#i do have some slowburn storylines planned out | Explore Tumblr posts and blogs

ugotnojamzzz · 7 months ago

Text

Rulers of Ruin

Chapter 3

Alright so I’ve been toying with this mafia!au fic idea for a long while and I guess it’s time to give it a whirl. I already have about ten chapters written out (I’m expecting it to be at least 20 chapters), but I want to test out the waters first. I’ll start posting more if some of you are interested in knowing what the hell is going on.

Genre: Mafia!au , Slowburn, Angst, Hurt, eventual smut, TW (it is a mafia!AU, after all)

Pairing: Mafia!Jungkook x reader

Synopsis: um, tf is going on??? Stay tuned for more chapters to come.

Disclaimer: English isn’t my native language. Also, don’t come for me over the theme, people. It’s an Alternate Universe, which means the bangtan boys are essentially what I like to call meat puppets to serve the storyline. This is obviously not a projection of their actual real-life personas.

Wordcount: 2.6k

Chapter 2

Masterlist

YN lay sprawled across the plush bed, her gaze fixed on the ceiling as she counted the tiles for the umpteenth time. For the past few hours, boredom had been her constant companion, proving far more excruciating than distress.

A soft ding interrupted her silent count—the distant sound of the elevator door sliding open. Her ears perked up, straining against the quiet that followed. The scrape of porcelain against silver floated through the air, and her heart quickened.

Someone was coming.

YN rolled off the bed, her movements swift and silent. She was on guard; every new sound or presence was a potential threat—or opportunity. Peeking through the slight gap in her bedroom door, her eyes narrowed on a figure maneuvering a trolley into the living area.

The visitor was a woman, short and stout, moving with an efficiency that belied her old age. She was quiet, her feet barely making a sound on the lush carpet as she pushed the laden trolley towards the table. The woman seemed unarmed and alone, an ID badge swinging gently at the side of her uniform.

There was something almost laughable about the situation. An old lady, really? YN thought wryly. You’d think Namjoon would at least have the decency to throw an actual challenge her way.

Still, here was an opportunity. The woman looked harmless, her back turned, fumbling slightly with something on the trolley. YN felt a pang of something akin to guilt—she didn’t particularly enjoy the thoughts crossing her mind, but survival in this world rarely came with the luxury of choice.

Meh, YN reasoned, she must’ve had a long-enough life, anyway.

Shaking off the hesitation with a cold snap of resolve, she slipped back towards her bed and grabbed a pillowcase. Simple, effective. It would have to do. Clutching it tightly, she stepped out of the bedroom, her presence as discreet as a shadow trailing across the moonlit floor, her movements honed by years of training to leave no trace.

The old woman’s back was still turned, her attention focused on arranging the items on her trolley with meticulous care.

Creeping closer, YN's hands tightened around the fabric, her every sense heightened. The soft rustling of the woman's uniform was like thunder in YN's hyperaware ears. Just a few more steps and she could reach out, seize control of the situation, and who knows, perhaps even secure her escape.

Just as she was about to make her move, a steady voice broke through the silence.

"Young lady,” the old woman spoke without turning around, “I would advise against whatever it is you’re planning on doing with that thing."

Stunned, YN halted in her tracks, her grip on the pillowcase loosening. "How d—"

“I’ve been weaving through the shadows of this house since before you drew your first breath, my dear,” the woman said, finally turning to face YN. Her eyes, a sharp contrast to her gentle demeanor, bore into YN’s. "And I have seen more than my share of young folks convinced they could outmaneuver their fate."

Once thing was clear: this was no ordinary maid.

“But you’re smarter than that, I’m sure.” The woman's eyes flickered to something behind YN. Following her line of sight, YN glanced at the security cameras mounted on the walls.

“You must be Mrs. Shin,” YN remarked with a resigned sigh.

“And you,” she replied, lifting the silver cloche to reveal a steaming plate of food, “must be famished”. YN's stomach betrayed her with a timely growl. She couldn't quite remember the last time she had eaten. Still, she remained rooted in place while the older woman arranged the tray meticulously on the table.

“It’s not poisoned,” Mrs. shin commented, catching YN’s hesitant glance, «if that’s what you’re wondering.”

YN maintained her silence, her eyes lingering on the food.

“In any case,” Mrs. Shin added, a twinkle of humor in her eyes, "I can assure you, wasting away from hunger is a far duller end. Still, the choice is yours."

Their eyes locked, a silent battle of wills. Finally, YN's resolve softened, her survival instincts kicking in. She seated herself slowly, her movements measured.

“Wise decision,” Mrs. Shin noted with a nod, her lips curling into a faint smile.

YN's eyes scrutinized the tray, noting the absence of any cutlery except for a single spoon. It seemed impractical, almost mocking in its simplicity. She met Mrs. Shin's gaze, an unspoken question hanging between them.

“Well, you couldn’t expect a knife and fork,” the woman said, her tone light but her eyes sharp. “And while we do usually allow chopsticks, Namjoon insisted on something less- pointy for now.��

“Usually?” YN echoed, her tone sharpening with curiosity, as she started digging into the food. “How often do the Kims bring outsiders into the family estate?”

Mrs. Shin looked back at her, amusement painting her features. "Who said anything about a family estate?" She sat down across from YN.

“It’s kind of obvious, isn’t it?” YN remarked, her mind flicking back to the meticulous arrangement of personal artifacts she had glimpsed in her brief walk through the house—distinctive heirlooms and portraits that seemed too imbued with sentimental value for a mere operational base.

“Still observant as ever, I see,” Mrs. Shin commented.

YN’s eyebrows knitted together in confusion. “Still?” she asked.

“Ah,” Mrs. Shin paused, a knowing smile creeping across her face. "The eye of the raven with the memory of the goldfish—quite the combo you’ve been given."

YN’s response was an irritated scoff. She wasn’t accustomed to being on the less informed end of conversations, and Mrs. Shin’s insinuation chafed at her pride.

"I don’t blame you, really" Mrs. Shin continued gently, a thoughtful pause punctuating her words. "You must’ve been… 9 or 10, that day, always hiding behind your older brother," she added, her tone softening. A flicker of irritation crossed her features as she recalled, "That rascal," she muttered under her breath, "kept scraping his teeth on the silverware like a wild thing."

As YN processed her words, she absently glanced at the silver spoon in her hand, its tiger motif strikingly familiar. Mrs. Shin watched with a knowing expression as YN carefully traced the spoon's design with her thumb.

"I believe it was black sesame pudding," The old woman said nonchalantly.

Her words seemed to trigger a cascade of half-buried memories, recognition slowly dawning on YN’s features.

She finally spoke. "It was here," her voice barely more than a whisper. "wasn’t it?" she paused, looking up to meet the old woman’s gaze, “The Summit.”

Mrs. Shin didn't reply directly, but her lips curled into a slight smile as she rose from her seat and walked to the tea set. Her wrinkled hands gently lifted the delicate porcelain teapot, steam swirling up as she poured the fragrant brew into two matching cups.

Yes.

The Summit.

Once every decade since the Mutual Prosperity Charter had been signed, the five original clans—each a pillar of clandestine influence—would congregate to reaffirm their tenuous truce with an event known as the Unity Summit.

It was nothing short of a grand ballet of diplomacy, a way to remind everyone of the precarious balance of power that held their world together. And, while the gatherings were designed to celebrate peace, they were also used as an opportunity for each clan to showcase its strength and splendor.

YN had been to just one such event in her youth, hosted by the Tigers—the Kim clan. Only now did she realize these were the same walls that had encircled it. She was astonished she hadn't realized sooner. Her recollections of that day were still crystal clear.

After all, it was the first and only time she’d met Namjoon before.

***

The grand hall itself was a testament to the event's significance, draped in rich banners and ancestral crests. Conversations dwindled into silence as YN, squeezed between the towering figures of her brother and father had walked in, their footsteps echoing through the vast space.

The crowd of dignitaries and delegates parted to make way, acknowledging the family's authority with nods and murmurs. Eyes filled with respect and a hint of fear turned in their direction as they strode towards their host.

Once they reached Kim Eungsoo and his wife, YN felt her father's grip tighten on her shoulder—a silent command for unwavering propriety. She straightened her back, drew in a breath, and lowered herself into a deep bow before the imposing figure of the Kim patriarch. Her eyes briefly met his, lingering on the nasty scar that ran across his stern face. A chill brushed her spine, and she quickly shifted her gaze down in respect.

Drawing herself up, YN’s eyes shifted to the boy who stood confidently besides the leader.

Only 12 at the time, Namjoon already carried the air of someone burdened with expectations, a seriousness far beyond his years coloring his features. Awkwardly caught between boyhood and the precipice of command, he was unusually tall for his age. His face was conspicuously smooth, freshly shaved, though there was no stubble to speak of, and his suit a miniature mirror of his father's. He was quiet. Focused. YN remembered seeing his eyes darting towards his father throughout the day, his young mind already threading through the maze of clan politics, yearning for a seat among the decision-makers.

YN had been similarly ensnared in the silent dance of expectations. Her hair was woven into a braid so tight it seemed designed to squeeze any hint of rebellion from her skull. The stern eyes of her governess loomed at the periphery of her vision, a silent sentinel ensuring her posture remained as straight as her lineage.

They both spent that banquet afternoon ensconced in the polite but distant company of the other clan leaders' children.

The Kang quadruplet daughters, with their sharp whispers and mean-spirited giggles, huddled together like a litter of scheming mice.

The Choi brothers were in their own world, it seemed, their boisterous energy manifesting in endless arm-wrestling matches, while their infant sister slumbered undisturbed, a serene island in a sea of chaos.

The Lee siblings stood apart, a trio of statuesque figures, their expressions unreadable and their poise as perfect as porcelain figures on a mantelpiece. They carried themselves with the regal aloofness of royalty mingling with commoners, watching the festivities with an air of superiority and detached amusement.

Amidst it all, the Park heir, YN's older brother, moved with newfound importance. At only 17 years of age, he had freshly been inducted into their clan's inner circles, earning him a coveted spot at the adults' table alongside the eldest Lee son. He wore his responsibility like a mantle, his young features set in determined imitation of their father’s grave expressions.

YN, from her distant vantage point, watched them with a detached curiosity, wondering about the weight of the conversations that included him and excluded her.

Overall, that day had been an absolute bore.

The one highlight of the day came when dessert was finally served, gleaming invitingly in delicate bowls accompanied by shiny silver spoons.

Black sesame pudding.

She indulged with the enthusiasm only a child could muster, her lips and tongue turning a dark grey color. Her governess, less amused, delivered a swift reprimand—a slap that stung far more than the fleeting embarrassment of being scolded. Tears welled up, not enough to draw attention, but sufficient to send her seeking solitude.

Hidden away in a secluded corner, nursing her bruised pride more than her reddened cheek, YN was startled by a presence next to her. A lady had knelt beside her, eyes soft with concern. “Everything alright, little bird?”

***

YN glanced up at Mrs. Shin, who returned to the table, setting the teacups down with practiced ease.

“You gave me a sweet that day,” YN recalled, her tone casual yet pointed, as if to underscore the precision of her memory, “the chewy, ginger kind.”

“Never seen a teary eye that couldn’t be fixed by Jocheong taffy,” she replied warmly, pushing a cup gently towards YN. "Go on, now, drink up."

YN obeyed, the warm liquid sliding down her throat soothingly. She set the cup down with a deliberate clink, “So,” she broke the silence, her eyes hardening, “this is all Namjoon could muster?” she asked, her voice dripping with skepticism. “Send the meek, old lady to tame me?”

“I may be old,” Mrs. Shin retorted, her voice steady and her back straight, “but I am certainly not meek.” Her eyes flickered briefly to the faded clan tattoo peeking out from under her uniform—a relic from a past that whispered of untold stories and battles fought. Clearly, the old woman had earned her stripes one way or another.

