be pointed out that Clover is the only Ace-Op who speaks in this entire episode. While he’s given more characterization in episode 2, Clover’s establishing character moment happens in episode 1. We’re shown that he’s the confident, collected leader of a group high up in Atlas’ military.

Even the end of the scene focuses on Clover. The Ace-Ops move in separate directions when they leave, but the scene follows Clover as he heads off.

The opening only serves to reinforce the idea that Clover is narratively important.

His badge is shown on-screen alone, before Clover’s hand appears and grabs it.

The screen then goes green except for Clover’s hand, and the following shot of all of the Ace-Ops establishes this green as Clover’s color.

Just as interesting is the proper shot of the Ace-Ops. Unlike episode 1, this shot opens with only Clover present at first.

He moves slightly before the other Ace-Ops fade in. It’s interesting to note that we’re shown Clover without the Ace-Ops, not the other way around. If CRWBY wanted to foreshadow episode 12, they could have just as easily had Clover appear after the other Ace-Ops. This would have shown the other Ace-Ops without Clover, instead of showing Clover on his own. The opening clearly singles Clover out, giving him a level of focus not shown with the other Ace-Ops.

This continues to be shown in episode 3, where Clover’s fighting abilities are shown off against the Geist.

We get a whole sequence of Clover jumping into the fight and taking action to separate the Geist from its body.

The sequence even warrants a shot of all four members of RWBY watching in awe as Kingfisher’s line wraps around the Geist’s mask.

When the Ace-Ops get their cut in, the shot starts with Clover before adding in all of the other Ace-Ops at once. For comparison, the RWBY shot (which happened only 10 seconds earlier in the episode) had Weiss and Yang appear on the outside before having Ruby and Blake appear in the middle. No team member appeared by themself, unlike with the Ace-Ops.

To say Clover was given the same significance as the other Ace-Ops is to ignore the repeated framing of Clover by himself instead of with the other Ace-Ops. He was always meant to stand out and be the Ace-Op we focused on.

Clover and the Military

Clover is also shown to operate on a totally different level of the military structure than the other Ace-Ops. While they were all trusted with Ironwood’s secrets, Clover is clearly higher up the chain of command.

He’s shown staying behind to discuss plans with Ironwood even when the rest of his team is dismissed,

he leads the briefings,

and he’s chosen to accompany Ironwood at the Schnee Dinner, alongside Winter and Penny.

Particularly interesting is a moment in Ep9. When Mantle is being swarmed with Grimm, Clover’s the first one to hear about it. Not Winter, not General Ironwood, Clover. Mantle’s at risk of collapse and Clover is being contacted before Ironwood is.

He’s then the one leading the charge to save Mantle, shown by him literally leading our heroes out of the dining room, with even Winter following him.

He’s also chosen to help fight Tyrian alongside Qrow and Robyn. Ironwood would want someone competent and trustworthy leading the charge against Tyrian, considering his current stress over Salem’s forces being present in his kingdom, and Clover fit that perfectly. 

Clover is one of the two most powerful people in the military outside of Ironwood, the general. Considering the strength of the Atlesian military, that’s by no means an insignificant role. He’s who soldiers are contacting in a time of crisis and he’s the one leading the charge to save Mantle. That doesn’t sound like the job of a “nobody.”

Clover and Qrow

I don’t think I need to explain why Qrow is an important character in the overall plot of RWBY. He’s one of Oz’s most trusted men and one of the strongest fighters in Remnant even without his magical abilities. He’s also someone who has been defined by his choice to push others away and be alone. Prior to volume 7, most of his interactions were with Ruby, his niece who has been shown to look up to him for most of her life, and many of his interactions outside of that weren’t exactly friendly. We’re shown that Qrow tends to be abrasive towards others, both because he doesn’t fully trust them and because he worries about putting them in danger due to his semblance. Ozpin even refers to it as a “fear of growing close to someone.” Yet suddenly, volume 7 starts and we see Qrow not only interacting with someone new, but also getting close to him in a way we haven’t seen with Qrow and any other characters. The volume after Qrow hit rock bottom, Qrow has his first healthy on-screen relationship outside of his nieces, with most of his screen time being dedicated to developing this relationship.

Volume 7 stressed Clover’s importance through his connection with Qrow even before they had a proper conversation. If you’ll remember from the start of this post, the first time we see Clover is from Qrow’s perspective.

Episode 3 is where RWBY begins to properly set up Clover as Qrow’s partner. We’re shown that the two of them have been paired off, working as a team of two while the other two teams consist of two Ace-Ops members and three to four younger huntsmen. Qrow’s first proper conversation with Clover has him commenting on how he’s not used to working with others again, as he’s been on his own for a while now, which Clover says is a shame. He then catches Qrow when he falls, showing that Qrow does benefit from having someone else alongside him in the field.

Lucky you, huh?

Qrow’s luck semblance has been special for a while now. It lacks the physical nature of most of the other semblances (ex: glyphs, speed, aura disruption) and hasn’t been explored much yet. And suddenly, here we have someone whose semblance is a perfect foil for Qrow’s. This could’ve easily been a point of contention, but we’re never shown anything suggesting that Qrow resents Clover for his semblance.

Clover’s semblance is especially important considering his line in the next episode: “Ace-Ops are hand-picked to perfectly complement each other.”

Elm can root herself in place, while Vine can propel himself using aura vines. Harriet has super speed, while Marrow can freeze enemies in their tracks. The Ace-Ops have opposite semblances and Clover has just worked with someone who has the opposite of his semblance.

It’s also worth noting that while Qrow is included in the frame while Clover says this, Qrow plays no role in this conversation. He’s just there to look at Clover while Clover talks about complementary partners.

They’re also shown to have complementary fighting styles, with Clover prioritizing disabling opponents over going in for the kill (also seen in the fight with the Geist, where he pulled it out of the ice so Harriet could kill it), while Qrow is the damage-dealer. Their fight against Tyrian has Clover twice wrap Kingfisher around Tyrian to let Qrow get a strong hit in.

Clover and Qrow are also complementary outside of their semblances and fighting styles, perfectly illustrated in the truck scene. Qrow is pessimistic and jaded, while Clover is optimistic and genuine. Clover helps convince Qrow to stop deflecting compliments and putting himself down and Qrow lets Clover have a chance to relax and make jokes instead of always acting the part of a cool, professional leader. It’s by far the healthiest relationship we’ve seen Qrow have with someone his own age. It also parallels Blake and Yang and Ren and Nora, two sets of partners (both in terms of battle and romance) made up of people with contrasting personalities.

Their eye colors are also the inverse of each other, a pattern seen again with Blake and Yang and Ren and Nora.

Throughout the volume, the focus on Qrow or Clover is often shown from behind the other’s shoulder, putting both of them in the frame. One example is in episode 7, in Ironwood’s office, where we’re shown Clover’s response to Ironwood from over Qrow’s shoulder, including how Clover briefly looks to Qrow during this. It’s also interesting to note that Clover’s response to Ironwood demanding the arrest of Robyn in this moment is to say “we’ll figure it out,” while looking at Qrow. A bit unusual for a military man who is supposed to always be following orders.

The end of episode 11 features the same framing, with Qrow being the focus this time. It’s important to remember why so many of us were caught off-guard by the start of episode 12 after seeing this moment; Clover had been separated from the other Ace-Ops to be placed with Qrow. It was a pattern we had seen all volume, emphasizing Clover’s relationship and partnership with Qrow over his other connections, so of course we all assumed he was set up to side with Qrow in this moment. Looking at what seemed to be foreshadowing regarding his role with the Ace-Ops and his partnership with Qrow, many of us thought he’d be leaving the Ace-Ops behind to join our main cast.

Orders vs Morality

Clover’s relationship with Qrow also played into the orders vs morality character arc he seemed set up for. Who better to convince a soldier to rebel than Qrow Branwen, notable hater of the Atlesian military?

Clover is never shown to be someone who follows orders without thinking for himself. In episode 2, he apologizes to team RWBY for arresting them, despite the charges against them having been accurate. He could’ve told them off for stealing a plane and using their weapons in a city without licenses, but he instead tried to make amends. In episode 5, he wishes Robyn luck in the election even after she almost had the Happy Huntresses attack the truck, only calling them off after Penny asked her to stop. There’s also his line in episode 7, which we’ve already discussed, alongside how he sees Robyn, who still has an arrest warrant out for her at this point, in episode 8 and makes no move to arrest her.

There’s also this look in episode 10, right after he receives orders to switch from fighting Grimm to joining Robyn in defeating Tyrian. We’re immediately shown him looking at the Grimm swarming the sky before telling Qrow that they need to hurry. He might be following orders and prioritizing Tyrian, but he’s also concerned about the attacking Grimm and wants to return to protecting civilians as soon as possible.

While episode 12 abandoned this set up, it would likely come back into play if Clover is revived in volume 8. In two volumes with a heavy focus on orders vs morality, RWBY has yet to use this arc and Clover remains the best candidate for it. The other Ace-Ops haven’t had enough focus to warrant a developed arc. Winter has been defined by her loyalty for Ironwood since volume 3. Penny was always loyal to the kingdom, not to Ironwood specifically. Her arc has been about making her own decisions, not about having to decide between following orders and doing the right thing. If RWBY wants to talk about trust and trusting love, having Clover come back and choose to trust Qrow, his partner, over following orders would be a perfect way to showcase these themes in a positive light.

Conclusion

In addition to being an important person in the Atlesian military structure, Clover was clearly framed in a way that told viewers to keep an eye on him. He spoke more than his four team members combined, he was shown to be the complementary partner to a character connected to RWBY’s main plot, and he was set up for an important character arc. Clover isn’t just another side character and if we’re lucky, we’ll get to see all of this setup pay off in volume 8 with a Clover revival.

[omegangrins]

Chibnall, Children, Choice and Consequence

Allow me to introduce a companion piece to A Treatise on the Doctor:

It's pretty simple:

Chibnall knows what he's doing and is playing a long game to show how the Doctor needs to take more responsibility.

Let me start off with my favorite examples. That's right, plural.

Every single villain 13 faces is never defeated, merely pushed away from causing them any immediate problems. Tim Shaw being the prime example.

1&10. Seriously, Tim Shaw. Her plan was to use his own bombs on him and then teleport him off the planet. Even without Ranskoor Av Kolos, the Doctor should have thought to check in on him. Especially after The Ghost Monument showed the Stenza were a greater threat than she knew. She still hasn't even checked up on WHAT THE HELL THE STENZA ARE! They sound worse than Daleks but naw, let's go rain-bathing in the upper tropics of Canstano instead.

2. Ghost Monument. We saw the END of an interuniversal race. What the fuck is the beginning that got them there? Who is Illyn and how and why did he orchestrate a super race?

3. Krasko. Sent back in time. Really, Doc? Not gonna take a look at the device and see where Ryan sent the prick so you can double check that he's not gonna cause anymore damage?

4. President Trump analog. Ooooo, you looked at him menacingly, Doc, that'll show him!! Not like he's gonna KEEP DOING ILLEGAL SHIT LIKE THIS.

5. The Pting. She literally shunted it off ship to be dealt with by someone else BUT DOESN'T GO BACK TO BE THAT SOMEONE ELSE ONCE SHE HAS HER TARDIS. That's like leaving a living nuke floating around after sweeping it under the rug while you fly off to Paris.

6. The Pakistani-Indian conflict still happens and millions still die. Not her fault but still....

7. Kerblam. Sure, Charlie's terrorism was solved but not the underlying problem that led to it. Humans still can't work because corporations like profits over people.

8. Similar to the Punjab, how you gonna solve sexism, classism and all the -isms?

9. WHY WAS THE SOLITRACT THERE IN THE FIRST PLACE??!! It's been around since before the universe. Why'd it decide to come back now? It's a whole universe trying to hug our universe to death. Maaaaaaybe we should check out why.

11. She's gets a pass on the Dalek. Fucking impossible to eradicate them.

12. The Master!!! Finally she checks up on something after the adventures... and it's horrible. With everything gone to shit in her absence. Seeing a pattern yet?

And Barton? And the Cassaven? They didn't disappear into smoke.

13. Multiple Earths being multiply fucked. Remember when I said the Doctor couldn't solve racism, classism, sexism, or any of the other -isms? Starting to look like she needs to TRY.

14. The Skithra FLY OFF after getting hit by a laser beam. That kind of thing tends to piss people off. Even if they're idiots using other's technology.

15. Jack. The Judoon. The Ruth Doctor. All things I'd start checking out if I had a time machine BUT

16. WE CAN'T cause the TARDIS emergency alert is going off and we need to hurry up and run and solve this problem before we run out of time in our TIME AND SPACE MACHINE. Leading to another problem the Doctor could help solve but won't. Plastic and over-consumption.

17. Oh yeah, let's trap two Eternals from another universe in the same place. There's NO WAY that could ever turn out bad.

18,19,20. And again. Cyberium. Pushed off Shelley onto herself and onto Ashad and onto The Master.

That's almost 20 "enemies" the Doctor still needs to deal with.

Oh, not to mention that they let UNIT go defunct because they didn't have the forethought to ask if they needed any money in their alien fighting budget. After asking for an office, a desk, and a job. Kinda funny that way, aren't they?