“And Namjoon didn’t send me,” Mrs. Shin continued, her tone turning wry. “I changed that boy’s diapers. He knows better than to give me orders.”

“So, you volunteered?” YN’s eyebrows rose slightly, intrigued. “How sweet.”

“I must have a soft spot for outcasts," Mrs. Shin admitted, her gaze softening just a touch as she considered YN, seeing perhaps a reflection of someone else. “But truth is I’ve simply always taken care of the attic,” she added.

« Not exactly much to take care of, up there," YN sent her a confused look, “It’s an unoccupied suite.”

"Appearances can be deceiving," Mrs. Shin replied, her eyes twinkling, “you ought to remember that.”

"Oooooh,” YN mocked, a light laugh escaping her despite the slight heaviness beginning to cloud her mind. “Are there ghosts roaming around I should look out for?"

“I guess you could say that," Mrs. Shin said with a cryptic smile. “Of course, ghosts aren’t the only lost souls lingering up there.”

YN took another sip from her cup and tried to focus on Mrs. Shin’s face. The edges of her vision blurred slightly, and she felt a growing fog settling in her mind. "So… what-» Her words felt thick, her tongue growing sluggish.

YN's head began to feel heavy, her thoughts muddled as if fog was rolling through her mind.

Mrs. Shin tilted her head ever so slightly. "You’re looking a little pale, dear," Mrs. Shin remarked in a gentle tone that carried a steely undertone.

YN tried to focus, but the woman’s face seemed to blur and swim out of focus. She felt a strange heat rising through her chest and head and opened her mouth to respond, but the words wouldn’t come out right. Her hands felt strangely detached from her body, her fingers tingling as she gripped the edge of the table. "W-what the fu-"

"I said we wouldn’t poison you," Mrs. Shin interrupted calmly, her words echoing through YN’s brain like a distant lullaby. "Not that we wouldn't- temper your spirit."

YN glanced down to the bottom of her teacup, her hand trembling. It was then she noticed a faint residue, something she hadn't seen when she first started sipping.

"Son of a bitch," YN muttered, her voice fading as darkness crept in at the edges of her vision.

Mrs. Shin’s tender voice echoed through her mind just as everything went black.

"Sleep tight, little dove."

Hope you liked it. If some of you are intrigued or interested in finding out more, don't hesitate to interact and I'll start posting some more chapters!

Chapter 4

Masterlist

Taglist

@princess-sunshyn

31 notes · View notes

caesarflickermans · 4 months ago

Note

I’ve followed you for Years and I find it so funny how you went from shipping Hayffie to not and then it’s me that went from Not to shipping them ajaj. We switched! I grow up and I tend to love more adult ships especially very much complicated and almost doomed adult Dynamic. I should stop cause in every show/movies/books the adult ones don’t get much happiness. I should have known tho since Kane & Abby (they started it!!)

I so fondly remember Kane and Abby!! I shipped them back when I was watching the first few seasons of the 100 too :')

Adult ships have equally interested me more than teen ones even when I was a teen. There seemed to be so much drama around them that I much preferred calmer ships with characters that felt more settled rather than teens going through journeys discovering themselves. Funnily, in recent years I've felt more appreciative toward teen stories & teen ships—I enjoyed Alice Oseman's Radio Silence—and I've enjoyed thinking about modern high school verses for the Capitol rebels :> Me adding Cressida & Fulvia to the 'cast' is also moving down in age ranges, although they are both mid twenties.

And hmm! I think I've just gotten fed up with the movie version of Hayffie. While I understand the enjoyment to have Effie in 13, she seemed to be there for some light-hearted moments in an otherwise bleak movie. I wish they would have made her endure true hardships to really settle a character's journey, because to this day I don't see why Plutarch would've taken her along, why she did go unpunished in 13, or her truly GAF about the rebellion. It seems that for all the development they had her go through in CF, there was little beyond that in both MJ movies.

Overall, movie!Hayffie felt so rushed and ignorant to the journey these characters have had. Haymitch and Effie spent years at odds with each other. Whenever they were in contact, Haymitch was drunk trying to ignore the fact he was part of an entourage dragging two kids Effie picked to the Capitol who would inevitably die, and whose parents he might or might not have to face for the rest of his life. This all happened while Effie yapped about how boring, uneducated, or downright uncivilised she thought these children were. These characters are at such strong odds that I do not see them moving past that in the span of a year and a half.

We were robbed of a slowburn we were never going to get because these were side characters whose love story was never planned until fans asked for one.

Hayffie needs a truthful slowburn to properly work, and the kiss at the end of MJP2 was a final nail in the coffin for me. The flirtations were already a little too frequent, but this kiss clearly was not their first, and that indication did not at all align with my need for a slowburn Hayffie. The fact that the actors were the ones who pushed for this, and that I don't like E-Banks, makes this less a thought-out storyline and more a "well, let's smooch, this feels right!"

The issue with Hayffie is that, after the end of MJ, they aren't really forced into contact with each other anymore. I don't see why Haymitch would care enough for Effie to stay in contact, and I don't really think Effie's life centres around a guy who she appeared to be disgusted by for the whole two to three weeks per year she was forced to spend her time with (and to everyone who might say that, no, Haymitch is a looker: He had been abusing his body with alcohol for two decades and did not seem to bathe often).

That's not to say that, in such a potential slowburn, Effie cannot realise that she cannot shake off the horrors that happened to her in the book. She might end up getting in contact with Haymitch, but she also sort-of really needs a reality check about how her ignorance made her selfish, because I don't see any evidence anywhere that Effie felt any semblance of guilt for her participation or felt grief for the previous tributes.

So a rather rough phone call might make her think, re-watch, and re-evaluate her past actions. That doesn't happen overnight, but takes months and years to come to terms with.

This is the central aspect I think is amiss in the Hayffie canon story and in most ideas that I was surrounded by. Effie needs to apologise, and it needs to happen from genuine growth that I find doubtful to happen during the canon book timeline.

From then onward, maybe a friendship can develop with some calls ever so often, maybe Effie sending him a gift by the next train as a thanks for a particularly rough call. While I don't necessarily see Effie as too bound to the Capitol due to potential trauma after the book time in MJ—she might live in some of the "better" Districts—I struggle to see her move to Twelve. And I don't see Haymitch leaving his home, ever.

So whatever they might—maybe, with an abundance of what ifs attached—become is going to be reduced by distance and, frankly, age and health. I'm sorry to Mr. Abernathy, but his alcohol abuse is not guaranteeing a long life. By the time that Effie might come around, I think he won't live much longer. Even in this version they don't end up in a romance, but at least I can see some platonic affection and appreciation—once Effie actually understands and listens.

I've also seen more Hayffie content I did not enjoy than enjoy (which was... fairly little) and just. realised that discrepancy. My issues with the portrayal of these two in the fandom were that I've often seen them reduced to stereotypes, phrases, and punchlines. There's only so many times that Effie telling Haymitch "Manners!" is funny, especially if we link this back to the never-addressed undertones of colonialised-colonialser here. I've also at some point realised that this is one of the ships where the dynamics are that of damsel-helper, whereupon Effie's trauma was a frequent and serious topic while Haymitch's drinking problems were the bottom of jokes.

But maybe I've also grown old and cynical so sayonara

#inbox #anon #hayffie #effie trinket #haymitch abernathy #<- do know i use tags to sort my blog #this is not done to like. enter fandoms or something i promise #also much of my dislike for them comes from wanting #something better and more thought-out :)

13 notes · View notes

lover-of-mine · 1 year ago

Note

i’m always interested in your analyses of the blue-green thing! colour is such a cool way of expressing themes or parallels and when you look at it laid out with all the couples, it’s so clear and non coincidental lol

“up until 6b they were really careful with this particular implication of romantic undertones with buddie and that's out the window now” is this in reference to how they carefully set up buddie’s themes and storylines over 5 seasons and then fucked it up in just a few 6b episodes? 😅

because honestly that’s part of the reason why i don’t have much hope for canon in season 7, i feel like they’ve suddenly backtracked on their relationship for some reason and are gonna go all no homo and/or just ruin them completely

post about the blue and green thing

Okay, I'm gonna go conspiracy theorist here, and I may be giving the showrunners too much credit, but here's the thing, we know the threat of cancellation made them change things around during 6b, there's a very clear tone shift, they changed episode names, called actor back for reshoots, so they changed the way the season was supposed to go so it would work as a nice packaged little happy ending if they got cancelled. Personally, I believe that there is some higher plan with Buck and Eddie going on here, I think they are a slowburn that is still burning, and personally, that needs to burn a little bit more until they can have a relationship that would work (getting Buck back in therapy and letting them talk would be ideal) and if you wanna jump ship go for it, I don't blame you, this shit is frustrating. But the thing is, they are very careful about how characters are constructed, and Buck and Eddie exist as mirrors of each other, and they also mirror canon romantic couple, bathena being the most blatant one. And they make a point to make sure that if you look at it closely, you can pick up on some romantic undertone, most major buddie scenes have that feeling that leaves you wondering. And it's not like the show doesn't know how to write friendships, because they do, so... choices. But going back to season 6, it might just be me, but I don't want them to get together for the sake of them getting together, there's a lot of build-up surrounding them for me to be satisfied with "and they kissed roll credits" (i love you *falls to gay superhell*, oh he had complicated feelings over the jeep) so I don't think they fucked it up, I think they didn't have the time to playout what they wanted to do with buddie in the space they had in season 6 and voted against rushing it since there was a chance the show was going to get picked up by someone else. Because it is still very easy to write off both Natalia and Marisol and keep whatever plan they might have and if they didn't get picked up just shoving them together would be unsatisfying. (In the end, it was unsatisfying anyway because the way they wrote the season makes a real effort into painting Buck, Eddie, and Chris as a family unity, so most things that don't end with them acknowledging this are unsatisfying, but it's an easy fix because the show didn't end, so)

Because, in the end, they are purposely writing Buck and Eddie as mirrors of each other, and it goes down to the first death on the job for both of them being someone falling to their death. You have the first love that ran away from them and came back without giving them real closure, you have the rocky relationship with their parents, you have the relationship they were pushed into by other people (Eddie and Ana and Buck and Ali if that's not clear), you have the way that Shannon is introduced and the next episode Buck gets a girlfriend, Shannon dies? Next episode, byebye Ali, Eddie starts dating Ana? Next episode, let's bring Taylor back into the mix, Buck is dating Natalia? What a wonderful time to have Eddie decide he's ready to put himself out there. You have the late confirmation they are the same age. You have the way they both escaped home, the way they found themselves in firefighting. You have the pretty blunt parallels between the shooting and the lightning and the well and the lightning, you have Eddie's will and the way Eddie decided to hide it (because they could have Eddie talk to Buck before changing and I've seen this playout between friends in other shows, but the choice to hide it gives a different feeling), you have multiple confirmations that Buck sees Christopher as his own, you have Eddie being hurt being Buck's berzerker button. One or two things are an accident, this many? They're on purpose, and I chose to believe there is some bigger, longer plan in action here. Sometimes I feel like there's a large percentage of the fandom who doesn't understand the stakes behind a network slowburn. Even shows like castle or the mentalist, where you KNOW they are gonna end up together, took like? 6 seasons? of build-up for something to happen? And like, I want them together, but with everything we have around them, I want them together in the right way, and yes, I think the show is delaying them because the stakes keep getting higher so it's harder to make it work, but I do have faith they can make something good work, just look at everything about them from 6x10 to 6x13.

Also, that particular statement was just about the blue and green thing because I actually looked at every scene where they are together, and they are never in those colors except for those two scenes, and the choice of shades of blue and green is very on purpose to be on accident, you know what I mean? And Buck and Taylor have multiple blue and green scenes, to pick the shades from the shooting is insane really.