I hope by now you've gotten the idea that this is VERY deliberate. This is Chibnall laying down some very heavy pipe to smack the Doctor like a clothesline. There isn't a one of these situations that can't come around to bite her in the ass.

Barton, Roberts, Skithra. These are all very loose strands for a time traveller like the Doctor to get tripped up on. Chibnall's past episodes prove it. They're all about the Doctor learning how to take responsibility.

42: The Doctor almost gets Martha killed and almost gets himself killed trying to fix it.

The Hungry Earth: The Doctor (a thousand year old "adult") tells Elliot (a 10 year old kid) that "Sure it's totally fine to go get your headphones while we prepare for an approaching unknown alien force." And 11 rightfully gets his ass chewed for it by the child's mother when the kid goes missing because OF COURSE THAT'S WHAT HAPPENS, JACKASS!

Cold Blood: I could write an entire essay about the Doctor's guilt over the Silurian/Human conflicts they've witnessed, but I don't need to. Because every single Silurian centered episode written in the new era is from Chris Chibnall. And you can feel the sad knowledge of Classic Who spill through. He KNOWS how many times the Doctor has fucked up with the Silurians (about 8 times in television format. And it's rough everytime. Rough.) and he writes those episodes like an apology on behalf of the whole human race. And the Doctor. You know why people are put off by Warriors of the Deep? 5 releases a gas that melts the Silurians. And though it's cheesy, the idea and execution is still horrible.

Add to that if the Doctor hadn't stopped to check the crack, then Rory wouldn't have waited and been around to be shot then absorbed by the time crack.

Power of Three: An entire episode about how the Doctor has a problem slowing down and really taking account of the lives of their companions.

Dinosaurs on a Spaceship: The Doctor actually tries to be responsible and pick the right people for a job. For once. But gets angry when they realize it's too late and there's another bunch of Silurians they failed to save. Classic!

Like I said, if you can't see the pattern, you're not paying enough attention to your responsibilites.

Which leads me to the why.

When you fly around time and space for thousands of years, you develop a few duties of care along the way. In every situation, you're the oldest. Technically the only adult in terms of experience. You have a responsibility to act a little less rude and be a bit more aware than needing cue cards to tell you that you should be sad about things around you. And that's the purpose of 13. She's unlucky but learning. Like 12 telling himself something with his face he couldn't say out loud, 13's instincts are leading her to a new place for the Doctor: being a caring, responsible person. Not so much laughing hard or running fast, but being kind. It's the one thing they recognized as a problem in themselves when seeing 1. Being a Doctor is about being kinder than that. Just because you HAVE to saw someone's leg off, that doesn't mean you can't wait a little and comfort them before you do it.

You wanna know what gave me every faith in Chibnall showrunning Doctor Who? 13 staying for Grace's funeral.

Do you understand how unprecedented that is? This is the same person who never said Goodbye to Jo Grant as she got married and fucked off into the night. The same Doctor who said, "I don't do domestic.", did it with Rose a regeneration later, and then closed himself off to everyone but a married couple he felt guilty about who ended up birthing his wife. Have you any idea the number of funerals the Doctor should have the common decency to sit through? This many.

So for 13 to stay around for the death of a woman she has only just met and not only that, BUT call out Ryan's father for not doing the same, it shows tremendous character growth. It's taken millennia but they're still changing.

Something similar happens with Rosa and The Witchfinders. Realizing that there a lot of companions who have been in situations that are sometimes worse than aliens, but they still manage to make it through. So she needs to buck it up and persevere for everyone else.

That's where her anger comes from, and really it's one of my favorite traits on her. It reminds me of 7. Someone impossibly old and impossibly kind saying to hell with it and at least having some fun with the evils who drag us through the universe. And just like Cartmel planned for 7, 13's past will come to haunt her.

That's where children come in. Most of us are crying babies to the Doctor.

There's this thing you notice most in British shows about answering the question directly as asked. Someone says "Are you sure?", you answer "Sure". That's a direct acknowledgement that you heard the question, understood it, and processed it enough to respond in a manner directly correlating to the question asked. Yas and Graham got it and said "Sure" but Ryan missed it and said "Deffo". This is like Elliot with the headphones. The Doctor should have immediately been like, "Okay, Ryan, it's obvious that you're still dealing with the trauma of your grandmother's death and probably not processing things on a logical level. I said "Are you sure?" Not "Are you deffo?" Because we are most definitely not deffo, Ryan. Graham, you wanna help here?"

I'm being sarcastic for points sake but you understand the idea. The Doctor knows better and has a responsibility as such. She should've really sat down with Ryan and Graham and seen if there was a better way to process their grief.

Because I'm fairly certain that "Deffo" is gonna lead to Ryan's death and Graham's cancer resurging as time cancer (I don't know what time cancer is. I just know it's bad.)

And that is gonna piss Yas off. Which will give you all that character you think she's missing (she isn't. Her character is in her subtleties and silences.). That's WHY her character is a police officer (like how does no else see that the man who wrote Broadchurch wrote an inspector character companion?) Imagine you're Yaz and you see the Doctor flying around in a big, magic box that says POLICE. As a fellow officer, you're gonna expect some basic safety protocols.

Like do a background check on everyone flying in the TARDIS to know whether they're stable enough (mentally, physically, emotionally) for time and space travel. It's no picnic. These people are going to go through hell. A little vetting and planning like Time Heist or Dinosaurs on a Spaceship goes a long way.

Secondly, full fucking disclosure.

"Oh. I can't die because I change my body. Oh. I have arch enemies that will try to kill and torture us any chance they get. Oh. My home planet is full of the biggest assholes in the universe and I'm including my arch enemies."

Third, police like to do this thing called "check-ups" where they go back to the scene of the crime in order to see if there is any more information that can be gleaned which you might not notice when you are busy running around trying not to be killed... Like, the Doctor has the perfect machine to do this with, but nope. Adventure done, run to the next place!!

These are all things you'd expect any reasonable person to do and say when taking others flying off into time and space and "helping". Even if they are an idiot passing through and learning. Especially when you consider the Doctor is vastly older and more experienced than everyone they encounter. They SHOULD know better. And they've got the lifespan to slow down. It's not like they need to be in a hurry because they're going to die at any moment like humans. The Doctor could easily stay for tea and it would be less than a drop in their lifespan.

Now, as usually is the case when I make these theories, I have a parts 1,2,3,4 and 6. There's allways this 5th piece I miss but I manage to get at the end.

But the 6th piece is the Timeless Child. The Doctor isn't a Time Lord anymore. They're not beholden to those people and ideas anymore. Even moreso, those people basically raped her childhood for their own gain so it's not like you'd really listen to them and their "policy of non-intervention".

I'm sensing a coming Trial of a Time Lord season (even believing these two seasons are the opening statement and preliminary evidence of the trial itself) wherein the Doctor finally gets the turnaround 6 deserved. A Trial of the Time Lords, if you will.

"In all my travels through time and space I have battled against evil, against power-mad conspirators. I should have stayed here! The oldest civilization: decadent, degenerate and rotten to the core! Power mad conspirators? Daleks, Sontarans, Cybermen — they're still in the nursery compared to us! Ten million years of absolute power: that's what it takes to be really corrupt!"

This is what it's all coming down to. Chibnall's takedown of the Time Lords. And The Master is going to play the most crucial role of all.

They're going to be revealed as an Ux alongside the Doctor and show how the only constants they have in this universe are each other and it's about damn time they work together and tell these high collars to eat Schitt while they explore every star and planet they can find.

Come on, the episode is called The Timeless "Children". If it was just the Doctor it'd be called "The Timeless Child". The Master says as much with the misdirect line, "built on the lie of the Timeless Child." since we see two kids playing in that flashback.

"Since always. Since the Cloister Wars, since the night he stole the moon and the president's wife, since he was a little girl. One of those was a lie, can you guess which one?"

Now we know which one was a lie, we know the Master HAS known the Doctor since they were a little girl. THAT little girl...

But this is all just speculation. It's not like Chris Chibnall could have been thinking about this for the past 40 years and was given a blank slate to do whatever he wanted for five years on his favorite TV show. If y'all want to think he took those reigns and is choosing to make things worse...

Well then you don't know much about responsibility.

I'll let the man himself tell you about it.

"Very early in my career,” says Chibnall, “someone told me that you learn more from a failure than you do from a success. And then I lived out that phrase for a year in Los Angeles. I learned that I would not work that way again or be put in that situation again.” The essential lesson was: “You either have to be in total control of a show or working with people who share your vision and will work with you to achieve it. Also, never work with 13 executive producers.

“Camelot was the classic case of too many cooks. It wasn’t a harmonious set-up and I think that does manifest itself on screen.

“I had a fantastic cast but you have to be free to tell the story you want to tell in the way that you want to tell it. What ended up on screen was not what I wanted and so it is a blemish on my CV.”

Credit to @thirteenthdoc

“You immortals - so entitled, so spoiled. You never clear up after yourselves and you always leave stuff lying around.” - Thirteenth Doctor in Can You Hear Me?

[best-enemies]

For the fandom ask meme thing can I request the whole damn alphabet or is that not very cash money of me? I’m nosy lmao I wanna know all of them!

AHDKAJSDKJAHSKDA JACK YOU’RE THE BEST

A - Your current OTP(s)/OT3(s)/OTX(s)

I’ve had my current OTP for like almost 8 years and it’s, obviously, Thoschei (Doctor/Master). My other current obsession is the Gallifrey OT4 hehehe

B - A pairing you initially didn’t consider but someone changed your mind

It’s funny because I didn’t ship Hannigram at first... I’d thought the idea of a cannibal having a relationship was terrifying because what if they had sex and Hannibal got hungry in the middle of the act? Lmaoooo 

But yeah they’re my endgame now. I watched the show when it first aired and I was about 14/15 years old so now you see why I thought that. Although I’m still afraid I’m gonna be reading a fic and Hannibal will suddendly bite Will’s dick off or smth AKJHSAKJSAHSASKAJ

C - A ship you have never liked and probably never will (be nice)

Uhhh Doctor/Clara. Mainly because I don’t like to ship the Doctor with companions (there may be one or two exceptions but I don’t ship them enough to actually say I ship them lol) and I don’t know I just never vibed with it

D - A pairing you wish you liked but just can’t (again: be nice)

Doctor/River. I mean, I did like it for a while years ago but now it’s just... eh. I think she has a waaay better chemistry with the 12th Doctor, but still don’t ship it. I might give it a try once I listen to the River audios but so far meh. I’m not much of a multishipper anyway.

E - Have you added anything cracky/hilarious to your fandom, if so, what

God. I’ve written a couple of Academy Era (focused on the Deca) crack fanfics and I still have to translate them to English. They’re pure garbage but I love them. I have a lot of fun writing crack fics because they’re easier and I can ignore whatever piece of canon I want just for the laughs

F - What’s the longest you’ve ever been in a fandom

Guess it’s Doctor Who, been here (in and out of the fandom) for over 8/9 years

G - Do you remember your first OTP, if so who was in it

Uhhhh I think it was Han Solo and Leia, since I was a kid really. I wanted to marry both of them lol

H - What is your favorite source text for fandom stuff (e.g., tv shows, movies, books, anime, Western animation, etc.)

I had to google what a source text is and still don’t know

I - Has tumblr caused you to stop liking any fandoms, if so, which and why

I don’t think so, but Twitter definitively has. I remember a couple years ago I was curious to see what voltron was about and watched a few episodes, it was ok, fun and cute but the fandom was so annoying I stopped watching it for good and don’t care about it enough to pick it up again

J - Name a fandom you didn’t care/think about until you saw it all over tumblr

I had definitively forgotten about supernatural until I saw it all over my dashboard in the year of our lord 2020 lmao like in my wholock days I tried to watch the show because everyone on my dash (is it still called dashboard?) was talking about it and I watched about 8 episodes before dropping it. But seeing it again on the dash was actually a happy surprise because the memes are too funny hahaha

K -Say something nice about someone in any of your fandoms

I’m extremely shy irl and on the internet as well but I wanna say that  @janeturenne is one of the best authors ever and her fanfics are a blessing in my life; also @thebraxiatelcollection who brings awesome content to my dash and is also one of the best authors. And of course, you, Jack, also one of the best authors god I’m so BLESSED

L - Say something genuinely nice about a character who isn’t one of your faves (chars you’re neutral on are fair game, as are chars you dislike)

Uhhh I guess I’m neutral about the current companions. They’re not my favorites but I don’t really dislike them - they had a lot of potential and chibs came up with some good storylines but did not develop them well in my opinion. I think Graham is a fun grandpa whom I’m going to miss when he leaves; Ryan is cool and could’ve done a lot more if the writers had kept a few things, it’d be awesome if he vlogged all of their adventures. He’s like the one I was curious to see more but sadly didn’t feel a connection; and Yaz, I hope she’ll keep growing and that her friendship with the Doctor will finally be developed to a level we can connect to her.

It sounds weird because with the fam it’s always ‘what I wish could have been’ because I never felt really connected to them :(

M - Say something genuinely nice about a ship that you don’t ship (or its shippers, or anything related to you)

Ok... I don’t really ship Rey/Finn but I think it’s one of the sweetest ships ever, and if they ended up together I’d be happy. They love each other and are there for each other always so, yeah :D

N - Name three things you wish you saw more or in your main fandom (or a fandom of choice)

I don’t know if I got the question right but it’s three things I wish I saw more in my main fandom? Well, if it’s that, then, 3 things about the Doctor Who fandom: 1) people having more civilized or light-hearted discussions about things. Like, I genuinely disliked an 8th doctor audio I listened once that my friends loved, and they made fun of me and we joked about it. Also once we were in a live twitch video playing among us and discussing doctor who, and then we got into a ship “discourse” as a joke and nobody really cared and just laughed because everyone knew it’s fictional shit so why get mad over it? 2) Doctor Who has a titanic amount of content, it’s all canon but at the same time it’s not, so who cares? If you want to listen to Big Finish audios and if you can afford it, then lisiten; if you can’t, it’s okay, no one has the right to tell you you’re less of a fan. Just tell them to fuck off; 3) The best way to keep fandom alive is by creating content. Here in my local fandom we have several podcasts dedicated to all areas of the whoniverse (the show, the expanded universe, the audios, etc), those old fandom websites who do serious work to bring news to the fans, people who make subtitles for the classic series (we don’t have it available here so they do their best to make it accessible to other fans), accounts dedicated to promoting dr who fans who create content, and we even have people making their own audiodramas with dw characters and writing book-lenght fanfiction to help explain the show to people who’ve never watched it, and a great variety of things. I’ve seen a few of these things in the international fandom, mostly by older fans, so I wish younger fans about my age who have the means to make this kind of stuff would make it too. Maybe there’d be less twitter drama out there lol

O - Choose a song at random, which ship or character does it remind you of

“the killing moon” by echo & the bunnymen reminds me of thoschei. yep it was totally random

P - Invent a random AU for any fandom (we always need more ideas)

The fact that we don’t have a pride and prejudice AU for brax/romana yet is driving me insane

Q - A ship you’ve abandoned and why

I’ve mentioned it before but doctor/river, don’t really remember why idk I just don’t vibe with it anymore. But also because thoschei has so many different pairings in 1 ship that I don’t really feel the need to ship them with anyone else lol

R - A pairing you ship that you don’t think anyone else ships

GOD I NEED TO TALK ABOUT IT BECAUSE IT’S SO SPECIFIC ok fellow academy era stans gather around if you have read Divided Loyalties there’s a scene where it SHOWS that Magnus had a crush on Ushas. And NO ONE HAS EVER TALKED ABOUT THEM and the power couple they would’ve made. I write them into all my fanfics in hopes of making other people ship them but I’ve had no success so far

S - Show us an example of your personal headcanon (prompts optional but encouraged)

The Master is a big fan of musicals and in the 77 years he spent on earth he watched every single one ever. I’m gonna be bold and say that when he was young, still Koschei, he was an artist, and thought about dropping everything to become an actor on Gallifrey. Time Lords do appreciate art, and have their own plays, but it’s just the same old and boring ones the young people don’t care about. The Master then created a shocking performance that was way ahead of its time and the older Time Lords were so appalled they banned him from writing and presenting plays and that’s his villain origin story

T - Do you have any hard and fast headcanons that you will die defending, about anything at all (gender identity, sexual or romantic orientation, extended family, sexual preferences like top/bottom/switch, relationship with poetry, seriously anything)

1) The Doctor and the Master married on Gallifrey and the entire show is just them having the most litigious divorce in the universe (still isn’t final because the Master has killed all the judges); 2) Ushas/The Rani is ace; 3) The Deca was a 10 people polyamorous relationship; 4) Romana and Livia were girlfriends at the Academy and they hate each other now because the break up was baad; 5) Romana writes fanfiction; 6) Romana/Leela had a thing in Davidia I KNOW it; 7) Leela pegs Narvin; 8) Brax has a life-size painting of Romana at his collection or a statue or smth; 9) Brax’s dream in Reborn is actually REAL and he’s married to Romana, Leela and Narvin all at the same time

U - 5 favorite characters from 5 different fandoms

I don’t even think I’m in 5 fandoms but

Doctor Who: The Master, The Doctor, Romana, Leela, Sarah Jane, Bill (this was the hardest thing ever)

The X-Files: Mulder, Scully, Monica, and can I add The Lone Gunmen too?

Star Wars: Leia, Obi-Wan, Finn, Poe Dameron and honorable mention to Din Djarin and Grogu

Hannibal: Hannibal, Will, Bev, Alana, Chiyoh

V - 3 OTPs from 3 different fandoms

That’s hard

Doctor Who: thoschei ofc, gallifrey ot4.......... uuhh as you can see i don’t ship many pairings in the show

The X-Files: Mulder and Scully. And whatever Scully and Monica had going on because they definitively flirted

Star Wars: Poe/Finn, Han/Leia, whatever Han/Lando had going on too

W - 5 favorite ships and 5 kinks you like best for said ships

WHATVASHAJSKAJSA ok this is a little embarassing but I don’t have a lot of kinks for many ships... I guess I have some for thoschei like, choking, whipping, blindfolds/gagging, bondage, begging, biting, sem-public, phone sex, dirty talk, body worship, praise kink, etc. Alright alright I know it’s a lot but in my defense they've shown half of these on the show

X - top 5-10 characters who are yoUR PRECIOUS BABIES AND YOU WILL DIE DEFENDING THEM

The Master, Romana, Leela, Brax, Narvin, Bill Potts, Martha Jones, Sarah Jane, Donna Noble, Lucie Miller. No particular order for most of them but the Master is my precious baby and I will die for this mf

Y - What are your secondhand fandoms (fandoms you aren’t in personally but are tangentially familiar with because your friends/people on your dash are in them)

Not many, usually the people I follow are in the same fandoms as I am but I’ve seen some mutuals reblog some Hadestown stuff which is a play that I’ve never seen but definitively would because the protagonists look hot 

Z - Just ramble about something fan-related, go go go (prompts optional but encouraged)

I DON’T KNOW WHAT DOES IT MEAN

it took me three hours to do this but it was fun!! thank you bb <3

[eyeslikefoxglove]

Episode 13 - Attack of the Murder Turtle & WangXian dance around their mutual crush

What is this? Three episodes in a day? I’d make a joke about the end of times but *waves hand at 2020*. In other news I washed my hair and it is tying to strangle me, because I have more hair than Medusa.

We open again with WWX offering to carry LWJ, and let me just mention how fucking soft, pained and defeated that “Boring” sounds, followed by WuJi and I’m tearing up.

I’m totally treating LWJ’s “Boring” as his version of “As you wish” and none of y’all can stop me. (Wow suddenly I need a Princess Bride wangxian fic because holy shit the amount of angst -with a happy ending- that could have)

PAPERMAN

WWX is such a good boy oh my god *sniffles*

Does WC thing WWX and WQ have a thing? Is that what that look means? Holy shit I’m cackling.

I’d love to introduce Wang LingJiao to my (deceased unfortunately) grandma, see how long she lasts before she gets la zapatilla to the face for being an asshole.

... the cave was on the other bank of the river. Oh my god these fucking idiots (the Wens I mean)

WWX just being done with LWJ’s refusal and grabbing his arm to help him walk. He learnt that bedside manner from JC.

WC: *starts talking*

Everyone: *eye roll*

Can we stop yeeting WWX off high places? Please?

Also, LWJ with his hurt leg was the first to get down that ravine and help his man off the ground. These two I swear.

And the Peacock is getting sassy, well done character development!

You can see when everybody just silently agrees to not even bother answering WC’s screams.

Listen listen, I don’t know if this is just A Thing me and my friends do, but the second the Idiot Couple singled MianMian out I would’ve been *Kill Bill sirens* and not taken my eyes off her. I mean, I know the Murder Turtle is kind of a big deal here, but my guys, they already want to hurt the girl, close ranks around her, don’t let them catch her alone. (Exactly like LWJ did, dude pretty much Apparated)

LWJ is one chill dude and I love how he knows he’s so above the guards’ level he threw his torch way before procuring a sword. Also, give my wife a sword, if she had one the iron poker thing would’ve gone waaaaaay differently.

WC: *exists*

WWX: I’m about to end this man’s whole career

(And this can also count as a very dark joke for future episodes too)

WZL can’t believe he has to protect this idiot.

Ok, but when WWX asked JC if it was an earthquake I was so expecting to get one of those scenes when two people start bantering with each other in a very inappropriate situation, like holding a dude at sword point. Oh well...

So the Murder Turtle is a T-Rex. Cool cool cool. And WWX is on top of it. I’d say something about his luck but he hasn’t got any.

THIS IS WHAT I MEANT BY CLOSING RANKS AROUND MIANMIAN. If you’re not going to give her a sword don’t leave her alone with a crazy lady who wants to hurt her unaccounted for.

Ok so WWX can’t console people to save his life but imma forgive him cause he’s a teenager in this and lord knows I wasn’t the most tactful teen.

LWJ has temporarily taken custody of the Braincell to give MianMian a moment.

You can see the moment JC’s expression shifts as he realises that yep, his brother is back on his crazy bullshit again, better strap in.

(But why you swimming with all those layers tho whyyyyyy)

Yunmeng bros to the rescue.

Holy shit, LWJ just threw WWX back with one hand, that’s some arm strength.

Ah yes, why not add Murder a Turtle bite on top of a broken leg.

JC screaming he’d come back for WWX, my heart.

WANGXIAN MURDER TURTLE CAVE SHENANIGANS AHOY YALL.

I’m sorry I can’t ship properly with the amount of pain LWJ seems to be in.

... nevermind, it’s the striptease scene I’m already cackling (my parents just asked me what I’m laughing at because they can hear me from downstairs)

LWJ’s whole ass repressed gay teen in panic mode expression is pure gold.

LWJ’s mind: THIN RED ROBE THIN RED ROBE THIN RED ROBE HOLY SHIT TROUSERS.

WWX: thanks give me hives/goosebumps/the creeps.

SAME BRO SAME.

SASSY LWJ STRIKES AGAIN. If he’d paired that “you’re welcome” with a tiny smirk (and if they hadn’t both been grievously injured) neither of those boys would’ve left that cave a virgin.

“You like MianMian”

This look on LWJ’s face is what convinced me that he keeps an inner running monologue that’s mostly swearing and ranting about how pretty WWX is. I so want to write a LWJ POV fic, maybe detailing some of WangXian’s most iconic scenes but 1)can’t write and 2) JC also swears like a sailor so I’d probably screw up their voices or something.

I wonder what would’ve happened if LWJ had told WWX he’s only into dudes? Probably nothing bc WWX is oblivious but...

I would say that, in this version (remember I firmly believe CQL’s WWX developed a monster crush for LWJ during the Library), WWX is rhapsodising about MianMian to try and see if LWJ gets ticked off, but he’s not that subtle, just a disaster bi.

Oops back to the sads. BLANKET AND KITTENS FOR LWJ.

Sweethearts, they’re in danger and in pain and sad and my heart can’t take it they need to be safe and happy and *throws blankets and kittens at them*

Thanks for reading!

[idontevenwatchbl]

Do you watch Thai drama that there are not bl? Can you suggest me some ?

Sure! Although, like 99% of them are GMMTV series, so if you already watch them, you’ve probably already at least heard of these.

My no.1 suggestion is The Gifted, and I HIGHLY recommend everyone giving it a go if you haven’t already. I can say for sure that The Gifted is my favorite thai series alongside Love by Chance. I mean nothing can really top LBC, but The Gifted comes super close. It’s just so good in almost every single aspect? The acting is great, the story is great, the characters are enjoyable, and I got so attached to most of them. It really says something that I got my sister to watch this series, and she has 0 interest in thai dramas.

Basically, the story is about a group of high school students with superpowers. But that’s just the basic premise, it gets a lot more interesting than that, and delves into some social issues, but I don’t want to spoil it. I’d recommend watching the trailer and seeing if it seems interesting to you. Second season is coming this year, btw.

This is gonna be a super long post if I go in depth with every single of these series, BUT other ones I’d recommend are:

Happy Birthday the series

-it’s about a boy called Tonmai, whose sister, Tharnam, committed suicide the same day he was born. When Tonmai gets Tharnam’s room as a birthday gift one year, he ends up meeting her ghost. Only she doesn’t remember anything about what led up to her death. It’s a super emotional ride, and totally worth it. It’s sad, but somehow in a really soft way? I can’t really explain it, but at least to me it felt almost cathartic in a way. Might skip this one if you’re really sensitive to suicidality, since that is a key theme in this series, although I think they handled it pretty well overall.

A Gift To The People You Hate

...or something like that, this drama still doesn’t have an english title. It just aired this fall, and somehow I feel like not too many people actually watched it? It’s about a shop where you can buy gifts for people you hate (that’s in the name, good job me lol). Some of them being mostly harmless pranks, while some being deadly. Lots of psychological drama and twists. This series is mostly episodic, although there is an overarching plot. But it’s very barebones. It’s not the best series I’ve seen, but has some interesting ideas. If you’re familiar with anime, this series is what would happen if Death Note and xxxHolic had a baby.