Everything is on purpose, but a tv show is not like a book or a movie where everything is gonna be contained, you need to let the story evolve and adapt to the circumstances in which is being aired, and personally, I think 6x16-6x18 are just a detour, some construction on sunset lol, I think they had a choice to keep the season the way it was supposed to go and risk leaving the show feeling unfinished or shift things around and just leave Buck and Eddie feeling unfinished and they went with the second option, because it had less consequences.

Season 7 could absolutely go just kidding, no homo, but the thing is, you have two characters whose storylines are deeply tangled together, you can just sit them down, have them talk, say "you're my brother, dude" and goodbye, they're platonic best buddies. But I also don't think they would draw such a hard line because us crazy buddie shippers keep watching the show in the hopes of seeing them in the same frame together, and I feel like a significant part of people could give up the show altogether if they make such a blunt statement. And the showrunners know that, keeping us in the will they won't they thing helps their numbers and we are a significant enough portion of the viewers to make a difference. The hope of buddie brings audience to the show so I wouldn't expect a no homo thing. Or any hard line between them really.

But what do I know? I'm just a girl with a blog and a hyperfixation lol

#i have theories about season 7 #and the way bucktalia mirror eddiana and how bucks breakdown is coming #leading to a situation that would mirror the effect of the shooting #that would lead to a conversation #would that be another aborted love confession? would that be a plain old love confession? i don't know #i need more information than just i have a feeling to make that statement #shit this is long skaoskoaksoaks #911 meta #???#i really need a tag for asks #anon 😌#i could go on about this forever really sokasokaoskaosk #anyone want to hear my season 7 buddie spec that has no basis besides the voices in my head? sdoaksoaksokasokasoak #reading this back for typos i feel like i may sound a bit condescending and I'm sorry if it does that's not the intention #i just sometimes like to think about the show as a business #and it makes some choices make more sense that way but also makes everything more frustrating #because the goal ends up being numbers and we pay the price #quite literally sokasokaoskaosk

26 notes · View notes

thesupreme316 · 2 years ago

Text

Is the Grass Greener on the Other Side? EP.1

Genre: Feelgood, Angst, Slowburn

Pairing(s): Carmelo Hayes x Fem!Reader, Sasha Banks (Mercedes Mone) x Fem!Reader (Platonic), Bianca Belair x Fem!Reader (Platonic), Naomi (Trinity Fatu) x Fem!Reader (Platonic)

Summary: Y/N’s career and life is met with drama after she won the Smackdown Women’s Championship at Wrestlemania 38.

Word Count: 1,742

Supreme Speaks: FINALLY I HAVE STARTED THE SERIES! so i kind of lied in terms of the teaser, i was gonna input those things but I needed ✨drama✨. i will try my best to make this a slow burn series so bare with me. Thanks once again to @triscillal for the series premise/storyline and for trusting me with your vision. i hope you and everyone enjoys this. i hope everyone is doing well and remember you are loved and appreciated.

Warnings: slightly proofread, wrestling storylines (actions/reactions and participants) are changed, mentions of toxic relationship, please don’t take any negative depictions of characters to heart (i just needed “toxic” people)

Taglist (if you wanna be a part of it, lemme know): @triscillal @wwenhlimagines @hooks-martin @diabloguapos @sheinthatfandom @hookerforhook

January 2022- Royal Rumble

“She did it! Y/R/N did it! She’s going to Wrestlemania!” Michael Cole’s voice boomed from commentary as you pointed to Wrestlemania, making fireworks go off in the background. The crowd was on their feet, cheering. Happy tears were flying down your face, clouding up your vision. You got down from the turnbuckle and started walking to the stage, with the audience chanting “You deserve it!” in the background. You high-fived kids and thanked your supporters.

As soon as you got backstage you were tackled in a hug by Naomi (Trinity) and your cousin, Sasha Banks (Mercedes). You grinned as other people congratulated you, both friends and foes, including Charlotte Flair (who you eliminated last in the rumble). After completing an interview, you sat backstage with Trinity and Mercedes, discussing the plans for tonight and tomorrow.

“I’m so happy you won lil cousin.” Mercedes with a big grin. “I told Trin that if it wasn’t one of us, it had better been you.”

“Yeah girl, you truly deserve it,” Trinity said giving you a huge hug.

You debuted in WWE at 20, after being in the independent scene since you were 15 years old. You spent the latter part of your teenage years wrestling all over the world (specifically in Japan and the United States), so much so that you had to get your GED. But it was all worth it just to be able to stand in the ring. You won multiple championships and accomplishments in companies such as Stardom, Revolution Pro Wrestling, Shimmer, DDT, and Ice Ribbon; you quickly became popular in the wrestling community. But you always had a dream to wrestle in the WWE, especially alongside your cousin.

After being opted out of NXT, you debuted on Raw in 2016; before going on to win the Raw Women’s Championship 3 times and the Smackdown Women’s Championship twice. You’ve been toe-to-toe and head-to-head with the best, including Charlotte, Becky Lynch, Natalya, Mickie James, and Mercedes. But like how it is to everyone on the roster, Wrestlemania is a very important event to you, and being able to have a guaranteed ticket to it; is the best thing in the world at the moment.

“Thanks, y’all! Do you know who was supposed to win this year?” You ask

Both Mercedes and Trinity made a face. Mercedes rolled her eyes while asking, “Who do you think?”

You exclaimed. “Ah, Miss Part-Time.”

“Exactly. At times, I wonder why she’s here.”

“No, because it’s the fact people who have been working here for almost a decade and they don’t get half of the opportunities that Ronda gets. It makes no sense.” You said to pack up some of your things. You had respect for Ronda, in terms of her UFC career. But as a wrestler (and sometimes as a person), you had little to no respect for her. As a person who has given up multiple aspects of her life just to have the opportunity to get in the ring, you were beyond disgusted and angry at her perspective of the wrestling industry and towards your friends (including Mercedes).

However, that is a story for a little bit later….Now, you have to focus on an actual champ.

“But enough about her. What championship are you going win at the grandest stage of them all?” Trinity asked nudging you.

You gave a small smile, filled with determination and mischief, and said, “I’m going to win that Smackdown Women’s Championship from Charlotte Flair.”

And in 3 months, you did exactly that…

April 2022 - Wrestlemania 38

Imagine how you felt winning the Royal Rumble….okay…now times those emotions by 10,000.

That’s how it felt as the confetti came down, fireworks sounded off, fans chanted your name, tears overwhelmed your face, and your newly won championship was wrapped around your waist by Charlotte.

“Y/R/N has truly become the Real Deal in the WWE! After beating Charlotte Flair in a legendary match, Y/R/N stands before you, on the glorious stage of Wrestlemania, as your new Smackdown Women’s Champion!”

 “Y/R/N! Congrats!”

“Great performance Y/R/N!”

All these sayings and more just filled your ears as you hugged your parents, who were there at ringside. As you walked up the ramp of Wrestlemania, you took in the last couple of moments of the crowd before being met with even more cheers from your coworkers; being pulled into hugs left and right. Then Mercedes, Trinity, and Bianca Belair hugged you while bringing you to the photoshoot area. You took multiple pictures with your friends before going to your locker room.

“Girl, we’re gonna celebrate tonight!” Trinity exclaimed.

“No, we’re gonna celebrate after you and Sasha win those tag titles,” Bianca said making you laugh. You smiled before looking at your phone, looking through all your notifications. But your smile soon became a frown as you didn’t see the one you were looking for the one you wanted. “He didn’t text yet?”

Sighing, you said, “Nope. He said he was gonna be here. I haven’t seen him yet.”

“All you need to do is turn around.” A voice said behind you. You turned around and immediately started to squeal, running towards the voice. As you jumped their arms, their body rumbled with a chuckle. It was your boyfriend of six months, Carmelo Hayes. “My baby is so cute.” He gave you a bouquet of roses, filled with your favorite colors.

“Awe, look at the happy couple.” Bianca cooed.

“Thanks, baby.” You smiled, kissing him on the cheek. You lead him over to a private corner real quick as your friends kept making kissing faces.

“I’m so proud of you. My little champ.” You could honestly say that Carmelo is the best boyfriend you’ve ever had. He was so sweet: buying you gifts, showering you with love, and ensuring that you get the best of the best. “So what are we doing tonight? I was thinking candlelight dinner in that nice restaurant downtown-“

“Um, actually, I wanted to either go out to drinks with the girls or just go to sleep honestly. But you are more than welcome to come out with u-“

His smile dropped. “Are you serious?” Carmelo said, raising his voice. “You rather hang with your friends than me?”

On other days, you could honestly say that Carmelo is an arrogant and envious man on a bad day. But you told him (and yourself) that you would love him no matter what. “No, it’s just I haven’t hung out with them in a hot minute.”

“Y/N, You never have time for me now.”

“What are you talking about? We hung out after Stand & Deliver, literally two days ago.” You rolled your eyes before briefly glancing towards your friends, who were standing with concerned faces.

“Yeah, that was after I lost-“ He paused before squinting at you. “So what you think you’re too good for me now?”

“What? No-“

“Just cause you have a championship now? You think you’re better than me?” He said getting closer to your face. Started to feel angry yet sad, and you just looked up at him. “Fine, go out. I don’t care. But I better not get a call tonight.” He said before stomping away from you, slamming your locker room door shut. Immediately, Bianca, Trinity, and Mercedes looked at you, with Bianca walking towards you.

“Are you okay?” Bianca said, rubbing your back.

“Yeah. He’s just having a bad day” You quietly stated. Were you? Yeah, only because it’s now a regular occurrence. It happens almost every time something good happens. You liked Carmelo, hell you like him more than the other people you were involved with. He always had this charm that convinced you to stay or to get over it after anything bad; it wasn’t your fault, and it wasn’t his (it never was). After a while, you decided not to let this little thing get in the way of a quote-on-quote good relationship. And now, you decided to not let him ruin your good night.

“I never liked him for you,” Mercedes said throwing her heels in her bag. Mercedes, being your cousin, was always protective of you. She tried her best to ensure that no harm could reach you, including men who she thought weren’t good enough for you. Seeing how you are now, it’s safe to say you never listen. Always drowning her out to go after anything heart first. “I always thought that he was a douche to a certain extent.”

“Talented,” Trinity started. “But a talented douche.” She finished as Mercedes nodded.

“Anyways!” Bianca started, rolling her eyes at your friends. “Get ready, 'cause we’re about to go out!”

Nodding, you walked away to take a shower. Around 30 minutes later, you got dressed in another outfit before leaving the locker with your friends in tow. You made it to the parking garage; and as you were about to turn the corner, you were face to face with a person who: one- you didn’t like, and two- who was going to be gunning for your new title soon. “Rousey.” You said with a monotone voice.

“Congratulations, champ,” Ronda said with emphasis on the last word. “You won the title on the grandest stage of them all. But you also won the opportunity to be the person I’m gonna beat for it. I say by Money in the Bank, I’ll be the new champion.” She smirked as you lifted a brow.

You slightly chuckled, “We’ll see about that. Don’t get it twisted, I’ve beaten you before and I can beat you again. And this-“ You motioned to your championship. “Will be just the icing on the cake” Ronda looked around at Trinity, Bianca, and Mercedes before deciding to walk away.

“I really don’t like her,” Mercedes said before putting her bags in the car. You followed before getting in the passenger seat. You whipped out your phone, which had more notifications than the last time you checked it. However, only two stuck out to you. Each of them makes your heart skip a beat and gives you butterflies in your stomach for different reasons.

“Y/N?” Trinity said pulling you out of your thoughts. You looked at her. “Are you ready for the trip?”

“Oh, yeah. I am.” You said looking back at the phone.

But truth be told, you weren’t ready. You weren’t ready for the trip of your career or life.

Not at all.