Friend Zone the series

Has a gay couple, but wouldn’t necessarily call it a BL. This is 100% pure relationship drama featuring a lot of bad decisions. Would watch if you crave a more mature drama about young adults struggling with getting their lives together. Some of the characters I didn’t really care for, but most of them I grew to love a lot. I’ve seen a lot of mixed reactions to this series, but personally I loved it a lot? Had some gripes with the ending, but there’s a second season coming out this year!

3 Will Be Free

Again, some might label it as BL, but I don’t, since that isn’t really the focus of the series. It’s about Neo (a stripper and a prostitute), Mew (a hostess) and Shin (a son of a mafia boss), who get caught in mafia affairs after killing a hitman who was ordered by Shin’s father to kill Neo. They have to run away together, and various drama ensues. I’m not doing the series justice with my description, go watch the trailer (or the first ep), to see if it interests you. Has a trans character, whose storyline is surprisingly well handled imo. I’m not trans though, so if there are some problems, I might not notice them all.

The Stranded

The Netflix original series, and probably the most visually impressive thai series I’ve seen (big budget does wonders). It’s about a group of high school students who get stranded on an island after a tsunami hits. There seems to also be some supernatural stuff going on on the island. Not the most original concept, but it gets really interesting later on. REALLY needs a second season though. Has one gay couple, and also a wlw romance (that kinda leads nowhere but fingers crossed for more developement in s2).

Hormones

Super old (I mean I don’t find it that old, but then again, I’m still mentally stuck in 2015), but still a must watch imo. Pretty basic high school drama, but somehow manages to keep itself interesting. Delves into a LOT of topics that are considered taboo. Also has some gay and lesbian romance sideplots. Has three seasons, but I had trouble finding the second one (well, I mostly use youtube so that’s why), so I never watched it. But supposedly the whole series is on netflix in some parts of the world? Most people prefer s1-2, but I personally loved s3 the most.

Also, just gonna mention this briefly since it’s still ongoing, but Angel Beside Me is very much worth watching!

I said I was gonna keep it short but look what happened. Well, I hope this post helped at least someone. If someone has any other suggestions, feel free to add. I know there are people who have seen way more series than I have.

Have a lovely day!

[recentanimenews]

OPINION: How I Discovered Haikyu!! (And Myself), Thoughts From a First-Time Viewer

  Haikyu!!'s final season just began, and for years I have been meaning to start watching. Now seems like a great time to rectify that, so I've finally caught up and am eagerly awaiting the next arc to see how the Karasuno Crows fare.

  I decided to track my thoughts on everything that happened — something of a time capsule from before the main cast joined together all the way to them competing in Nationals.

    As a baseline, here is everything I knew about Haikyu!! before watching Episode 1:

It's a popular sports anime about volleyball

The main character is the orange-haired kid, Hinata

They're going to go to Nationals. Not sure about the details, but I know they’ll make it into the tournament

  I actually watched this with someone who has seen it before. She didn't spoil anything but occasionally gave insight I may not have otherwise realized at the moment.

  Episodes 1-6: Joining the Team

    For the first part of the show, we largely follow Hinata's perspective. As I assumed going in, he's our generally underachieving but unfailingly energetic sports boy who hadn't met anyone who loves his sport as much as him until now. Specifically, he meets Kageyama, one of the best setters in the prefecture.

  I started to notice that the storytelling’s actually pretty good when the newly assembled Crows get a practice game with the 4th ranked school in the prefecture. It gives them someone challenging so the main cast can see what they’re up against but also gives them a team close enough to their level that they have a real chance of winning and also keeps the truly powerful foes hidden for later arcs.  

I also really appreciate that during the games, the characters try out new things, but are never truly sure that anything will work. It adds some experimentation and uncertainty to every game.

  Episodes 7-10: Crows, Assemble

    The rest of the main cast joins up with the existing group, forming the core rotation of players and major characters in the show.

  One of the new characters, Asahi, showcases one of the show’s strong points for me. He's the team’s ace, but both he and Hinata grapple with performance anxiety. As my watch-along partner put it, Hinata’s anxiety comes in waves, mostly during games, while Asahi’s is more of a constant background hum.

  As someone who has struggled with anxiety most of my life, I heavily identify with Asahi’s backstory, even down to not going for the spike in the final play of his flashback game due to thinking about how pointless it was since he wouldn't get it through.

  Episodes 11-13: Crows versus Cats

    Karasuno gets its practice game against their rival school, Nekoma. Both teams have fallen from grace in recent years, so this is the Crows’ chance to prove they can crawl their way back to the top and test out their teamwork and strategies from the previous arcs.

  At this point, the mind games aspect of each match starts coming through. Both teams try to figure out how their opponents think so they can react faster, while also trying to hide their own tells to keep their opponents guessing.

  When Hinata first started closing his eyes to make his special fast attacks with Kageyama, I joked that his power-up was going to be just ... opening his eyes. It turned out I wasn’t far from the truth. It doesn’t work immediately, but all of the Crows start polishing their weaknesses to make for a more well-rounded team.

  Episodes 14-16: Preliminaries Round 1

    As the boys go into the Interhigh Tournament, people whisper about the “Flightless Crows.” They proceed to absolutely crush their first opponents.

  The show follows the girls’ volleyball team for a bit, too, amping up the emotions at the end of the first round by cutting between the girls losing while the boys breeze through their sets.

  It’s a bit unfortunate the girls are beaten so badly just to show that the boys have grown, especially since they don’t end up getting much screentime for the rest of the show outside of being in the stands or otherwise supporting the boys.

  Episodes 17-26: Daito and Aoba Jousai

    After getting through the first part of the tournament easily, Karasuno is up against two powerhouse teams. First: Daito, a school with defense so amazing it’s called “The Iron Wall of Daito.” Second, Aoba Jousai, the school that many of Kageyama’s peers, including the setter he looks up to, enrolled in.

  They manage to steal a win from Daito, but ultimately lose to Aoba Jousai.

  The ending of this arc was when I realized I was truly invested in the show. For one, my watch-along partner and I were silent during many of the plays instead of joking about anime tropes like we had been in earlier arcs. Second, during one of the final scenes of the season, the entire team went out to eat after the game and we just silently watched everyone slowly start eating and then mutually begin crying.

  Episodes 27-36: Season 2

    As we start Season 2, there is a very clear and welcome difference almost immediately — the animation and camerawork are a lot better. Neither were bad in Season 1, but now they’re on an entirely different level. As my watch-along partner put it, there is some very naturalistic movement in some of the scenes.

  Also, this is when the team got a second manager, Yachi. I seriously cannot think of a character I have more personally related to in an anime than Yachi. She is a nervous wreck that is constantly apologizing and gets spooked by every little thing, even as small as someone talking to her. She outright views herself as “Townsperson B,” from when she played that role in drama club. I turned to my watch-along partner and said, “I’m in this picture, and I don’t like it.”

  Meanwhile, in the actual plot, my watch-along partner pointed out that while the team started developing specialized skills at their summer camp, the majority of their training seems to be devoted to getting down the fundamentals of every part of the game, then practicing them constantly. Like how Nishinoya is normally the libero and is almost exclusively receiving, but after seeing an opponent’s strategy, wants to learn to toss so he can replicate something he previously lost against.

  Episodes 37-44: Prelims

    The show uses the prelims as an opportunity to shine in two new ways. First, if a player is injured, they're checked to see if it's serious, then given a proper medical exam off the court. No powering through a concussion.

  Second, since main characters are no longer guaranteed to be on the court for the entire game, the cast expands to include other members we previously haven't focused on.

  My watch-along partner mentioned Ennoshita, Daichi's relief player, a few times throughout the show, so I knew he was going to be important eventually. But to give an idea of how little he impacted things until this point, when he was called in, I exclaimed that they were putting Steve McBlandman in the game. Despite that, he really does get to shine on the court. He’s a nervous wreck at first (join the club), but he’s also most likely to take over as captain once Daichi graduates and proves himself to be a reliable teammate by the time Daichi returns.

  Episodes 45-50: Rematch

    In terms of storytelling, there’s not much to add for this game. The two teams are established factions and we know the stakes, so it’s more of a puzzle to see who can find new strategies during the game and outthink the other team, which is made harder by the rivals bringing in a totally new player referred to as "Mad Dog."

Eventually, Karasuno wins, ending Season 2 with a promise that the finals of the qualifiers for Nationals will be the start of Season 3. Due to knowing a few details ahead of time, I already know a single game will be the entirety of the season.

  Episodes 51-57: Final, Part 1

    As both teams step onto the court and warm up, we are reminded that our heroes are pretty much all nervous wrecks, with most of the team in various stages of being curled up on the ground or asking for nausea medication. And, honestly, I was too. By the time the game hits set four, I wanted to grab my inhaler.

  The Crows are up against Shiratorizawa, a team with Ushiwaka, a player so strong that early in the game, it took three blockers and a libero just to return his attack, and later on he managed to dislocate a blocker’s finger with a spike.

  Episodes 57-60: Final, Part 2

    Full Disclosure: I was so invested in this game and the following season I actually forgot to take notes, so everything from here on is a second watch!

In my opinion, everyone gets to shine by the end of the game. Nishinoya sets up a full team synchro attack with his libero toss, Tsukishima is the only person whose blocks come close to keeping up with Ushiwaka, and so on.

  Episodes 61-65: Winter Training

    The first half of the season starts with some of Karasuno’s players being invited to special training camps. Hinata, being too impatient to accept that he hadn’t been invited, infiltrates one.

  Since he wasn’t invited, he’s not allowed to play, leading to him needing to watch the players and game instead of the ball for once. As a result, he starts learning to read peoples' tells and building an intuition of how to move, rather than just relying on instinct.

  Or, as I said to my watch-along partner the first time around, Hinata has reached his ultimate powerup: thinking.

  Episodes 66-70: Downtime

    In the interstitial time between arcs, the team has a practice game against Date Tech again so the Crows can get used to playing together after being apart. We get some character moments, like all the third years going to a shrine on New Year’s, and when the team arrives in Tokyo we finally get a bit of Kiyoko’s backstory.

  It’s hard to pin down what exactly about it worked, but it felt really nice to see the third years all going to a shrine together in their final months before the end of high school.

  And with that, the Spring Tournament, a.k.a. Nationals, begins.

    After going through over 70 episodes of Haikyu!!, I can say with absolute certainty I’m sticking around until the end. I skimmed over a lot of details so every section wasn’t a page long (and even then the first draft of this was over 4,000 words), but every game is filled with strategy, mind games, and experimentation.

  Outside of the games, the show does a great job of building up the cast so the rivals are well-realized characters in their own right. Not the most complex in anime, but more than a wall for the main characters to climb over.

  All in all, the show is absolutely worth the watch. It'll take a while to get through, but it's also easy to pick back up if you need to stop partway through.

  What are some of your favorite moments in Haikyu!!? Are you watching the second half of the newest season with me? Who is best boy? Let me know in the comments!

    Kevin Matyi is a freelance features writer for Crunchyroll. He's been watching anime for as long as he can remember, and his favorite shows tend to be shonen and other action series.

  Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: news+feed@crunchyroll.com

[shaonsim]

Thoughts on the writing of itv!!! What kinda show would you writeee

My friend. My hero. Thank you for sending this in. Thank you so much!! You gave me such a wonderful opportunity to blab about stuff.

THANK YOU ❤️❤️❤️❤️

The writing of ITV, you ask? Hang on my friend, this will be a WILD ride. A wild ride. This will be loong and wordy and a little incoherent, jumping from one point to another, but this will tell you a lot about how I feel about the writing of ITV.

And yes, this will read like a letter to the CVs because I am totally incapable of abiding the rules of grammar and I don't want to edit all this.

And I apologise for the out of context references that seeped in with time. Sorry, couldn't help it. I will gladly expand upon any of the references.

The main thing with writing (according to me, but I don't like repeating this disclaimer since by asking the question you already know that this will be my personal opinion, but still, for safety purposes)...The main thing with writing is that the core concept can be summed up in one single paragraph, and then you add words for emphasis.

You write in a thousand situations, in different styles, only for the message to hit home.

Look at our Epics.

Ramayana can be summed up as the Ram-Ravan conflict in a good Vs evil way. Lakshman is the devoted brother, Hanuman (ji) is an ardent devotee of Ram-Sita.

Mahabharata is basically another story of good Vs evil, where Duryodhan is the evil guy , Shakuni is an evil mastermind, 99 Kaurav brothers (+ Karna) the sidekicks, and the rest of the Kurus (+ Drona and Kripa ) as the silent voices of reason.

And almost every event emphasises these points. Because that's the story.

Look at Harry Potter. Three kids (young blood/new generation ) fighting against the big bad and pointing out and fixing the mistakes of the past along the way.

Look at Kalpurush (I read it during the quarantine and I am in love ❤ ) , where the main theme is that a mother worries whether the circumstances will lead to history repeating itself, whether a son will follow his father's footsteps, and whether she would be happy if he did turn out to be like that.

Technically, it is the same with shows.

Sasural Simar Ka began with the concept of the deep bond between the sisters, then moved on to supernatural forces interfering with the Bhardwaj family. The theme changed, but it didn't vanish.

Swaragini began as a show revolving around the sisters, and it stayed like that for forever, even when the plot went sideways and the sisters were pitted against each other.

Kumkum bhagya is a show where the leads battle kidnapping, murder attempts, misunderstandings etc and come out longing for each other and dreaming about happier times (the same was the theme of Pavitra Rishta too, if I remember correctly. But with less kidnapping.) And now the show has taken a leap with a love triangle between the kids (look, another similarity between kkb and pr. Go Ekta)!

KZK2 *cringe cringe* is all about AnuPre who love each other but don't end up with each other because of various reasons.

ITV has this thing down pat.

But it fails to come up with proper events to highlight their core concept and of course, they fail to choose an interesting theme for the show, but heyy, human mind and relationships is a gold mine for ideas. It is fascinating, and quite enjoyable, if it is done right. Am I biased because it is my favourite genre? Yes of course.

But the point stands.

Another important part of writing is that in order to come up with plot points that will reinforce your main idea, you need to come up with a cast of interesting characters, and develop their background to give you an ample opportunity to create the above mentioned plot points. The spectators, onlookers, the influencers need motivation - reasons for their actions.

Think about Karna. Think about Drupad-Drona. Think about Bhishma-Amba. Think about Jayadrath and his boon.

Sub-plots, side-plots. Parallel storylines.

For the most part, ITV fails in this department. The characters or stories they introduce are a) boring (either because we fail to understand their motivation or because they are diluted versions of the leads) or b) annoying because of their over enthusiastic and blind favouritism for the lead character they support.

^ Casting and acting also plays a major part in this (ugh Chandni ), but most of the time, it can be solved with focusing on the actor's strengths and weaknesses and changing the dialogues based on that. A writer can change things.

That's their job.

If your side characters are not interesting enough to deserve a story of their own, you aren't trying hard enough. That said, if you can't weave in their story in your main story, do not focus on the side plots. No one is interested in seeing your hodgepodge of TWO (or more) stories. It should all come together in the end, it should become one BIG story. Bring it all together!!

But do focus on the side plots, because there is only so much you can do with your leads, especially in the romance/family (whatever you call it) genre that occupies 90% of tellywood (and for good reason too!!)

A good plan is to create events with one of your main character and a group of characters (how small or big a group is for you to decide). If you force the audience to look at two/three supporting characters, no body will be happy.

Use your leads!!!!

Also, PLEASE use the show Vs tell method.

You want us to know that the male lead is adored by his sister? Show us. And by that, I meant scenes where we can see the bond they share, NOT dull monologues where the sister sings praises of her brother (a few monologues are fine though). You are an audio-visual medium.

ACT LIKE IT.

Monologues are for written things. Where we only have the words and our own imagination. Here, you have the tools to present us with the pictures, with the words they speak to each other.

Don't waste it.

In the same vein, do not repeat dialogues. Not word to word (don't repeat the same thing with different wording multiple times in a single episode or a week of episodes). Switch it up, and if you have to, have to repeat stuff, use an actor who has decent facial expressions and voice modulation. If the actor is stiff, robotic, then don't use that actor to parrot your lines. Seriously.

<< Not to hate on anyone in particular but Prerna's 'Anurag Anurag Anurag' is very annoying, for reasons that are better left unspoken >>

Hey, hey, you know what else is an integral part of writing? Research. Making a show on doctors? Police? Engineers? Lawyers? Chefs? Do your research. And if you want to take the short cut and go with the convenient business men/women trope, by all means, go for it. GO FOR IT. But show them working, and no, not because of tracks revolving around the business, but always. Running a business is a full time responsibility. Show that. I repeat, show that. Show that the character isn't home 24x7, show late night meetings, show files neatly stacked (or strewn about, your choice). Show the products or materials involved in the business. Show your characters being exhausted with the amount of work, show their involvement in their work. Or don't, if that suits the story and your character is neglectful, or if you have a proper reason to have them take some time off. Pay attention.

Time for a checklist.

Central theme? ✅

Side plots (+ characters)? ✅

Edit things because of the actors? ✅

Show Vs Tell? ✅

Research? ✅

How much DRAMA is too much drama? ❔❔

Now, this is a product of my curiosity (+ me posting the Fic Which Must Not Be Named), but I think this fits nicely with the rest of this answer. I wouldn't explain this in detail because the original post does a much better job (and I need validation, so go read that post) but to think, that ITV tells us stories of other people, and whether it is this very question, this doubt, that leads to the numerous kidnappings and accidents/fire/misunderstandings we see in 90% of the shows.

Okay, time to return to the checklist.

Oh. Oh! I forgot my favourite part.

The influences of the audience. Every writer has a story to tell. And while it is difficult to think that the ITV creatives know what they want to do with their story, I would give them the benefit of doubt. Besides, as a writer myself, I know that 80% of writing is having no clue as to where you want to take the story. ANYWAY, back to the topic at hand. I think, if everything was written and shot before telecast, we might get cohesive writing. As it is, the creatives put out some content, look at the reaction, and try to maintain the highs or fix the blunders, by hook or crook.

And the story suffers.

Complete revamping of tracks, characters behaving worse than pendulums, repeat of romantic scenes, bringing in new characters out of the blue - I believe, most of these things occur in a rush to fetch (or maintain) ratings.

Now, let's talk about copy-pasting tracks without bothering to look at the bigger picture. What works for one show, works only because it goes with the past and future events of the show. You can't grab xyz from show1 and throw it into show2, because S2 does not have the background of S1. It wouldn't work, because the characters are different, their motivation is different, their past is different, everything is different.

Also, can we talk about how two people of opposite genders can be friendly and helpful to each other without secretly pining for the other person? It doesn't always have to be romance, although it can be perceived as that, if you want a jealousy track. Character A and B both know there is no romantic feelings, but Character C is seeing green because heyy, DRAMA!!

((This is one thing that disastrous Bajlo tomar alor benu did right, in respect to Minu and Rudra))

Another important thing - people can (and should, if you want it to be realistic) be morally grey. There is a phase between liking someone or hating them or wishing them to be dead or actually killing them. Also, not everyone has access to criminals and goons. I REPEAT, not everyone has a criminal connection, or the mental capacity to actually execute the plan to the T.

Thinking of murder, planning murder and straight up plunging a knife in someone's chest are different things. Remember the difference.

USE THE DIFFERENCE.

And while you are on it, learn the difference between attraction, appreciation and love.

We might be attracted to a particular quality - a physical attribute, a skill, a specific philosophy etc. We might appreciate that quality in a fellow human being. And we might be attracted to and appreciate the person with those qualities, but that doesn't mean that we would love them.

In the ocean of unnecessary romance angles and third wheels, this core difference is often brushed away in a bid to gain trps. Please don't do that.

Another checklist.

Ratings changing the story? ✅

Copy pasting tracks ✅

The world is grey ✅

Less criminal activity ✅

Not everything is love ✅

Would you look at that! I covered so many things. Fear not, I still have a lot to say. Mwahaha.

Not going to go into detail about my opinions on in-laws on ITV, because that is already covered here, but let's talk about the actual family.

The parents, siblings, cousins, relatives. Again, I am going to repeat myself and tell them to use the show Vs tell method. And actually focus on the dynamics because although the equations will change after marriage (for the male lead, the female lead will be cut off from her family 80% of the time), these relationships set the foundation for your character. Their personality. Motivation.

If you are going with a character who is distant, then by all means, do so, but do NOT ignore the family. Show that the character doesn't care.

Show it. Don't gloss over it.

That said, limit your exploration of characters and back stories. There is no hard or fast rule, but if it feels like too much focus, then it is too much focus. Go follow your basic INSTINCTS.

Okay, now is the time to come to the business side of writing for ITV. Bringing in popular characters, giving them smart dialogues and promoting them to the High Heavens. Wonderful trick. But do it in a subtle way. We will gladly let you play us, but only until we realise that we have been played. Subtly manipulate things. Subtly.

And, talking about that, let's also talk about how consistency is really important. Dumping black (or white) paint on characters would not wash away past grievances. It wouldn't remove the impression we already have. So if you want to portray someone in a positive light, work up to that point. Same with negative portrayals. Ease us into the change in perspective.

((Bajaj track in KZK2 is the perfect example of how the writers totally FAILED to follow this rule))

Also, if you are writing comedy, please hire good actors. Comedy is incredibly difficult, and if the performance isn't up to the mark, then it falls flat. And bad comedy is very annoying.

Another thing. If you have a social message, as in if the central theme is a social issue, do NOT forget your theme. And do not shove it down our throats. Don't make it preachy. Strive for balance.

And here, let me remind you that you do need a central theme, that's a very important part of your story. So pick a theme. And stick to it.

Think of your story like a human body.

Skeleton is the theme. The concept.

Blood is the undercurrents, the 'vibe'.

Organs are the characters.

Veins and arteries are the relationships.

Flesh is your plot.

Skin is the sub plots and side plots.

AND TOGETHER, THEY MAKE A STORY.

TOGETHER, THEY MAKE A STORY.

See how I repeated myself for emphasis? That's what you have to do, in a more subdued and complex way. I know you have it in you.

And because I wrote so much about adding sub plots and side characters, let's talk about what you shouldn't do, with me quoting myself:

Even CID, a show I loved to watch because it was a crime drama but less gruesome than what you would expect, could not escape tellywood’s clutches and turned into a chaotic mess with too many new characters and a massive shift in focus - in its last days, it was more of a romantic drama with the crime sprinkled in, and because there were so many new characters (who were boring 70% of time and annoying for the other 30%), I had ZERO interest in the series. The crimes have always been similar, what kept me hooked was the way they dealt with it and their group dynamics, which was ruined by bringing in a hoard of characters who contributed nothing to the story. And the Shreya-Daya track was a bad one from its conception, there was no need to drag it until my mild indifference turned into a major annoyance. And they could have avoided all of this. There was no need to ruin a perfectly good show with lazy, uncreative writing.

^ Bolded are the parts I consider important.

Also, let me take this opportunity to talk about shows similar to CID, in which every episode deals with a mini-plot and it is only the characters that remain the same. Crime dramas, medical dramas (although one the most popular ones on ITV - DMG was less about medicine and more about Jerk!Armaan and his jerk-ness and got rid of this problem in an innovative way that deserves an essay of its own, but I digress).

If the only thing remaining constant is your characters and their group dynamics, then do NOT throw in twenty new characters at once. Introduce them one at a time and limit the number of characters you will use. Keep the same cast for a decent chunk of time. Please. And do not add in multiple sub plots. The storyline is already a little blurry, jumping from case to case, so too much drama between the characters can be either too much to handle or just very, very boring. The focus is on the cases. Keep it there.

A show that did it quite well, was Goyenda Ginni, what with the overarching plot of a homemaker balancing housework and her passion for solving crimes. And because it was always about a family, with limited characters (bringing in spouses for the unmarried characters), it wasn't crowded.

Before I forget, here are some of my common issues with ITV and their writing department ⬇️

EK and her love for the child!track

Portrayal of marriage and relationship

^ And I must add that the Fic Which Must Not Be Named came into being because I couldn't accept the marriage trope for the two characters from the show that has become my latest obsession, even if the trope is shown in a negative light and the people in it are called out and they realise how wrong they are. #shaonHatesDealMarriages

The year 2020 and tellywood marriages

For the most part the last two links say the same things, but the wording and examples and the object of focus is different (this is how you hammer it home, CVs, write long posts on the same thing until the world learns about your hatred for said things. You're welcome 😎)

Also, something I remembered while writing the little note about forced marriages - acknowledge the wrongdoings of your characters, EVEN if they are the leads and you want people to love them. Glossing over the misdeeds wouldn't help, but accepting the truth, pointing out the flaws and then adding the reasoning behind the actions, and later on, writing in the realisation and apology for the act, is a much, much better idea. It is easier to forgive someone if their misdemeanor isn't shoved under the rug. But don't go overboard with the accusations. Repeating the truth multiple times only serves to annoy us.

Have I covered everything? I don't know. Feel free to ask me specific things in case you think I didn't comment on something. It is easy for me to forget about things while writing an answer as long as this. Not to mention, that I framed the first two-three paragraphs in my head while I stood under the shower, so in the rush to jot down everything I had thought of, I might have missed some stuff. Happens to the best of us, eh?

Coming to the second part of your question, I must admit, I am not the best at coming up with original premises. I like to dwell on the thoughts of the individual, delve deeper into their minds and do stuff - as evident in my love for the romance/drama genre, and why I love that ITV has so many shows in this genre. Why my writing (the drabbles I wrote last week), is more about the people than the plot. That's just who I am.

That said, I think I would do good with a team. Together, we can write a lot of things. ((Someone agree to do a collaborative fun writing project right now, I love those. We can make full use of all this free time and write a story of our own)).

No, seriously.

I love writing as a team.