Link to Part 2

#AEW #all elite wrestling #all elite wrestling imagines #wwe #wwe imagine #mercedes mone #trinity fatu #wwe naomi #bianca belair #carmelo hayes #carmelo hayes x reader #carmelo hayes imagine #daniel garcia imagine #jamie hayter #aew imagine

93 notes · View notes

greenerteacups · 2 years ago

Text

Fic Masterpost

Oh, boy. Okay. Here we go.

I have written literally hundreds of thousands of words of fic, and this is where you can find it! Consider this a kind of annotated bibliography.

Harry Potter

Lionheart

Harry Potter, Draco Malfoy/Hermione Granger | 300,000 words and counting

How Draco Malfoy met a girl on a train, ruined his life, started a war, and ended one.

Notes: Oh, honey. This is my baby. The longest fic I've ever written, the currently running one, and the one I'm most fond of. A Gryffindor!Draco AU that retraces all 7 books. Slowburn Dramione (SLOW, slow burn, a simmer, currently more like a suntanning) with Golden Quartet vibes. I pre-write all the books and then release them in weekly updates, kinda like a serial publication, so you always know when your next hit is coming!

Volume I, "Green and Golden," composed of Years 1-3, finished early in 2023. It's currently releasing Volume II, "Son and Heir," which just finished the first act of Year 4.

The Climb

Harry Potter, Severus Snape & Harry Potter | 22,000 words

"...in the event that I, Lily Evans Potter, and my husband, James Potter, become deceased," read Albus, "I do hereby name Severus Snape as sole legal custodian of my son, Harry James Potter, until such a time as he comes of age." He folded his glasses on the table. "Fuck," said Severus, with feeling.

Notes: An unexpected brainworm that I had while compiling a Severus playlist for Lionheart, which rapidly spiraled out of control. It's a "Severus raises Harry" fic, which I never had a taste for until I started writing this — I realized there was so much more juice in the narrative idea than I'd realized. I like how I use voice and style here; I think I made a real leap in technique between SWHTWW and this one.

Other

the scenes which hold the waking world

Six of Crows, Kaz Brekker/Inej Ghafa, Matthias Helvar/Nina Zenik, Jesper Fahey/Wylan van Eck | 70,000 words

Thirty million dollars for a secret. That's the payout for Kaz Brekker, the most dangerous, ruthless, and talented extractor in the dream industry — if he can manage it. But to have a chance, he needs the best. That means finding a team willing to attempt the impossible: a knife-wielding cat burglar, a college dropout with perfect aim, a sullen ex-Navy SEAL, a drop-dead gorgeous former Soviet spy, and the estranged son of their rich employer. If they can avoid killing each other, they'll go down in history. If they can't, none of them may wake up again.

Notes: This was my first novel-length fic, and I'll always have a soft spot for it. It's an Inception AU with the vibes of Leverage meets Ocean's 11, with a side of psychological trouble and codependency. Read if you like spy movies, heist stories, or dangerous criminals whose Achilles heel is being unable to stop talking shit to each other.

someday we'll linger in the sun

Black Panther: Wakanda Forever, Namor of Talokan/Shuri | 40,000 words

As the legends have it, after she earned the blessings of Bast, the Princess Shuri took a god for a lover. The legends say less about what happened in between.

Notes: Another drabble that spiraled wildly out of control. (You may notice a theme.) I watched Black Panther over Christmas break and thought, "Wow, that's an incredible storyline that didn't actually happen, wish someone would write it." Technically unfinished, but I think the existing chapters serve as a complete story. Unfortunately, no plans to come back to this one; I might mark it as finished at some point, because it feels settled to me.

it's a western, henry

Dimension20: Fantasy High, Riz Gukgak/Fabian Aramais Seacaster | 10,000 words

Nobody fantasizes about kissing goblins in the moonlight, or taking them out on ice cream dates after class. Especially not beautiful half-elves on the bloodrush team, who could have anybody they wanted (and probably do). It's the beginning of a bad joke. A goblin and a half-elf walk into a tower... And the goblin ends up slain on the floor while the half-elf walks out with the princess.

Notes: My first fic, which started as a writing exercise. A character study in fantasy race relations and a love story between a nerd and a jock in which the jock is the anxious one. Working title for a while was "it's not easy being green," before I found the fancy Siken line. I still think there's some good humor in here, and I like rereading it from time to time.

#dramione #harry potter #six of crows

18 notes · View notes

ozonelasher · 7 months ago

Text

GET TO KNOW YOUR ADMIN !!

(i don't actually have a mun fc so you're getting shiny azumarill because. i like it :3)

name — Ana!

pronouns — she/her primarily but they/them is fine too

preferred comms — tumblr IMs are preferred for OOC talk/plotting, & my discord is open to mutuals if they'd like :3

name of muse — Kaki

experience in RP — honestly i've been rping since i was probably too young to rp on the internet 💀 i started on deviantart (which like. oops but also i was like 9) and then started rping on tumblr likeee ~2015 or so. i actually first started writing Kaki on tumblr in like 2016, and then kinda started writing on twitter in 2019 when the RPC on here started to wane from its peak. i came back very recently because i got tired of the limitations of writing on twitter

best experiences — as of recent, i've had a few really really fun crossover threads on twitter that will stay with me forever atp. one was a real slowburn romance plot with a spike spiegel, and another was of isekai plot with desmond miles from assassin's creed that ended up being really fun and sweet. i also have a really cute ship going with a friend's DB OC on twitter, too. oh kaki and her tendency to adopt men two heads taller than her ❤️

pet peeves/dealbreakers — trying to force OOC scenarios/behaviors onto kaki or otherwise just making it clear you don't respect her character outside of writing will really sour me in terms of trying for future interactions. i doubt this will happen here as it's mostly a problem i've had on twitter but JUST IN CASE!!! i'm mostly talking stuff like, oversexualizing her because she has muscles ("step on me, m*mmy" & such comments are a HUGE no-no), assuming she's overly aggressive/belligerent, or on the flip-side, babying her like she's a cutesy helpless waif. she is a 30+ year old woman with thoughts and feelings and i would like her autonomy to be respected.

muse preference ( fluff, angst, smut ) — HONESTLY i'm down with anything as long as it's interesting. on my own i tend to write adventure-drama type plots (the dbz fic i'm working on is just a space opera tbh) with a splash of horror of some flavor, usually with anti-capitalist/fascist/imperialist messaging. i think the one thing i should mention is that i do really enjoy when there's a conflict or overarching storyline happening in longer plotted threads; it just keeps me more engaged.

plot or memes — both are good and work tbh. memes can be good for breaking the ice or actually figuring out a dynamic in practice, but if we want to go for something more in-depth, i do prefer some plotting (even if it's just planning points A and B and then just improvising how our muses get there)

long or short replies — quality > quantity. even if your response is like 3 sentences or less, if it moves things along, it's fine with me (:

best time to write — i tend to write more at night or on the weekends. really just when i'm not dead tired 😭but also if i really get into the plot of a thread, i'll get kinda hyperfixated on it and respond in like 3 seconds. my fault

are you like your muse? — In a lot of ways, yeah. Kaki is an OC i've been developing for like at least a decade now, and a lot of her experiences are drawn from things I personally have experienced (albeit, greatly exaggerated lmao), and the kind of character she's become is a projection of my beliefs and how I feel about the current state of the world. Writing her is a bit of a catharsis for me, really.

TAGGED — @pzfr

TAGGING — feel free to do it if you'd like :3

#ooc.#meme response.#yay yippee yahoo!! this was fun to do!

5 notes · View notes

watchinglikeafangirl · 10 months ago

Text

I hate to say it, but Pit Babe episode 11 is so messy.

It's revealed Charlie isn't really dead which didn't shock me since it was kinda obvious. There were multiple scenes when Charlie says he's ready to die for Babe, so he kinda did... But where did that uncle come from who takes care of Charlie?! Why introduce a new character? We already have too many characters. It's not ideal to introduce some bad guy two episodes before the finale.

Also, this episode is a lot about JeffAlan, so we don't see much of Charlie, Babe, Way and Tony. The whole pacing suffers because JeffAlan's pacing is really bad. It's slowburn but then they hit us with ten scenes and that's supposed to be their whole love story. Sorry, but that could have been written so much better and I'm not invested at all.

North, Sonic and Kim are there once and don't appear since they have no purpose any more. It's not like these three characters were essential to the story but still, they turn into unnoticable sidecharacters and I don't like it.

Babe and Charlie are the main couple, Charlie is the protagonist but they are barely seen. Charlie sleeps and drinks Lactasoy while Babe walks around with an angry face, trying to avenge his supposedly dead boyfriend. I really hate how Charlie didn't include Babe in his plan. There could have been another way and just saying "he doesn't understand" is such an unfair and pathetic understatement, it actually hurts. I feel like Charlie forgets Babe was raised by Tony as well and keeps on thinking he should exclude Babe from everything. But that's not how realtionships work and I do not want to believe the series will be giving us a happy ending for these two when Charlie lied to Babe so drastically. Charlie made Babe believe he died, made Babe break down at his grave, made Babe so depressed he didn't eat, made Babe mad at the world and over all, he made Babe's grief unnecessary and unimportant. Charlie doesn't show that much remorse while holding on to a plan that made his partner say a final goodbye that ISN'T FINAL. I cannot say how much I hate how this all turns out and how much I hope they don't get a happy ending because Babe certainly does not deserve a boyfriend like that. I'm sorry, but it's so beyond me how Babe will accept any apology.

And then, we finally have a PeteKenta scene and some flashbacks I hoped would appear but never thought I would see. The fight scene is very mid, they pull the same stunt three times BUT when I saw that tear rolling down Kenta's face, I was hooked. And now I'm invested. Their relationship and Kenta as a character have so much potential but there's no room since there are too many characters and too many storylines happening at the same time. Kenta is a very conflicted person while Pete knows his believes. It's interesting to see Kenta struggle because Pete questions his morals and I would say, the time they spend apart didn't do them any good. I can only speculate and I'll leave that for next week. There's not much to say from one scene. They never really talk except for the flashback, so I cannot say how much they changed each other back then...

But honestly, what happens in this episode? What happens over all? The series has a bunch of filler scenes and this episode is by far the worst. Nothing happens. The plot can be seen from a mile away and we're fighting against Tony since day one. Babe says "we hit a dead end again" but have we seen him collect evidence until now? He talks like he's been onto Tony since day one but all we have seen him do is trying to beat the Red team, racing in general, having a relationship and staying at home because of his injury. When did he collect evidence? I know, he went with Charlie and they had a bunch of stunt scenes. But I mean before that, in the beginning of the show, he doesn't do anything but living "on the run" in the same house.

I like stories where the bad guy needs to be outsmarted and people investigate but the problem is, the series always TELLS us they are investigating but they barely SHOW us. I can't believe them if it's not something I see. This episode makes pretty clear this so called investigation would have been nothing if Pete wasn't there. Babe had no evidence on his own, so I ask myself, what's the story? What's the plot? Or did the story suffer under BabeCharlie's screentime? I can't explain it to myself but I have issues with the pacing from day one.

My issue is, it's been teased since the first episode that Tony is the bad guy who will be ended once the series ends. The series makes it look like it's inevtably going to happen and it's going to happen soon since Tony is becoming stronger and needs to be ended ASAP. But the problem is, nothing in that matter happens and Tony keeps on being powerful for way longer than the series initially told us.

If we look at KinnPorsche for example, we knew Vegas is the villain. It's obviously about him but the difference is the showdown in episode 10 and the finale at episode 14. He is the villain throughout two plots. The first one leads to the second one but still, it keeps the excitement. Episode 10 is the climax of KinnPorsche. It's thrilling, it's exciting and it's interesting how the "twist villain" is revealed. Pit Babe for example doesn't have such an impactful climax. Tony is barely shown, so we cannot understand how evil or scary he is. There's no first showdown where everyone reveals their true colors and go home thinking about a way to outsmart each other next time they meet. None of this happens and right now it feels messy and stuffed and boring. There's no action or excitment, just relationships that are not really connected to the plot and the story in general, so it feels pointless.