[troybarnesbucky]

I woke up and decided to analyze each 9-1-1 pairing with regards to timing and also buddie

I just woke up and all im gonna say right now is this: this is long-winded but basically it takes a look at all the relationships on 9-1-1 and compare the timing and level of intimacy to that of buck and eddie’s relationship. 

at the end of season 1 of 911 I remember watching and realizing they were gonna push the whole bobby and athena relationship, and I was surprised, because I didnt think there was any preamble or much hinting to it. but I guess it made sense to me - they were both single, both in the same social circle, they got along. sure, made sense. and then season 2 comes along and they’re smack dab in the middle of their relationship and we have zero time to adjust to it as an audience, but once again, we quickly did (mind you, I did not watch it live as intently as a fan would, but I do recall a lot of episodes because my mom watches the show and I remembered a lot when I was catching up myself). at this point bobby and athena are happily married and I really do love them together, genuinely.

then, maddie comes along and there’s a bit more to the story. she has a lot going on, a lot she’s been through and we spend much of her first season getting to know her and watching her confront her past and create her own present. chimney had a bit of a rough start with relationships (.... tatiana, sorry love, but you could’ve had it all sis). her and chimney start out as friends but it’s very clear from their blossoming friendship that the writers intend for us to want a relationship for them, and we DO. because theyre adorable together and genuinely have so much chemistry and they’re good for one another. it’s a bit of a slowburn but we get there eventually, so much so that in the season 3 finale, we find out maddie is pregnant! which yes, did make me cry shut up. 

hen and karen had a rough start. even if they did look happy, they went through a ton of shit in the first and second season, especially the first season. which is fair; hen cheated on karen, and a large part of her storyline revolved around her ex and having to fight for denny. but there’s so much love between them, and a heavy history that is palpable through the screen. by the time season 2 comes around, they are a bit more grounded, and more so by the time season 3, too. it was interesting to think about their relationship is comparison to the others, which we watched blossom in real time. especially in season 3, because we see their love and support of one another during their attempt to have another child, and yes I also did cry when they met nia for the first time and no I will not elaborate. hen also went through a lot of shit this season; karen, despite what she went through, was and continues to be super wonderful and supportive, if a bit wary (but its okay because drunk karen and chim was a gift and we were well fed) for a second. their relationship is everything and also karen carries the whole show’s sense of humor on her back, I said what I said. 

then we have three more main relationships: michael and athena’s, which is over in episode 1; buck and abby (im not counting ali because genuinely she was in three episodes, im only looking at the main relationships for each character), which starts and ends in season 1; and eddie and shannon, which technically starts before season 1 and kinda ends in season 2 but then she dies. 

personally I dont think there’s much to add about michael and athena’s relationship. firstly, michael is a doll and if they hurt him in season 4 I will riot. but more so, the show gave us a LOT to work with in terms of their past relationship. also, it was interesting as a viewer, to learn about them from the bottom up. we see the tail-end of their romantic relationship and watch it get replaced with a genuine love and care for each other and their family. it’s a stark contrast to what a lot of shows on television would go for; it has a bit of rough, bumpy start, but by midway through season 2, they’re both on steady ground in terms of personal family life, and it’s actually a breath of fresh air. their dynamic is heavily surrounded by love for family, and we love love love that. 

I think with abby and buck we all liked it a little, at the start. buck was sweet to her and we see a change in attitude and an effort from buck that is clear to have never been made before. abby is also a pretty admirable character; she takes care of her mother, is incredible at her job as a dispatcher, and she struggles with maintaining personal relationships but still gives it a go with buck. and buck, from the start to end of the season, grows a lot, both independently from and surrounding their relationship. as a viewer I watched the show way later on, so I knew abby was leaving and honestly, I really did like her and their chemistry. as we go into season 2, we have buck, who is still living in abby’s place, and then the introduction of eddie.

so here’s the thing; this is where I was trying to get to. the show (the writers) made and continue to make interesting character and relationship choices. with eddie and shannon, there is a very clear closeness and chemistry between them that yes, does get revamped for a little. there is also history, which is very important and can’t be disregarded. but more than anything, we are looking at timing in this meta. eddie comes along in season 2 and there are a lot of things happening: hen and karen are getting back to normal, athena and bobby are suddenly dating, buck and abby are - despite what buck thinks - very over, and chim is single and ready to pringle, plus maddie is new and freshly separated from d*ug. as we go through season 2, we see development with athena and bobby, very clearly on their way to a stable relationship and marriage. hen and karen are working through things, we don't really doubt their relationship either. both maddie and chimney are single, and they become friends, and we very quickly, as viewers, realize where the writers are taking us and what they want us to think. 

so now im gonna get on my clown shit when I talk about buck and eddie. specifically, regarding the writers and their timing and why I think they’re either really stupid or actually very smart.

listen, everyone loves slowburn. hell, I'm writing a buddie au that will probably end up being like, upwards of 80k words and it’s gonna be a slowburn. buck, at the beginning of season 2, is in denial. im not gonna go through details but I will say that like..... okay, he’s heartbroken and thats fair. eddie, through means of “what a man,” is introduced and within one fell swoop, buck is immediately jealous and then like, twenty four hours later, they’re besties. tea. totally fair. in terms of timing, especially regarding relationships, there really aren’t many things to note: buck goes through that weird thing with taylor kelly, eddie goes through his drama with shannon, and when shannon wants a divorce, it kinda all goes to shit. by the end of season 2, we have buck trying to move on (and also nearly dying by means of a firetruck but thats not my point but also writers wtf) and dating ali (guys how do you spell her name lol) while eddie deals with the aftermath of his (ex, technically but I don't know if its mean to say that) wife. there are more than a few moments between buck and eddie that hint to a potential romance and feelings, like the santa scene and multiple others. then, season 3 is very very interesting. 

buck and ally(? seriously I don't know) are broken up, eddie is focused on christopher and actually, also buck, and then the tsunami happens. there is also not much going on in terms of other relationships on the show; maddie and chim get their shit together while also having a crazy season starting and ending with talking about having kids with a brief intermission of “I cant say I love you” and nearly dying on both parts and albert appears lol (and then disappears, too?? wtf). athena and bobby are pretty cool, hen and karen are trying for kids and hen wants to be a doctor. we have some others, like josh, who go through too much shit for my liking and deserve better, and michael, who...... deserves the world. 

okay. cleared that up. but timing-wise, if we look at the writers and their regard for timing, then we see this: any time two characters are single and there’s an ounce of friendship even hinted, they end up together. fine, that’s fair to say because we’ve seen it, right? after the tsunami, which is a WHOLE OTHER thing im not getting into, we have the lawsuit, eddie fighting, lena bosko (yall can be mad but she was hella cool), hen killing that cello (I think) player, michael getting sick, wow this season was fucking insane holy shit.

but in terms of character relationships and timing, a lot goes on with buck and eddie. in this one season alone, we go from eddie being the first one to hug buck at his surprise party and christopher giving buck a card with “bff” on it, then buck almost dies (again) and eddie is, quite frankly, the only one who takes no crap from him after he quits and then the tsunami and buck literally tearing himself apart to find his best friend’s son and collapsing at the sight of them reunited and then “there’s no one I trust more with my son than you” (is that the quote, I don't know it by heart) and THEN heart eyes, and then the lawsuit and supermarket and “you’re exhausting” and “christopher misses you” and “I couldn't even call you to bail me outta jail” and then the “I’m hearing a lotta ‘I’s, buck” and “I forgive you” and then the Infamous Kitchen Scene and me endlessly screaming WHY WAS BUCK’S HAND ON HIS BELT LIKE THAT? but also very pointedly I will say eddie fighting specifically when he can’t talk to buck and then it stops around the time he can hmmmmm. and also “this is eddie’s house im not really a guest here” then the fuckaifajfgkjfglgakjdgag tunnel collapsing and buck literally, once again tearing himself and everything apart for a diaz, digging with his bare hands and the defeated look on his face and refusing to think about eddie dying and eddie very nearly dying but then recalling christopher, his family, buck, then christopher and buck, then christopher and buck again, then a rare shannon appears, and then it’s just-

okay. OKay. O K AY. ok. here’s what I think. either the writers are incredibly smart or just viciously stupid, or the third, lesser liked option, they know what they’re doing and don’t give two shits. they are sitting on, and quite frankly they have created, a fucking goldmine. but in terms of timing, and relationship choices, we have eddie and anna(?) as a brief thing that will either reappear in season 4 or never be touched again, then abby’s lame-ass apology that was just her attempting to justify her actions by claiming she simply just should’ve told buck sooner. but a lot of this season explores buck’s loneliness, and in a way, too, eddie’s. 

yes, eddie has christopher, and the others? they have families and significant others. buck has no one (except maddie but you get my point) to go home to. I think, in terms of timing and thematic elements, this season took the time to explore the loneliness of two men, but also by doing so, only high-lighted their need for one another, their love for one another. in the past, that has lead to two couples getting together: athena and bobby, and chimney and maddie. 

so, my point is, season 4 is the make it or break it point. we got (weak-ass) closure with abby, eddie’s anger and regret with shannon (and yes, christopher), an exploration of both of their loneliness, and a very, very clear rocket launch of their closeness and dependence on one another, in season 3. it started with a lot and ended with closure on all extraneous factors that could have possibly deterred the two of them from a potential relationship. more so, abby is getting married and buck has no choice but to move on; he may not have loved her anymore but he needed the closure (and no I do not think it was good enough and I think buck deserved more but that’s not my point).

this can’t be read that much into. it’s not subtle, it’s not subtext. it’s very clearly there on our screens, with every small or big line. they mean a lot to each other. anyone with eyes can say that, has to say that. the problem is, what’s the intention? like, are the writers actually doing what I've just said, setting up for a slowburn, taking it season by season. you can look at it that way, and it actually doesnt take a lot to get to that point of a thought process. there is a HUGE, fundamental shift in buck and eddie’s relationship in season 3. there is a perceived difference in their friendship versus both their relationship with others and the friendship between others. denny doesn’t call chimney his best friend, “his chimney.” athena has never once told hen she trusts her children with her more than anyone in the world. 

there are a lot of interesting choices that have been made over the course of three season, particularly this past season. there are also a lot of possibilities for the upcoming season. we may see a return of that teacher, we might see buck fall into other women, we may see eddie not fully over shannon, or (hopefully not) an abby return. it’s just a matter of waiting, but there’s no denying the way things were left off; buck and eddie were both single throughout the entirety of season 3, considerably closer and not guests at each other’s place, both very lonely in spite of the people around them, closer to each other than the rest of the 118, both have a family member (or more than one for eddie) to keep them anchored. buck is, yes, more lonely, but they are both left off in the same place. my question, more than anything, is whether it’s intentional after all that’s said and done. and if it’s not, then why, pray tell, are the writers following their OWN very clear and self-fulfilled pattern of timing and relationships to an even stronger extent than they ever have? 

[dcbicki]

In which I go on another Jaime rant;

And it’s not his death, or the why?, that pisses me off--that much I was ready for. It’s everything that lead to it.

You want to know why Jaime’s whole arc ended up in the shitter and didn’t make any sense in those last few episodes? Because the writers needed to kill him off, and there was no other way of going about it, apparently. There’s no doubt in my mind that he’s gonna die in the books, too, but that’s bound to pan out differently. 

Think about it. If he stays in Winterfell, he’s alive and well. He’s with Brienne, Sansa, and Bran. He makes it to the finale, alive. He comes down to King’s Landing with them for the council meeting. He makes it out of the show in one piece (aside from that missing hand), and he most likely has a place on the Small Council. He probably becomes the Master of War--a person they’re now missing, I might add.

But, no. He has to die because the *powers that be* have decided he does. And the only way to kill him now--when he’s decidedly happier than he’s ever been--is to backtrack, and pretend the Jaime we got for the first three episodes of the season was just him trying to be better, but not actually being a better man. Oh, he apologised to Bran? Didn’t really mean it. Oh, he told Tyrion his Golden Lion days were behind him? Guess not.

You can use the argument that he’s always valued his family, and his love for his family, above anyone or anything else... but that also doesn’t fit with everything he did since the start of the season. He abandons his sister, his Queen, his house, thus abandoning his family. He doesn’t seem to regret it for a single second. Not when the Long Night is looming. Not when he knows Cersei is in danger in the South. Not when Dany leaves to take care of his sister. He stays in Winterfell--chooses to--for, I guess, a solid month, but the audience has to be smart enough to figure that out by themselves because the show doesn’t tell you how much time has passed since he started shacking up with Brienne. They don’t show you what happens between them, they don’t show you a single J/B scene between him looking at her in bed, and him leaving her.

And why does he leave her? Because Sansa suggests that maybe Cersei is going to lose after all, and then suddenly he gives a shit. He didn’t visibly care when he left King’s Landing in the first place. He didn’t seem to care when the Northern/Targ armies left to wage war on her. No, no. He chose to stay in Winterfell. And he only gives a shit now because the writers realised that, well, “if Dany is just going to wreak havoc on the city, then how are we going to take out Cersei?” Jaime can’t kill her (and her supposed baby); that’s too dark. Arya can’t kill her; she’s fighting for life, and she already had her big kill. Jon has to be the voice of reason on the ground. Dany is just going batshit and apparently isn’t focused on destroying her rival now.

The only option they had was... bricks, I guess. And she can’t die alone, oh no. She has to die with someone who loves her. So she has to die with Jaime... because he has to go, too, and this is the only way of going about it because they wrote themselves into a fucking hole. There’s no other reason his character does a full 180° in the third act of this shitshow. I could’ve bought it if they’d had him be a little more conflicted when he first got to Winterfell, or if he’d looked like he gave a shit before he decides to up and leave. But he doesn’t. Because the writing is inconsistent. Bryan Cogman gave us book!Jaime, the one who’s grown as a human being and character, and D&D gave us early show!Jaime, but worse, because apparently now he doesn’t care about the innocent people he once broke a sacred vow for. The one who ends up captured, and makes snide comments, and acts like a total fucking idiot. His redemption arc started when he was released from captivity, so I suppose it’s cruel ironic, really, that his character development got tossed out the window when he gets captured again.

It’s just lazy writing, and no matter how many times they want to pull the “it was always going to end up like this” card, I’m just gonna laugh because no, it wasn’t. They didn’t know how to kill either one of them off, but they knew that somehow they both had to go. So they went with the easy way out. Pulled it out of their asses at the last minute. Two lions birds, one brick stone.

(I’m pissed and I’m probably gonna be pressed about this until the day I die, but what I’m not gonna do is give Nikolaj shit because he tried to understand their shitty writing, and he tried to get on board with it. No one is gonna convince me that man’s happy with Jaime’s ending--not when he’s been fighting for the exact opposite endgame for years.)

[themagiciansreccenter]

Author Spotlight: @quellthefire​

Every week we interview a writer from The Magicians fandom. If you would like to be interviewed or you want to nominate a writer, get in touch via our ask box.

First things first, tell us a little about yourself.

I’m a 26 year old queer woman who probably obsesses over fandoms more than is healthy. I went to school to study bones and infectious diseases, but ended up working as a barista and really love it most days. At some point I hope to go to mortuary school. I’m hopelessly obsessed with Marvel as well, and have been writing a lot of Steve/Tony fic lately, in addition to my usual Queliot.

How long have you been writing for?

I started writing fanfic about 12 years ago, but only recently got back into it after a years-long hiatus.

What inspired you to start writing for The Magicians?

I was so captivated by the friendship and sexual relationship between Quentin and Eliot in Season 1. At the time I never imagined the writers would develop it to the extent they have, so writing fanfic seemed like the only way to explore that relationship in the way I wanted to.

Who is/are your favourite character(s) to write? What it is about them that makes them your favourite?

I absolutely love writing Eliot. He’s my go-to point of view. There’s such an opportunity to explore feelings of lust and inadequacy, and I love writing about Eliot being awed that Quentin wants him. I also love writing banter between El and Margo. It gives me a chance to be snarky and crude and write lines of dialogue that make me laugh. And recently, I’ve been trying to challenge myself to write from Quentin’s perspective more, because I really love his awkward/excited stream of consciousness style of talking.

Do you have a preference for a particular season/point in time to write about?

I tend to veer towards a non-defined point in the middle of season 1. I absolutely love writers who dig deep into show plot points, but I always end up writing scenes where the point in time doesn’t matter nearly as much as the conversation and emotions that are happening.

Are you working on anything right now? Care to give us an idea about it?

I actually don’t have any Magicians stories in progress at the moment, because I need to fulfill some obligations for fic challenges in the Marvel fandom, but I’ve got some ideas for exploring post 4x05 Queliot. Much of my writing has had an angsty bent to it, so it’s been fun thinking about fluffier concepts.

How long is your “to do list”?

Ehh let’s not think too hard about that. It’s kinda daunting, but I’m slowly working my way through it. I tend to be very spontaneous in my writing method, and I’m trying to challenge myself to write things that are longer than a single evening’s worth of work.

What is your favourite fic that you’ve written for The Magicians? Why?

“Feelings are for Pussies and the Aesthetically Challenged” is probably my favorite right now, and also has had the biggest response from readers. It was originally intended as a one-shot, but basically every comment asked me to keep going, and that was such a cool experience to get ideas from readers and use them as inspiration to write two more chapters. I’m really proud of how many people seemed to enjoy it.

Many writers have a fic that they are passionate about that doesn’t get the reception from the fandom that they hoped for. Do you have a fic you would like more people to read and appreciate?

“Eliot and the Art of Sharing” for sure. It’s one of the first Magicians fics I ever wrote, and it’s kind of an odd one, but it holds a special place in my heart because it’s when I started developing the way I write Eliot and Margo’s friendship.

What is your writing process like? Do you have any traditions or superstitions that you like to stick to when you’re writing?

I tend to be very in the moment. I’ll get an idea and sit down on my couch or in bed to write for a couple hours, which can be quite difficult since I use my phone. I’m bad about writing at night before an opening shift. I’ve spent a lot of late nights I should be sleeping working on a story in the hopes of getting it posted. Waking up at 5 am for work sucks the next morning, but it seems to be how I write my best stuff.

Do you write while the seasons are airing or do you prefer to wait for hiatus? How does the ongoing development of the canon influence and inspire your writing process?

I joined the fandom in November of 2018, so I don’t have a lot of experience with the show airing, but I definitely wrote more on hiatus. A lot of my work exists outside of current canon, so I think the emotional aspect of whatever is currently happening with each new episode affects my writing much more than the actual plot.

What has been the most challenging fic for you to write?

I struggled to complete “Dancing on My Own” partly because it was such an introspective look at Eliot’s inner thoughts. I found myself channeling a lot of my own anxieties and intrusive thoughts, and that was difficult to write, but I think it really paid off to take a step back from writing it to give myself space to decide what I was comfortable with sharing about my own mental health struggles. I’m so proud of how it turned out.

Are there any themes or tropes that you like particularly like to explore in your writing?

I’m a slut for writing any fic where the two people in the ship are pining for each other, but are too scared to make a move. Add in the cast of background characters who start to realize what’s happening, and that’s my jam.

Are there any writers that inspire your work? Fanfiction or otherwise?

Fanfiction-wise, @ohmarqueliot, @sadlittlenerdking, and @adjovi are the people whose writing I first fell in love with in this fandom, and I keep coming back to their work. Outside of fanfiction, I’ve learned a lot through playing Dungeons and Dragons with a group of friends about character and world-building, and while it’s not traditional writing, there’s such a collaborative storytelling aspect to it that has massively influenced how I approach things.

What are you currently reading? Fanfiction or otherwise?

Right now I’m reading a lot of post 4x05 Queliot fic, (especially anything fluffy or smutty), as well as a lot of Steve/Tony MCU smut.

What is the most valuable piece of writing advice you’ve ever been given?

I saw Neil Gaiman give a lecture a few months back, and he told the audience that when he’s struggling to write that he makes himself sit at his computer and he tells himself he can either write or do nothing, but those are his only options. He said that usually he’ll get bored of staring at the wall pretty quickly, and start writing to save himself from the tedium of nothingness. As silly as it might sound, it totally works for me. It’s like a little hack for my brain that overrides the anxiety of starting a new story.

Are there any words or phrases you worry about over using in your work?

I definitely describe characters blushing far too much, and find myself using the same phrases a couple paragraphs in a row in most stories. Reading outloud as I edit helps a lot with that.

What was the first fanfic that you wrote? Do you still have access to it?

The one that immediately comes to mind was based off of Tamora Pierce’s “Protector of the Small” series. As a middle/high schooler I really loved her books and identified most with Keladry, the protagonist of that series. It was a post-series fixit fic resolving all the stuff I wish had happened. I tried finding it a couple years ago but couldn’t. I also wrote a lot of awful James/Lily Harry Potter fic back in the day, so that was probably the first stuff I ever wrote.

Self-edit or Beta?

Self-edit. I’m far too impatient to not post stuff the same night, and I get very stressed about other people editing my work. I’d like to eventually be able to handle having a beta, but I’m not sure if it’ll happen.

Comments or Kudos/Reblogs or Likes?

Yes please! I’m definitely the kind of person who closely monitors that stuff, as much as I hate to admit it. Comments are my favorite though. I absolutely love hearing from people who’ve read my work

Smut, Fluff or Angst?

I mostly read smut, write angst, and fluff is the sweet spot in that venn diagram.

Quick & Dirty or Slow Burn?

I’m impatient and usually go for Quick & Dirty, both in my writing and reading preferences, but I’ve been getting more into the delicious tension that is Slow Burns.

Favourite season?

Season two

Favourite Episode?

This is probably super cliche, but either 3x05 or 4x05.

Favourite book?

The Magician King

Three favourite words?

What the fuck

Want to be interviewed for our author spotlight? Get in touch here.

[echodrops]

How could allurance have been better developed so it would have become the most supported ship in the show?

I’m feeling super energetic tonight so I’m going to go write after this, but here’s a summary of what I think should have been done to make this better:

The AU where Allurance was better foreshadowed:

Season 1) Keep Lance’s flirting and Allura rejecting him, but give a slight glimpse of Allura looking somewhat frustrated that Lance is going off and flirting with Nyma or something. Also, give Lance and Allura a duo mission or training scene in which they work great together as team members, support each other as equals, and zero flirting happens. Somewhere in this scene, the fact that Lance likes Allura more than just as a passing thing should be brought up; maybe he asks her to dance at the party and when she rejects him, he plays it off in front of her but then shows the audience that he actually feels a bit hurt by it later. Something like that.

Season 2) Shit I forgot what episodes are in this season but I think Plaxum is in this season, right? I would have had Lance flustered about Plaxum’s behavior but also have a moment of him thinking about Allura and going “I already kind of… like someone else?” I would have added a scene of Lance talking to Allura one-on-one about the reveal of Keith’s background as a Galra, and have Lance listen to and respect her views, instead of everyone just shutting her down and acting like there’s no validity to her feelings. No flirting, just him being a good listener and helping her to talk through her anger and fear so that she can move forward and get back to seeing Keith as a friend. I think the episode where Allura and Keith run off together is in this one, so instead of Lance acting petty and jealous, have him genuinely worried for both Allura and Keith’s safety, and have him ask them to come back because it’s more important to face whatever is happening as a team than apart. When they come back, have Lance hug Allura in a non-romantic way, just as in an “I am so glad you’re safe” way. When Allura insists on going with Shiro to the Galra base and Coran tries to fight it, I would have had Lance start to agree with Coran, then stop and realize that no, he trusts and believes in Allura and this is something she needs to do. Also, sometime during this season, it needs to be implied that Allura has at least the starting of some interest in Lance, so that he doesn’t just look like a rebound later.

Season 3) Lance should have supported Allura for Black Paladin and explained that she had already been leading the team, so she is the most equipped to step in until they find Shiro. Personally, I would have skipped the entire clone!Shiro plot because it was pointless and unnecessary, and season three would have instead been spent searching for Shiro who would have been found or at least seen in episode cuts throughout this season, off on other planets hitching rides and helping out the locals. Instead of Lance supporting Keith in season three during the chase scene with Lotor, it would be Lance supporting Allura and telling her how much faith he has in her. I would add at least one scene in which Allura is frustrated with her slow progress with the Black Lion and confides her frustrations and her fear that she won’t live up to being the great leader that her father was (not a great paladin or great alchemist–Allura should have aimed to be a leader like her father). This could have been the watershed moment in which Lance finally got screen time to confess his fears and insecurities, which would have been properly listened to, respected, and addressed by Allura. The two could have reached meaningful mutual understanding, grown closer, and committed to working together not just to help save the world, but also to help each other grow as people. The idea of Allura and Lance being close friends and a TEAM should have been established by this season.

Also, after their meaningful talk, Allura should have had a moment of watching Lance walk away with a very fond look on her face, so that it could well-established that Allura had at least SOME feelings for Lance before Lotor came along. Shiro should have been reunited with the team at the end of season three, and Allura should have stepped down from the Black Lion only because she found it more useful for her to lead the coalition and correspond constantly with all their allies–i.e., she should have stepped into an even bigger leadership role (queen of like half the universe lol) at the end of this season.

Also, somewhere in this season, Allura should have given Lance the encouragement he needed to really break out and shine during at least one battle or scene, so that the viewers get the chance to see her supporting him in action and to see Lance growing in both skill and confidence.

Season 4) This could have been a season with little hints and nods here and there to Allura and Lance being great team members, closer and closer friends, and the first really obvious hints of the romance plot line coming in, although I think that Allura should have maybe gone a bit into the “oblivious to her real feelings” category so that it wouldn’t make her look heartless when the whole deal with Lotor suddenly popped up. Mostly the same this season but the Voltron Show should have, instead of poking fun at Lance’s “lover boy” stereotype, instead of poked fun of his being whipped for the princess and Lance should have been like “Coran, this is totally not realistic at all!” while Pidge and Hunk are in the background like “Hmmm, are you sure??” By the way, Keith never would have left with the Blades because that whole plot line was dumb, so instead he’s just in the background of all these Allura and Lance scenes rolling his eyes.

Season 5 and 6) The whole “Lance is petty and jealous” over Lotor would not have happened. Or, maybe he would have started it and then taken a big deep breath and realized verbally or mentally (for the audience to hear) that he’s being a defensive jerk and he needs to make take a step back from the situation. He would apologize to Allura for acting out and let her know that the real reason he was acting this way is that he’s worried about not just Voltron and the future, but also about her personally, that he doesn’t want her to get hurt, but that if allying with Lotor is what she thinks is the best decision, he’s always respected her as a leader and he’ll go along with her and support her no matter what. After this, THEN we could get the scene where he confesses to the mice (or geez, you know, like another human being? Because Lance does have friends he could talk to, because in this AU the team is actually… you know… a TEAM? Better–Lance confesses his deep feelings for Allura to Keith, who pulls a “That’s rough buddy,” Zuko moment for comedic effect, but then does genuinely try his best to be a supportive friend because hey, they could have solved the Klance drama by making Keith and Lance into bros who support each other as friends instead of playing them off as overly-invested rivals?) So, Lance has meaningful flashbacks to all the great times he spent with Allura throughout the series so far, and confesses his feelings, and this time the audience genuinely believes him and feels the pain of his (seemingly) unrequited feelings for Allura.