#also way is an alcoholic now #that's the kind of downfall I wished upon him tbh #he needs to realize a few things #pit babe the series #finally my honest opinion

6 notes · View notes

grigori77 · 1 year ago

Text

Movies of 2023 - My Summer Rundown (Part 2)

10. HOW TO BLOW UP A PIPELINE – it’s always nice when a sharp little indie banger sneaks in under the radar to place impressively high on one of my lists for the year, and this impressive critically acclaimed underdog thriller is definitely shaping up as one of this year’s most memorable examples. Treading very different ground from the likes of To Catch a Killer, this is a very low-fi, gritty down-and-dirty procedural slice-of-life thriller about a motley collection of eco-terrorists banding together to sabotage an oil pipeline in West Texas, focusing almost entirely on this core group of disillusioned youths played by eight uniformly EXCEPTIONAL actors each handing in genuine (ahem) dynamite performances. Ariele Barer (Marvel’s Runaways), The Revenant’s Forrest Goodluck, American Honey’s Sasha Lane and Marcus Scribner (probably best known as the voice of She-Ra & the Princesses of Power’s Bow) are the undeniable stand-outs here, but all of these kids are ON FIRE throughout, showing they’ve got truly BRIGHT futures ahead of them indeed, while Irene Bedard (Smoke Signals) also impresses in a supporting turn as Joanna, an FBI agent who may be onto their plans … the film bounces about between the varying points of view of the characters, gradually unveiling their motivations to commit a morally complex terrorist act through a series of scattered flashbacks punctuating the planning, execution and aftermath of the bombing itself, with writer-director Daniel Goldhaber (Cam, here co-adapting Andreas Maim’s incendiary non-fiction novel with Ariele Barer herself and Cam’s co-writer Jordan Sjol) weaving a suitably taut and atmospheric slowburn path throughout the flawlessly executed narrative, the film brilliantly building its wire-taut tension to a rewardingly cathartic climax which is as provocative as the film’s challenging subject matter. This is a film that asks some VERY BIG QUESTIONS and delivers some suitably complicated and rightfully TROUBLING answers, a razor sharp piece of indie cinema which definitely deserves the critical acclaim and guaranteed future cult hit status it’s already earning …

9. THE FLASH – oh boy … yeah, this one is gonna be a COMPLICATED talk, I just know it. This was one TROUBLED project from day one, from the major shake-ups surrounding the Joss Whedon-compromised Justice League film and the subsequent mess THAT unleashed, through the whole conflicting debate over Zack Snyder’s original vision for the DCEU, and then the eventual collapse of the Cinematic Universe itself, this film, originally entitled Flashpoint (which personally I like A WHOLE LOT more, actually, since it really does pay DIRECT reference to the actually storyline they went with) went through a whole collection of incarnations and reiterations and, for a while, it was starting to look like we might NEVER see it hit our cinema screens at all … and that’s without even mentioning star Ezra Miller’s ongoing legal troubles and essential CANCELLING after their continued outrageous, unacceptable off-set behaviour, which looked set to torpedo the film all on its own.

Honestly, I have to admit I was MYSELF a little wary going in, not because of these particular problems but more just the prospect of what I would actually do if, in spite of all this, I actually still LIKED IT … unfortunately for me, that was VERY MUCH the case, which is why we’re here in the first place. But I must forge on, and so I’m gonna just take this film on ITS OWN face value and ignore the external problems … at least until THE END of the review … because The Flash is, actually, pretty fucking GREAT. Barry Allen (Miller) is finally coming into his own as a fully-fledged member of the Justic League, even if this does frequently mean he’s kind of cleaning up the extreme messes that are left behind when Batman/Bruce Wayne (Ben Affleck) gets involved in a particularly BIG potential world-shattering event, as brilliantly illustrated in the film’s suitably SPECTACULAR opening set-piece, which does a BEAUTIFUL job of not only letting us know EXACTLY what this incarnation of the Flash is actually capable of, but also revealing Barry’s own distinctly unique, offbeat and, frankly, really rather ADORABLE personal style of superheroism. Then the plot itself kicks off when Barry’s father Henry (Ron Livingstone), serving life in prison for the wrongly-convicted murder of Barry’s mother Nora (Pan’s Labyrinth’s wonderful Maribel Verdu), sees his latest (and, it looks like, FINAL) appeal fall flat due to a crucial new piece of evidence turning out to be useless, and Barry decides he's had enough of ignoring a particularly potent aspect of his superpowers – the ability to run SO FAST that he can actually GO BACK IN TIME!!! So he races back to the day of his mother’s death and tweaks circumstances so that she survives, only for Barry to then get punted off track before he can return to the present by an unknown entity within “the Speedforce” which then lands him in 2013, just days before Earth’s invasion by the hostile Kryptonian forces of General Zod (Michael Shannon), as seen in Man of Steel. Still with us so far? Yeah, well it gets EVEN MORE complicated, cuz it turns out that, while his mum is now STILL ALIVE, Barry hasn’t got his powers in this universe, which means that he has to reform the Justice League himself in THIS timeline in order to defeat Zod. Except that there are FAR MORE consequences to messing with time than Barry ever took into account set to make things all but insurmountably complicated for him to succeed …

beyond this we’re getting into DANGEROUS spoiler territory, beyond the fact that these new developments give rise to whole fresh and very complicated ideas of alternative universes somewhat akin to what the MCU’s already started experimenting with (which is also, actually, something that the DC comics universe does ALL THE BLOODY TIME), which gives rise to whole new incarnations of beloved characters from the established DCEU, some of which HAVE already been revealed in the trailers and beyond, but others not so much, so … yeah, anyway, it’s a glorious MESS of a narrative, but somehow this film does a REALLY IMPRESSIVE job of navigating this jumble in an impressively coherent and breezy way that ultimately makes this a whole lot of fun to watch, actually. Of course, the lion’s share of the praise for this HAS TO go to screenwriter Christina Hodson (Birds of Prey & the Fantabulous Emancipation of One Harley Quinn) for wrangling the UNHOLY MESS of development done for the previous incarnations into an actual WORKING script, which was then brought to life with suitably brave and adventurous SKILL by director Andy Muschietti (Mama and It Chapter One and Two), but the uniformly EXCEPTIONAL cast shoulder a good deal of that responsibility too – Miller may be problematic in real life, but there can be no denying that he is FUCKING BRILLIANT in the role here, crafting a hyperactive, ultra-awkward social misfit of a superhero that us various underdog kids just can’t help rooting for, while it is a MASSIVE pleasure to get to see MY PERSONAL FAVOURITE Batman return to the role as this AU’s altered version of Bruce Wayne, the legendary Michael Keaton himself finally getting to prove why he really is THE VERY BEST VERSION of the character out there (and I will accept NO ARGUMENT AT ALL about that, I swear you can all FIGHT ME on this particular hill upon which I am determined to DIE if I must), and Livingstone and Verdu bring an IMMENSE amount of pathos to their characters throughout which makes it ABUNDANTLY CLEAR why Barry tries SO HARD to save them both, and it’s also great fun getting to see Michael Shannon back as the Big Bad here again, I always really liked this spectacular scenery-chewing version of Zod.

For me, though, the biggest win here has to be The Young & the Restless’ Sasha Calle, making her big screen debut as the most impressive and DCEU-consistent incarnation of Kara Zor-El, aka SUPERGIRL, that we could ever have hoped for. She’s a truly AWESOME creation, EASILY as badass as Henry Cavill’s Supes but also a good deal more complex as a character too. Ultimately it’s a shame that circumstances mean that we likely won’t get to see more of her in future projects, much like Keaton’s returning Batman, as they’re definitely the unexpected heart and soul of the film, easily delivering in the most impressively iconic set-pieces and memorable character beats. Indeed, this is SO BLOODY BRILLIANT all round as a film – from its spectacular action sequences, through its frequent gleefully anarchic screwball humour, to a variety of impressively jaw-dropping game-changer twists in the narrative – that the fact that the DCEU itself is essentially over and all of this means PRECISELY ZERO in the face of where it’s all going in James Gunn’s incoming Cinematic Universe reboot makes this feel all the more ultimately pointless, which lends any viewing a bittersweet aftertaste no matter HOW enjoyable it all is. I mean granted, it’s NOT perfect (there is, famously, some pretty clunky CGI that ALMOST takes you out of the experience, especially in the late sequence when we see the timelines start to collide), but then very few of the DCEU movies HAVE BEEN anyway, and this one still essentially works just fine for what it is. So it may not have any actual VALUE for the series moving forward, but it’s still a really great movie that MORE THAN deserves to be seen for its own merits, and I highly recommend you give it a chance anyway. At least Gunn and co have seen the sense to keep Muschietti onboard for their reboot (namely helming the new DCU’s Batman reboot The Brave & the Bold), and if they’ve any more sense they’ll bring Christina Hodson back for more too …

8. THEY CLONED TYRONE – while cinemas may finally be properly getting back into the full swing of things now, with many of the big budget offerings that were long delayed by COVID finally emerging to fill up the year’s international moviegoing calendar, streaming services don’t seem to be letting that slow their own steam (granted, it’ll be interesting to see how things look in a year’s time, when the fallout from the Writers Guild and SAG-AFTRA strikes really starts to hit, but I’m not about to get into THAT debate here), and Netflix is no exception, still leading the pack with their Original filmmaking offerings. BY FAR the most interesting, original and downright FIENDISHLY INGENIOUS offering they’ve landed so far this year HAS TO BE this thoroughly unique sci-fi satire from up-and-coming screenwriter Juel Taylor (Creed II, Space Jam: A New Legacy), who makes his feature directing debut here in truly BLINDING fashion. The concept itself is an absolute belter, although while the title may sound DECIDEDLY spoiler-heavy already, it’s actually just the very tip of the iceberg, and giving much of anything about the plot away would reveal some pretty key twists to anybody who didn’t already see the trailer. So if you DON’T wanna get spoiled, just rest assured this is a PHENOMENAL FILM and it really MUST BE SEEN, and just check it out good and cold … still here? Okay then … John Boyega continues to stretch his legs away from Star Wars as Fontaine, a mid-level drug dealer in a suburban ghetto simply known as The Glen who’s gunned down in a turf dispute, only to wake up unharmed the next day with no recollection of said events. As he investigates this uncanny twist, he ropes in the dubious help of two acquaintances – pimp Slick Charles (Jamie Foxx) and hooker Yo-Yo (If Beale Street Could Talk and The Marvels’ Teyonah Parris) – only to discover a dark and twisted labyrinthine conspiracy that stretches far beyond the urban confines of their beleaguered neighbourhood.

The results are one of the slickest and most brain-bakingly twisted chunks of speculative science fiction I’ve come across in a good long while, constantly throwing the viewer narrative curve balls while posing a dizzying series of moral and socially critical thematic quandaries, all the while presenting a brilliantly off-beat reimagining of classic “blaxploitation” tropes (indeed this is among the very best examples of this quirky little sub-genre I’ve EVER come across). It’s also got a LETHALLY devious sense of humour to it, beautifully subverting expectations to bring a delightfully skewed inner-city slice-of-life POV to proceedings which it then mines for the purest nuggets of comedy gold it can find. That being said, there are times it also gets pretty dark too – while it’s never particularly violent or harrowing (despite some of the obvious elements of its subject matter), the way the conspiracy itself unfolds as its monstrous nature is revealed gets truly existentially terrifying at times, and in the current political climate feels a little TOO possible … and then there’s the cast, who tie everything together PERFECTLY, the three leads in particular taking what could have been a joke set-up trio of the genre’s classic trope archetypes and invest them with genuine heart, soul and complex nuance – Boyega is endearingly vulnerable and effortlessly likeable as our sort-of hero, while Foxx brings both requisite quirky charisma and surprising deeply-hidden sympathy to what’s usually one of the most classically despicable character tropes out there, but the real STAR here is Parris, who effortlessly steals the film out from under her peers as a smart, plucky and brilliantly resourceful amateur sleuth who’s frequently miles ahead of everybody else as the mystery unfolds around them; meanwhile Kieffer Sutherland brings delightfully sleazy “cracker” energy as Nixon, the brutally amoral bureaucrat nominally in charge of this nefarious far-reaching plot. Taylor handles proceedings with admirable skill and an impressively artful visual flair while crafting one of the years most intriguing and thought-provoking films so far, and immediately marks himself as a clear rising star with a hell of a lot of one-to-watch potential for the future. I look forward to whatever it is he does next …

7. BLUE BEETLE – as for moving the big screen DCU moving forward, here’s a project that, apparently, is actually making the leap from old to new very much in one piece. Despite being long developed as a flagship film for the original DCEU, Gunn has folded this cinematic origin story for the second generation of one of the DC Universe’s lesser known (but still suitably iconic) superheroes into his new vision. Which basically means that THIS, right here, is our first real taste of what’s to come in the NEW vision … and, if I’m honest, if this IS a good indicator, then I’m actually all for it. Marking the big break of up-and-coming Puerto Rican filmmaker Angel Manuel Soto (who made a small but potent impact with his feature debut Charm City Kings), this is also EXTREMELY notable for being the first major studio movie about a Latino superhero, namely Jaime Reyes (Cobra Kai’s Xolo Mariduena), an impoverished young pre-law graduate from the fictional metropolis of Palmera City’s Edge Keys who finds himself essentially FORCED into taking up the long-vacated mantle of the new Blue Beetle after accidentally symbiotically bonding with a mysterious alien superweapon system simply known as the Scarab. Unfortunately, this device is being zealously sought by psychopathic weapons corporation CEO Victoria Kord (Susan Sarandon), who wants to use its unique programming as the basis for her world-changing OMAC weapon system, and she’ll do ANYTHING to get hold of it … that’s really all you need to know about the story, the film proving to be a welcomely lean and impressively streamlined classic archetypal hero’s journey original story which also EFFORTLESSLY sets up all we need to know moving forward into what are, I’m sure, gonna be some EVEN MORE impressive adventures once the DCU proper gets off the ground, and the end result makes for one of the year’s most genuinely ENJOYABLE superhero movies. Mariduena makes for an endearing young hero here, investing Jaime with wide-eyed innocence and precociously earnest charm that belie some pure steel when he has to learn to man up and get in the fight for real, and the rest of the Reyes clan are similarly well established here too, particularly wildly popular stand-up comedian George Lopez (who here shows he has ONE HELL of a high pitched scream) as conspiracy nut Uncle Rudy and Hocus Pocus 2’sBelissa Escobedo as Jaime’s sweet, acerbic and FANTASTICALLY sassy little sister Milagro, while almost IMPOSSIBLY beautiful Brazilian actress Bruna Marquezine thoroughly impresses as Victoria’s granddaughter Jenny, the tough and resourceful daughter of original Blue Beetle Ted Kord. And then there’s the villains, and OH MY GODS does this film pay off BIG TIME by genuinely OUTPERFORMING when it comes to the all-important job of giving the hero suitably heavyweight antagonists by providing us with a pair of genuine STARS here – Sarandon is frequently downright CHILLING as a stony PSYCHOPATH who doesn’t care about ANYTHING but making her own twisted, perverse technological dream a reality, while Apocalypto’s very memorable Big Bad Raoul Max Trujillo handles the muscular side of things with consummate professionalism and brooding feral intensity as her pet special forces killer Ignacio Carapax, the recipient of the OMAC prototype and therefore, essentially, Jaime’s first nemesis.

There’s some INCREDIBLE action on offer here, the visual effects delivering magnificently to bring the Scarab AND OMAC’s versatile capabilities out in fine style, but for the most part this is a film which rides high on a glorious mixture of good old fashioned light-hearted humour and a massive dollop of emotional heft and pure HEART, delivering some genuinely POWERFUL heartbreaking character beats once things get REAL before finally paying off in a wonderfully cathartic old fashioned Hollywood happy ending. In many ways this film feels almost like a THROWBACK to simpler times, but it also paves the way impressively well for the future of the franchise if Gunn and co are INDEED intent on following this formula moving forward. Certainly this is a prime example of how to do a bright and cheerful primary coloured superhero movie WELL, and I look forward to plenty more of the Blue Beetle when they finally get their shit together again …

6. EXTRACTION 2 – back in 2020, when the Pandemic was really ramping up and not only the Summer but the whole year’s cinematic calendar looked like it was going in the toilet, the streaming services stepped up and took up the slack in fine style, and none carried more of the weight than Netflix with their Original Films. One of the year’s most impressive offerings was the fascinating team-up of MCU filmmaking heavyweights the Russo Brothers, who produced and co-wrote the first Extraction, an unadulterated two-hour adrenaline shot of an action movie that blew all our socks off and announced to the world that debuting stuntman-turned-director Sam Hargrave was going to be a proper future star in his own right in the most demanding of cinematic genres. Needless to say Netflix was IMMEDIATELY clamouring for more, just like the rest of us, so Hargrave and co returning with this equally blistering non-stop thrill-ride of a follow-up was a genuine no-brainer. Thor himself Chris Hemsworth returns as former Australian special forces soldier-turned mercenary hostage extraction expert Tyler Rake, battling to recover from his near-death experience at the end of the first film in order to rescue Ketevan Radiani (Abigail’s Tinatin Dalakishvili), the sister of his ex-wife Mia (Olga Kurylenko), and her children from the brutal Georgian prison they’re trapped in alongside Ketevan’s monstrous husband, Davit (Tornike Bziava), who’s facing a ten year stretch for his crimes as a bigshot in the Georgian mafia. Except that during the breakout Tyler’s forced to kill Davit, which sets the whole mafia, led by his furious brother Zurab (Tornike Gogrichiani), hot on their heels … like its predecessor, this is a film that, after taking a little time to set things up, hits the ground running with one INSANE action sequence on top of another and keeps going like that for pretty much the entirety of its remaining runtime, Hargrave and his RIDICULOUSLY hard-working and committed stunt teams delivering some of the year’s most spectacular set-pieces as they constantly up the ante on EVERYTHING they did in the first film.

Once again the absolute highlight is a genuinely INSANE unbroken single-shot sequence that takes at least twenty minutes all told to tell its mesmerising story, and this set piece alone really is the equal to anything we got in the John Wock movies. Hemsworth once again proves that he really IS the God of Thunder even when he ISN’T playing Thor, kicking arse and taking names like few other action heroes are capable of doing, but this time it's an absolute JOY to actually get to see returning co-stars Golshifteh Farahani (Body of Lies, Paterson, Invasion) and, in particular, Adam Bessa (The Blessed, Mosul, Harka) both get a MUCH bigger slice of the action themselves as brother and sister Nik and Yaz Khan, Tyler’s trusted mercenary partners, both proving as viciously lethal in action as our main protagonist; Gogrichiani, meanwhile, makes for an agreeably FERAL villain as a grieving butcher determined to get blood for blood no matter the cost, while Dalakshvili tugs hard on our heartstrings as a desperate mother willing to go to extraordinary lengths to keep her children safe. Altogether this is another undeniable POWERHOUSE action thriller, relentlessly effective and blissfully engaging from start to finish, and in many ways it’s EASILY an improvement on the first film. Needless to say a third film is ALREADY in development, and after this I’m SUPREMELY confident it should be just as much worth the wait …

5. GUARDIANS OF THE GALAXY, VOL. 3 – time for the obligatory MCU entry, then … but for once, this doesn’t feel like I’m trying to dress up a pig, either – YET AGAIN writer-director James Gunn has proven that he is, quite simply, THE BEST, most consistently ON-FUCKING-FIRE filmmaker working in the franchise, which perhaps makes the fact that he’s now OFFICIALLY jumping ship to permanently defect to DC particularly bittersweet, I guess. This is WITHOUT A DOUBT the very best MCU movie since Captain America: Civil War, and it couldn’t have come along at a better time since the series has been in SUCH a tough spot of late … anyway, the worst, least reliable, most unrepentantly despicable bunch of space-faring, for-hire A-HOLES in the entire galaxy are back, now set up full time in their base of operations in Knowhere and looking to get back to business now the Universe has finally gotten over all that unpleasant post-Thanos Snap fallout. But the crew themselves are still suffering some lingering after-effects from that shake-up, particularly Peter Quill/Star Lord (Chris Pratt), who’s a pretty much permanently drunk, despondent, emotionally broken MESS since the Gamora (Zoe Saldana) who came back after Endgame ain’t HIS Gamora, which leaves Rocket (Bradley Cooper) and Nebula (Karen Gillen) propping things up in his essential absence as the current nominal leaders of the crew. This shaky status quo is then torn asunder when an explosively violent encounter with the Sovereign’s new superpowered agent of vengeance Adam Warlock (The Maze Runner’s Will Poulter) leaves Knowhere in chaos and Rocket badly injured and in need of urgent emergency care due to a previously undiscovered proprietary kill-switch built into his cybernetic implants making it impossible for them to heal him without killing him, leading them to enter into an uneasy alliance with Gamora in order to steal an override code from Rocket’s creator, the High Evolutionary (Peacemaker’s Chukwudi Iwuji), a megalomaniacal evil genius obsessed with manufacturing a perfect race in order to populate his envisioned utopian civilisation. Not only is this one of the very best films in the entire MCU canon to date, but it’s EASILY the best in Gunn’s trilogy, essentially a pitch perfect shake-up reinvention of the classic overblown science fiction space opera archetype which also pays immense respect to the fascinating core group of characters it’s helped to introduce cinemagoing audiences to.

It’s also a film expressly about ROCKET himself, even though he doesn’t actually have all that much screentime here, spending much of the film fighting for his life in the sick bay, but we’re treated to extensive flashbacks to his origin story as he was created, refined and essentially brought up by the High Evolutionary, and found his first makeshift found family among his fellow pieced-together cyber-augmented animals, sweet and gentle otter Lyla (Linda Cardellini), wheeled goofball walrus Teefs (Click & Collect’s Asim Chaudry) and spider-limbed bundle of hyperactivity rabbit Floor (The Suicide Squad’s Mikaela Hoover), who are the cutest bunch of anthropomorphic critters you could possibly imagine and, as a result, responsible for some of the biggest feels (and BY FAR the most thoroughly devastating emotion sledgehammer moments) in the entire movie. Needless to say Cooper is on top form throughout, as are the rest of the eclectic, irreverent and absolutely TOP DRAWER cast – while you may still be making unfair jokes about him being “the Worst Chris”, I think this is the best performance Pratt has EVER put in, he’s an absolute REVELATION in this one, plumbing previously unfathomed depths of raw intensity and naked vulnerability as Quill is forced to get over his shit in order to save his best friend, Saldana gets to bring a much darker and more edgy, unhinged take to Gamora to the one we’re previously used to, Gillen finally completes Nebula’s redemption arc to bring her fully into the realm of true HERO, and Dave Bautista and Pom Klementieff, as Drax and Mantis, continue to be THE ABSOLUTE FUNNIEST, most full-on unapologetically HILARIOUS agents of chaos in this entire trilogy, all while getting to further expand and develop their own characters too … and, of course, Vin Diesel once again brings a hell of a lot of range to just three words as walking talking tree Groot; meanwhile it’s also nice to see other returning faces get plenty to do again, such as Sean Gunn’s endearingly prickly former Ravager Kraglin, Elizabeth Debicki’s bitchy Sovereign despot Aisha, the GOTG Holiday Special’s fan favourite Cosmo the Space Dog (again adorably voiced by Bodies Bodies Bodies and Fairyland’s Maria Bakalova), and even Sylvester Stallone, returning from GOTG 2 as mighty Ravager hero Stakar Ogord. Then of course, there are the series newcomers, who bring their own brands of intriguing new charm to proceedings, particularly Poulter, who does a fantastic job of taking a truly badass, virtually unstoppable supreme being like Adam Warlock and then essentially makes him a thoroughly clueless, emotionally immature man-baby who largely doesn’t have a clue what’s going on half the time, Gunn-regular Nathan Fillion, stealing every one of his scenes in another brilliantly arch comedic cameo, and, of course, Iwuji, who brings us what HAS TO BE the trilogy’s VERY BEST villain, investing the High Evolutionary with a supremely entitled sense of moral superiority and truly monstrous ego while simultaneously managing to make him a genuinely credible intellectual THREAT to our heroes. Needless to say, this amazing cast are just part of the precisely concocted recipe that’s brought this franchise highlight to such exquisite life, Gunn and co creating a pitch perfect sci-fi adventure chock full of action, suspense, thrills, wonderfully weird new extra-terrestrial locales, yet another gold calibre eclectic soundtrack, a TRULY MASSIVE amount of winning humour and a genuinely humongous dollop of pure, unadulterated FEELS. Congratulations James Gunn, you made me cry again. TWICE, damn you. And I love you for it …