Meanwhile, we see Allura struggling as she gets closer to Lotor, weighed down by the fact that Lotor doesn’t have Lance’s trust… The series could have made a huge point here: Allura glomed on to Lotor because she thought he was a kindred spirit, someone who thought like her and valued the same things as her–only to realize that the person who respected, valued, and supported her and everything she stood was Lance, right beside her the whole time. Little differences in Lotor’s behavior versus Lance’s would have been the hints to Allura that something wasn’t right, even before the whole colony thing (which actually if I had a choice, I would get rid of–just make Lotor a well-intentioned extremist without reducing him to a Hitler stereotype, please), and when Allura realized that Lotor never truly supported and respected her the way Lance did (and, you know, that he’s still carrying out a plot that only benefits himself) would have been the defining moment where Team Sincline and Team Voltron had to part ways. In this way, we avoid the issue of Lance looking like a rebound–instead, it will look like Lotor was the misstep and Lance was the right choice all along. This could also have been the moment where Allura realizes that her feelings for Lance aren’t just friendship but actually romantic.

Season 7) I didn’t watch this season so I don’t know what happened, but I would have slowly unfolded the romantic plot throughout this season, ending with Allura and Lance just tentatively hinting to each other about their feelings–maybe a nervous hand hold right at the end of the season finale, and a cut to credits with them looking anxiously but hopefully at each other.

Season 8) Plot happens. Lance and Allura continue to be amazing teammates and supportive friends to each other. Their romance plot line isn’t the focus, but the other characters try to tease Lance about it a time or two; at least one joke episode is dedicated to Lance and Allura attempting to go on their first date but every single being in the universe somehow accidentally getting in their way. The series ends with Allura deciding to found the coalition’s central command on Earth, so that she can stay with Lance (and his family, because god, she’s so happy to have a full FAMILY again) and also still fulfill her duties as leader of essentially the known universe.

TADA. I’m not saying this is perfect but I feel like most seven or eight-year-olds could have written a better romance than what I saw of Allurance so far.

[stevenuniversallyreviews]

Episode 94: Greg the Babysitter

“We all gotta grow up sometime, right?”

Right off the bat, this episode’s greatest weakness is that we don’t see Baby Buck and the Baby Pizza Twins as we do in Lamar Abrams’s promo art. How dare we not have more baby teens?

Lack of infant variety notwithstanding, this is a great episode, if not a subtle one. Greg is no stranger to hammering out the lesson of a story, but here it’s made so explicit so often that it threatens to weaken the actual plot. Fortunately the plot does a good enough job of showing that it makes up for all the telling, but still, it’s so on the nose that Vidalia calls Greg out when he belatedly repeats the moral it in response to an unrelated statement. 

(But to be clear, this is a story about growing up. Growing up is what this episode about. Gaining maturity is valuable. Emotional development is important. Taking responsibility as you age: good. Staying a kid forever: bad!)

As with Annoying Steven early in the series, this lesson is achieved by presenting us with Douchebag Greg. Douchebag Greg slums around and mooches off a single working mother, depriving her of her own food and taunting her for working to feed her child. When tasked with babysitting, he does what he wants instead of focusing on what a baby might need, and when the kid goes missing, his search includes a pit stop to the arcade to play video games.

This is the second episode where Greg is awful for the bulk of the runtime, and the first, House Guest, was so bad that it earned my inaugural “No Thanks!” rating (a brutal assessment, I know). By that metric you might think I’d dislike Greg the Babysitter as well, because boy oh boy is Douchebag Greg unlikable. But the key difference is the level of intent: even looking past the age and maturity gap between these two Gregs, the Greg of House Guest chooses to lie to his son despite seeing how hard Steven takes it, while Douchebag Greg’s actions stem from sincere cluelessness. Neither is great, and younger Greg is still old enough to know better, but ignorance is far more digestible than purposeful shadiness from this character.

Both House Guest and Greg the Babysitter stay somewhat true to Regular Greg by making him driven by love, whether it’s paternal or romantic. The problem of House Guest is that this emotional core is tainted by him wronging Steven in a way we’ve never seen before or since (compare his feigning of an injury to his negligence in Maximum Capacity, where he instead makes a mistake and is immediately regretful). Nothing in Greg the Babysitter diminishes any sense of authenticity about Greg’s feelings for Rose, because for all his flaws, he doesn’t take advantage of Rose or their relationship.

Moreover, I appreciate that his flaws come from the same character traits that kicked off this relationship, which so far has dominated his flashbacks: Greg is a dreamer and a romantic, which works great in Story for Steven, and he takes the relationship seriously, so he matures on that front in We Need to Talk, but now we see that he’s so focused on Rose that he’s ignoring every other element of life as a functioning adult. 

This episode works because Greg is realistically irresponsible. His head has always been in the clouds, and now he’s in a relationship with someone that’s literally magic, so he has no incentive to reflect on himself barring a dire situation. But this episode excels because Greg’s decision to grow up has nothing to do with Steven. We get the groundwork for Rose wanting a kid, but Greg getting his act together is something he does for himself. It would’ve been so easy for this shift to be prompted by impending fatherhood, but it’s far more satisfying to see a character improve himself because he wants to, rather than out of obligation to others. It allows the moment he takes agency to be triumphant without being mixed up in a sense of begrudging acceptance of his duties.

Finally, while I still think it’s ridiculous that the Crystal Gems treat him like a total flake in Laser Light Cannon given his clear improvement since the Douchebag Greg days, it does make a little sense that beings unaccustomed to change would have a hard time getting past this first impression. If you go back and watch the second season of the series after Greg the Babysitter, it’s not hard to imagine which Greg they’re talking about. It’s a stretch, because they’ve seen plenty of evidence to contradict this impression, but if you’re looking to explain their behavior then it’s the best reason I’ve got.

Greg the Babysitter marks an unspoken milestone in the series: this is the last time we’ll ever see Rose Quartz before her web of duplicity begins to unravel. In just four episodes, we’ll learn that she bubbled Bismuth away and lied about it to everyone. In another three, we’ll hear that she shattered Pink Diamond. The veracity of that second part is irrelevant, because the truth only further proves her capacity for deceit. We’ve seen already that Rose wasn’t perfect, but this is her final appearance before the dominoes begin to fall. One last happy memory that directly leads to the creation of our show’s title character, in an episode that emphasizes how dreaming is nice, but reality will always force people to make a change.

We see way more of Rose in this swan song than we did in Story for Steven or We Need to Talk, and like Greg, her mistakes here can be attributed to cluelessness. She admits how confusing humans can be for her, particularly babies, so it’s hard to blame her for not taking good care of Sour Cream. It’s especially hard to blame her considering how excited she is for him to exhibit independence. And it’s impossible to blame her, at least for me, when she references one of my favorite dumb Simpsons jokes in regards to watching him.

The Pink Diamond revelation adds new layers to her explanation that Gems are made for specific purposes, but the funny thing is, it doesn’t add that many new layers: even before learning just how high up Rose was, we still knew she was rebelling against what she was made to do. I think the more interesting aspect of her speech is how it lines up with Bismuth’s repetition of her insistence that Gems could break away from their intended roles. Seeing Rose talk about it here, less than twenty years ago, is made fascinating by knowing she was saying the same thing thousands of years ago. For a Gem that’s interested in change, she hasn’t really changed that much. It’s one thing for her to know that and talk about it, but it’s another for us to see it in action.

I love how an episode that’s this unsubtle (about being a story about growing up, in case you didn’t catch it) manages to quietly explain why Steven exists. We see a baby, and we see Rose loves babies, and we see Rose admires the human capacity to change, and we’ll soon see that Rose herself stagnated there a little bit, but we leave it at that. Judging by the age difference between Sour Cream and Steven, it’s a few years until she and Greg make an actual decision, so it makes sense to not reference it too explicitly this early, but it’s still a direction the episode could’ve taken and I’m very glad it didn’t.

I’ve made no secret about how much I love Brian Posehn voicing Sour Cream with his regular grown man voice, so obviously the best part of this episode is his further use of that voice for Baby Cream. It’s the gift that keeps on giving, and by itself ensures that Greg’s dickishness can’t pull the episode too far down. As with Onion Friend, the strange connection between Sour Cream and Steven is left unspoken, but it’s wild to consider that this side character is a big reason why our protagonist exists. While I’d be fine with this continuing to be a quiet part of the backstory, I can’t say I wouldn’t be interested in seeing Steven and Sour Cream talk about it one day, even as a small gag. 

Onion Friend was also the last time we spent any meaningful amount of time with Vidalia, and it’s neat to fill in some gaps between her debut cameo in Story for Steven and her modern iteration. Marty’s flakiness is further proven by her being a single mother from the start, but she’s clearly risen to the occasion and loves the hell out of her kid. Her patience with Greg is tested by his awfulness (and honestly makes said awfulness hard to watch, given how much is on her plate), but it speaks volumes that she’s so welcoming to the ex-friend of her ex. She’s probably the only human Greg knows in Beach City at this point, and I honestly wish we saw more of their modern relationship when we have such a vivid image of their history.

I Think I Need a Little Change might not reach the rocking heights of Comet or What Can I Do For You, but it’s catchier than either and has that wonderful twist on the double meaning of “change.” The wordplay speaks for itself, but it’s a cool trick to reveal that this musical montage is as diegetic as the other two songs: this is something he’s actually singing to people. We get a hefty break from songs after Mr. Greg, so that might be meddling with my opinions, but I think this is my favorite of the three. Puns beat electric guitar, and the song crystalizes Greg’s similarity to Steven come Change Your Mind.

And so we end Season 3, Act 2. We’ve had the aftermath of the Cluster, and we’ve had a series of slice of life episodes from this particularly magical life, but we’ll soon be back to the high-octane plotting of the Cluster Arc. It’s a bit strange that Greg the Babysitter comes between Alone at Sea and Gem Hunt, considering the Jasper of it all, but it’s nice to have this respite before we barrel towards the pivotal moment of Steven’s series-wide arc, especially when this respite tells us a lesson that’s about to become a lot more obvious in the coming storm:

Steven Universe is a story about growing up.

Future Vision!

Good thing nothing bad happened to Sour Cream, or else Greg would’ve had to pray that his space goddess's magic could bring people back from the dead. That would be a ridiculous power!

If every pork chop were perfect, we wouldn’t have inconsistencies…

Vidalia got this top from the T-Shirt Shop where she works. This top has a collar. T-shirts do not have collars. It’s unresearched nonsense like this that makes Cartoon Network put this show on hiatus so often, come on people.

We’re the one, we’re the ONE! TWO! THREE! FOUR!

While I do enjoy this episode and stand by it being great, I don’t necessarily love things that I critically find great. Greg the Babysitter doesn’t do quite enough on the emotional level to make me truly love it, considering how much time we have to spend with Douchebag Greg. I appreciate the importance of his douchebaggery, and the importance of this episode as a whole, but this isn’t an something I go out of my way to rewatch. Sorry, Baby Cream. I still like it!

Top Fifteen

Steven and the Stevens

Hit the Diamond

Mirror Gem

Lion 3: Straight to Video

Alone Together

The Return

Jailbreak

The Answer

Sworn to the Sword

Rose’s Scabbard

Mr. Greg

Coach Steven

Giant Woman

Beach City Drift

Winter Forecast

Love ‘em

Laser Light Cannon

Bubble Buddies

Tiger Millionaire

Lion 2: The Movie

Rose’s Room

An Indirect Kiss

Ocean Gem

Space Race

Garnet’s Universe

Warp Tour

The Test

Future Vision

On the Run

Maximum Capacity

Marble Madness

Political Power

Full Disclosure

Joy Ride

Keeping It Together

We Need to Talk

Chille Tid

Cry for Help

Keystone Motel

Catch and Release

When It Rains

Back to the Barn

Steven’s Birthday

It Could’ve Been Great

Message Received

Log Date 7 15 2

Same Old World

The New Lars

Monster Reunion

Alone at Sea

Like ‘em

Gem Glow

Frybo

Arcade Mania

So Many Birthdays

Lars and the Cool Kids

Onion Trade

Steven the Sword Fighter

Beach Party

Monster Buddies

Keep Beach City Weird

Watermelon Steven

The Message

Open Book

Story for Steven

Shirt Club

Love Letters

Reformed

Rising Tides, Crashing Tides

Onion Friend

Historical Friction

Friend Ship

Nightmare Hospital

Too Far

Barn Mates

Steven Floats

Drop Beat Dad

Too Short to Ride

Restaurant Wars

Kiki’s Pizza Delivery Service

Greg the Babysitter

Enh

Cheeseburger Backpack

Together Breakfast

Cat Fingers

Serious Steven

Steven’s Lion

Joking Victim

Secret Team

Say Uncle

Super Watermelon Island

Gem Drill

No Thanks!

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