4. NIMONA – we almost didn’t get this year’s most important animated feature. When Disney acquired Twentieth Century Fox and everything went tits up for its various affiliates, animation house Blue Sky Studios bit the dust just as this long-awaited adaptation of influential She-Ra & the Princesses of Power showrunner ND Stevenson’s beloved fantastical graphic novel from Spies In Disguise directors Nick Bruno and Troy Quaine was nearing completion, and it looked like it might never see the light of day … at least until Annapurna Pictures and Netflix swooped in to the rescue, snapping it up, funding its completion and getting it out on streaming to the delight of all of us who’d thought it was essentially LOST. The end result is just about THE VERY BEST movie I’ve ever seen about the struggles being non-binary and not conforming to any set gender identity in modern society, viewed through the fantasy prism of a shapeshifting “teenage girl” who effortlessly steals her own film. Chloe Grace Moretz is perfectly cast as the voice of the titular misfit anarchist troublemaker supernatural being, who finds an opportunity for some fresh chaos by joining forces with Ballister Boldheart (Riz Ahmed), a newly-knighted commoner who becomes public enemy number one after being viciously framed for the murder of the queen of a futuristic medieval society built around chivalry and the righteous smiting of monsters. Ballister’s determined to prove his innocence, while Nimona just wants to create havoc, while they’re both being hunted by his former fellow knights, led by his ex-boyfriend Ambrosius Goldenloin (Eugene Lee Yang of The Try Guys), a direct descendent of the Kingdom’s legendary original monster slaying heroine Gloreth. It’s a gloriously original piece of work, the animation presented in a truly GORGEOUS brightly coloured 2-dimensional 3D graphic style that at once riffs on the ingenious visual inventiveness of the Spider-Verse movies while also creating something COMPLETELY NEW but also simultaneously lovably reminiscent of the classic Blue Sky cartoony look, while the frequently chaotic action is just as infectiously anarchic as the lead character herself. It’s also fiendishly brilliant in its subversive message and twisty logic, making the viewer question what being a monster REALLY means, and if what we see someone as REALLY IS their true identity. Needless to say, Moretz THOROUGHLY runs away with the whole film, while the character of Nimona herself is a truly ENCHANTING and thoroughly inspiring creation that’s destined to become an iconic hero for non-binary and trans kids around the world, but Ahmed and Yang are also both clearly having a great time here too, as is Frances Conroy as the Director of the Kingdom’s knights, clearly having a blast bringing icy menace to her deliciously duplicitous villainous turn. It’s an incredibly FUN movie, shot through with a rich and rewardingly infectious sense of humour, taking classic fantasy tropes and turning them on their head in new and wonderfully inventive ways, but it knows JUST when to get serious too, and there are some truly powerful moments when it takes hold of your heart and just DESTROYS YOU emotionally, especially in the incredibly evocative climax.

Ultimately this ISN’T an overly faithful adaptation of Stevenson’s original graphic novel – he was in a darker place when he wrote and drew it, going through his own complicated struggle with his gender identity before finally making his personal transition last year – but it certainly is rewardingly true to the book’s spirit and deep-down message of inclusion, positivity and being true to your core identity, which makes it one of the most important animated films to be made in a very long time indeed. I’m so happy this film’s receiving the TRULY MASSIVE amount of attention and LOVE it’s being garnering since its release, and I thank Netflix and everybody else who made the effort to get this movie out after all when Disney seemed so reluctant to take a chance on it after all. This deserves to be seen, it NEEDS to be seen, and I urge you to check it out.

3. SPIDER-MAN: ACROSS THE SPIDER-VERSE – the most exciting animated feature of the last DECADE getting a sequel was pretty much a no-brainer, but it didn’t make the wait any easier, and after COVID put a dent in so many of the big releases coming forward this was definitely one of the most painful delays for me. Finally getting to see it was, therefore, ONE HELL of a cathartic release of tension, so much that even later discovering that not everything was exactly GOOD in the production studios at the time (namely the animators being crunched LIKE CRAZY by the ever-shifting nature of the vision they were being asked to realise, leading to a toxic working environment for many, which is NEVER cool) still didn’t dent my truly AWED appreciation for the finished film. Seriously, this is THE BEST animated feature we’ve seen this year, ARE LIKELY TO SEE this year, and ALREADY a strong candidate for the best animated feature of this decade (although that’s likely to change if the incoming sequel turns out to be as good, if not BETTER, which it probability WILL). Honestly, I could end the review right here just with that recommendation, it’s GENUINELY THAT GOOD, people. But I still got a job to do here, so … once again, Miles Morales (Dope’s Shameik Moore), the new Spider-Man in his world, is at the centre of a whirlwind of narrative chaos as a new arch-nemesis he never knew he had emerges to hold him to account for what he did when he destroyed the Kingpin’s interdimensionally destructive supercollider in the first film – the Spot (Jason Schwartzman), a former scientist at Alchemax who got turned into a walking mass of unstable wormholes when he got hit with the full brunt of all that quantum energy. As he embarks on his quest to take his misguided revenge on Miles, his interdimensional spree of carnage leads our Spider-Man to become connected with a Multiverse-spanning cadre of Spider-People, led by the spectacularly stern Spider-Man of Earth 2099, Miguel O’Hara (Oscar Isaac), who police the various Earths in order to combat and remove “anomalies” that arise to threaten them … and the Spot is a BIG ONE of those. Oh, and Gwen Stacy (Hailee Steinfeld), the Spider-Woman Miles most definitely fell for in the first film, has started working with them too after her own father, police Captain George Stacy (Shea Wigham), who’s had it in for their Spider-Woman after she was mistakenly framed for the death of their Earth’s Peter Parker, discovered her secret identity and made her run from her own dimension as a result …

Yeah, it sounds pretty complicated, but this whole twisted labyrinth is, nonetheless, unveiled in the exact same super-slick, viewer-friendly way the first film pulled off its own exposition, which just makes more room for all the FUN as we get to follow our old favourites and a whole host of fascinating NEW incarnations of our favourite arachnid-themed superhero on their various insane adventures. This is JUST AS SPECTACULAR in terms of action, character work, pure invention and sheer, unrivalled SPECTACLE as its predecessor, in many places upping the wow factor SIGNIFICANTLY (particularly during a particularly colourful visit to the distinctly Indian-flavoured alternative version of New York called Mumbattan, which is the stomping ground of one of the film’s most memorable new Spider-folk, the irrepressibly chipper Pavitr Prabhakar, voiced by Deadpool’s thoroughly brilliant Karan Soni). Indeed, the most fun we have throughout this movie is definitely getting to hang out not only with our old friends but all these newcomers too, with Pavitr being joined by the fascinating likes of the very coolest Spider-Woman after Gwen, Jess Drew (Awkward Black Girl’s Issa Rae), digital avatar Margo Kess/Spider-Byte (The Hunger Games’ Amandla Stenberg), overly-angsty living Todd McFarlane comic panel Ben Reily/Scarlet Spider (the incomparable Andy Samberg) and even Mayday Parker, the impossibly adorable new baby daughter of Jake Johnson’s welcome returning big fan-favourite OG Peter Parker (and, of course, Miles’ original mentor from the first movie), who’s ALREADY got her spider-powers, while Miguel is a FANTASTIC character, brooding like a champ and sometimes proving to be as much of an EXTREMELY EFFECTIVE villain in the story as the Spot, especially once his beef with Miles is revealed … but at the end of the day, ALL of these new arrivals thoroughly PALE in comparison to one of this film’s BEST secret weapons, Hobie Brown/Spider Punk (Daniel Kaluuya getting to use his normal accent for once), a misfit non-conformist anarchist JOY with one hell of a problem with authority (Miguel’s IN PARTICULAR) who effortlessly steals our hearts just as much as EVERY SINGLE SCENE he’s in. That being said, it really is SO GREAT having our old crew back – Miles and Gwen are SO SWEET, their chemistry is just OFF THE BLOODY CHARTS without them even trying, and I adore every single scene of them together, never mind their own individual storylines (it’s PARTICULARLY great getting to see Gwen herself get a SIGNIFICANTLY enlarged narrative presence this time round, becoming JUST as important in this story as Miles himself), while any time we get to spend with Johnson’s Peter is pure gold, and we get to spend even more time with Miles’ wonderful, loving, hard-working parents Jeff and Rio Morales (Brian Tyree Henry and Lauren Velez), which is ALWAYS a plus. Needless to say, this is a whole LOAD of fun, shot through with the same classic winning humour, wild invention, visionary experimentation, thematic resonance and pure geeky in-joke easter egg-packing FAN SERVICE that made the first film such a winner, but it also comes through BIG TIME with more of those wicked FEELS, this time ramping things up FAR MORE with the serious emotional HEFT as we’re presented with some truly DEVASTATING character arcs whose after effects are gonna be felt for A VERY LONG TIME after. The fact that this is just the first half of a two-part SAGA, with Beyond the Spider-Verse currently in the works, means that we can look forward to PLENTY MORE, although here’s hoping that this time they give their animators a little more BREATHING ROOM to get it done right WITHOUT having to break their backs in the process, yeah? Then again, with the writers AND actors on strike right now, the likelihood of THAT is pretty strong …

2. OPPENHEIMER – really, is there ANY SURPRISE over this placing so high? You know what a MASSIVE Christopher Nolan fan I am, and him making a proper EPIC historical biopic examining the career and achievements of the father of nuclear power was GUARANTEED to not only grab my attention but also thoroughly please the serious high-brow cinema appreciator buried inside me under all that action junkie, superhero fanboy and sci-fi-nut stuff … but yeah, this was ALWAYS gonna be a fucking amazing film, wasn’t it? Nolan’s most regular acting collaborator (outside of Michael Caine, anyway), Cillian Murphy, stars as J. Robert Oppenheimer, the theoretical physicist who spearheaded the Manhattan Project which led to the creation of the very first viable nuclear weapons which were then used by the American military to destroy the Japanese cities of Hiroshima and Nagasaki and end the Second World War. On the surface he seems like a driven, visionary man with a real fascination for the science he’s pioneering, but also a cool pragmatism which makes him the ideal man to usher in this astounding technological achievement, but as the film unfolds in Nolan’s typical non-linear narrative fashion we discover a far more complex man than we first supposed, Murphy unveiling Oppenheimer’s deep-seeded fears about the frighteningly real dangers his Project could give birth to. After all, he may have been the father of the Modern World, but this particular creation also gave rise to a century of technological horrors and a whole new, long lasting Cold War.

Anyway, this is UNDENIABLY the greatest performance of Murphy’s career, if he doesn’t at least get an Oscar nod for this there’s no justice in the world, while, in typical Nolan fashion, the rest of his rich ensemble cast is a genuine embarrassment of riches, from Emily Blunt as Oppenheimer’s long-suffering wife Kitty and Florence Pugh as his ill-fated Communist mistress Jean Tatlock to Matt Damon as his nominal “boss”, Gen. Leslie Groves, Kenneth Brannagh as his mentor and idol Niels Bohr, the mighty Tom Conti as the even MORE awesome Albert Einstein and even Robert Downey Jr. in a particularly KEY role as Oppenheimer’s one-time colleague and later rival, Atomic Energy commissioner Lewis Strauss, who dominates the parallel narrative throughline presented over the course of the film as his own efforts to discredit and destroy the great man ultimately end up coming back to bite his own political ambitions. To a man, they’re all as MAGNIFICENT as the rest of the film, which is a fascinating journey into the dark heart of one of the greatest but also most historically and socially destructive scientific achievements in the history of the world, the man who ushered it in, and the hell he then went through afterwards when he then tried to make sure we didn’t make it SO MUCH WORSE once we had the power to destroy ourselves. It’s a film that raises extremely tough questions, and what answers we ARE able to come to are every bit as terrifying as any of the consequences that are either seen or suggested here. Nolan is, as always, A MASTER in the director’s chair as much as in the screenwriter’s corner, bringing his usual visionary flair and artistic brilliance to craft yet more of his trademark IMAX-rocking BEAUTY and opulence, while his sneaky, snaky narrative shenanigans once again frame things in ingenious, challenging and sometimes emotionally DEVASTATING ways before we’re brought to the bittersweet denouement. Tenet composer Ludwig Goransson’s expansive, evocative score is, ultimately, just the icing on the cake, making an already amazing film even more noteworthy. If this film isn’t the toast of the Awards Season then they really ain’t paying attention …

1. MISSION: IMPOSSIBLE – DEAD RECKONING, PART ONE – really, there should be NO SURPRISE that this has topped off my list for the summer. I may have grown up with James Bond, and I LOVE the Jason Bourne movies too, but Tom Cruise’s cinematic adaptation of the classic TV spy show has been MY ABSOLUTELY FAVOURITE espionage-based film franchise ever since JJ Abrams established the tried-and-tested formula for the series with 2006’s seminal classic third entry. That being said, the franchise didn’t find its strongest voice until Cruise brought his Jack Reacher writer-director Christopher McQuarrie (The Usual Suspects, The Way of the Gun) on board for the dynamite fifth instalment, Rogue Nation, which was so fucking brilliant and well received by both critics AND audiences that Paramount saw fit to retain his services on the EVEN BETTER follow-up, Fallout, which came DAMN CLOSE to equalling the heights of Sam Mendes’ Bond masterpiece Skyfall … so of course it was a NO-BRAINER for him to return once again for this two-part intended send-off for Cruise’s seemingly immortal superspy, Ethan Hunt, as he not only faces his deadliest foes to date, but also some very dark ghosts from his own past. As with its predecessor, this is another spy flick where knowing as little as possible going in works best for your enjoyment, suffice to say that this time Ethan and his loyal friends, master hacker Luther Stickel (the legendary Ving Rhames), tech wizard Benji Dunn (Simon Pegg) and former MI6 spook Ilsa Faust (Dune’s Rebecca Ferguson), really have their work cut out for them when they’re forced to go rogue yet again in order to track down and deactivate a supermassive AI program known as the Entity which has become fully self-aware, broken free of its constraints and is now wreaking havoc throughout the internet and beyond.

Unfortunately this seemingly unstoppable digital force has enlisted the aid of a particularly dangerous “avatar” to represent its concerns in the real world, a mysterious terrorist known as Gabriel (Ozark’s Esai Morales) from Ethan’s pre-IMF days who seems to be following a dark agenda of his own. The ensuing race against time takes in a grand tour of impressively picturesque locales, a collection of winningly well-written characters and a series of knuckle-whitening, visually arresting action sequences that have long since proven to be McQuarrie’s bread-and-butter just as much as his ingeniously twisty labyrinthine plots and sparky, sharp-witted quickfire dialogue, again showing that he really is THE VERY BEST filmmaker that Cruise and Paramount could EVER have found for this franchise. Needless to say, Cruise is as spectacular as ever in what really has become the very best role he’s EVER HAD, by this point basically just INHABITING Ethan’s easy charm, admirably solid, unswerving moral principles and truly INCREDIBLE physical prowess, delivering equally well in the truly insane stunt-work which WE KNOW FULL WELL IS ALL HIM as he does in the acting stakes; meanwhile Rhames, Pegg and Ferguson once again shine bright in their now comfortably well-established roles while still managing to bring fresh depths and interesting new arcs to their well-worn characters, we get a lot more of The Crown-star Vanessa Kirby’s intriguing notorious second-generation arms dealer Alanna Mitsopoulis/the White Widow, and it’s an IMMENSE pleasure to finally welcome back the first film’s prickly yet verbose antagonist Eugene Kitteridge (Henry Czerny), Ethan and Luther’s former boss in the IMF, in a far much expansive role this time round. Meanwhile the franchise newcomers all impress as well, Morales easily proving to be the series’ VERY BEST VILLAIN to date as he menaces, seduces and murders his way through the story, brutally tearing our heroes’ lives apart as he pursues his mysterious master’s nefarious ends, while we get a brand new series heroine in the form of Grace (the MCU’s own Peggy Carter, Hayley Atwell), a sly and duplicitous professional thief who essentially stumbles into the thick of the action before becoming Ethan’s EXTREMELY unwilling accomplice; meanwhile there’s strong support from Shea Wigham and Greg Tarzan Davis (who previously worked with Cruise on Top Gun: Maverick) as Briggs and Degas, a pair of US Intelligence agents sent to chase down the rogue IMF crew, and Cary Elwes as Denlinger, a particularly duplicitous US Director of National Intelligence. And then there’s Paris … ah Paris, my sweet, psychotic demon child. Guardians of the Galaxy’s Pom Klementieff actually gets to be FRENCH again as Gabriel’s unpredictably lethal pet killer, and she’s an absolute JOY throughout, so delightfully unhinged that she makes every second of her screentime an undeniable pleasure, and as a result she’s BY FAR my favourite character in this. Altogether, this is about as perfect as spy cinema gets, McQuarrie and his cast and crew working tirelessly to deliver not only the very best film in the series to date, but also the best film I’ve seen this summer, very nearly my action cinema highlight of the whole year (so far, anyway), and one of the VERY BEST spy movies I have EVER SEEN. Given the state of the Strikes it’s not clear if we’re REALLY gonna get to see Dead Reckoning Part Two when it’s been set to release next summer, but whenever it DOES finally arrives, I KNOW it’ll be worth the wait … it just has to be bloody INCREDIBLE to be better than THIS ONE …

... By the way, I am SUPREMELY pissed off with tumblr about their suddenly blocking big blocks of text for making me chop up my reviews just to allow this shit to post in the first place. Shame on them ...

#movies 2023 #2023 in movies #how to blow up a pipeline #the flash #the flash movie #they cloned tyrone #blue beetle #blue beetle movie #extraction 2 #guardians of the galaxy vol 3 #nimona #nimona movie #spider man across the spider verse #oppenheimer #oppenheimer movie #mission impossible dead reckoning part 1

4 notes · View notes

crimsonxe · 7 months ago

Text

Get your biased bigoted bleeting over things not going how you wanted and/or that you don't have a clue about in misusing the concept of "bad writing"; completely wrong and spreading misinformation; and CRWBY bashing bullshit the fuck out of the main tag shitlord. You want to present the mentally unwell Shane that ignored Monty's own words about M&K being the writers to his animator; as well as by your own words FACTS; I'll stand by said facts, Monty's own words in interviews, his friends, and y'know HIS BROTHER who has told ones like you to stfu with trying to use his brother's name against his show. Though its really telling that you clearly are taking issue with a particular set of vids, which I'm pretty sure I know the reference without a name being mentioned; cause that person actually did their research and is a fan that shreds through the bullshit. Meanwhile your entire post is filled with outright lies, spins, failure in comprehension, and bias. The show's legacy will outlive both you and anything your sorry ass ever does.

Adam is an abusive co-opting TERRORIST that got what he deserved ; which was setup in the Black trailer with him laughingly dismissing the lives of the innocents on the train.

The WF that was swayed by Adam is an incredibly apt to current times anti-extremism storyline. Any group that resorts to violence towards innocents loses any goddamn cause they purport to be for; instead being nothing more than a TERRORIST. This is shown by Yang's showing empathy towards the faunus rights cause and Velvet being shown as a victim of racism vs. extremist terrorists like those under Adam. The main issue there is Sienna having been killed off way too soon, cause she could've served as the "controlled violence" figurehead opposed to Adam's extremism over more of the show to further highlight that message.

Ironwood is an authoritarian genocidal general that threw away his humanity after showing admiration for Salem who tried to throw a city of poor people to the wolves. Yet clearly has his boots down many people throats like its a kink going out of style

Males have never nor ever will be or should be the center of the story. That includes Jaune who isn't given anything outside of his status as a SECONDARY MAIN that has been through some shit.

BB is one the top tier mature wlw slowburns that shows a normalized non-world of gay non-rushed non-aimed at an LGBT+ specific audience with an actual bi character that feels bi that was planned from the start. Not to mention how its development fits so well with Monty's prior work Haloid, where it presented the idea of Master Chief x Samus (hetero fan-pairing); only to rug pull that MC was actually a femme other Spartan still getting with Samus in a wlw pair.

Along with them there's:

2 confirmed canon lesbian characters

1 confirmed gay character

mlm basically canon pair that just needs to come into the show proper from the Before the Dawn book

a married wlw couple w/ kid who're living their best life

a trans character that isn't a joke or centered around being discriminated against as a trans character

Which throws out the homophobia bullshit.

The show respects its femme characters by keeping the story centered on them, not doing fanservice with them, not diminishing their roles, allowing them to be complex, actually having two get together officially, and overall just avoiding the usual sexist tropes especially in anime/manga.

You try to go after separating out CRWBY when time after time even those with issues with RT, they will separate out CRWBY. And if it comes down to obnoxious shitbags like you who's entire basis is being a salty ass little bitch cause things didn't go how YOU wanted it or CRWBY who's story this is; I'm going CRWBY every.single.fucking.time. You're just another piece of shit that thinks the show is bad cause its CRWBY's story not their shitfest version of things.

So as someone with the show from the Red trailer, who followed Monty since Dead Fantasy 4-5, and is LGBT+ thus actually having a stake in the LGBT+ rep; go fuck yourself and get the fuck out of actual fan spaces as your ass isn't one.

RWBY Final Thoughts: Legacy

Very rarely would I ever consider a fandom on its own worth its own section of a Final Thoughts. ... [Basically,] they behave like a cult.

This is a repost of a post I made February 1st, 2024 on another site. At the time, it was the final post of a deep-dive recap of RWBY and the history of the show, its fandom, and its direction under Rooster Teeth.

I felt this out with some of my peers and the feedback I got in relation to posting in on Tumblr was that, well, why not? It was my main haunt to begin with, and I may as well, since Rooster Teeth is closing its doors. I'm posting this mainly as a shot in the dark just to see how it gets received. Only minor edits have been made; I'm sure there's some stuff in here that would make people mad, but that applies to pretty much anything someone could say about RWBY. Click the read more to get a glance at how my time with RWBY ultimately wrapped up.

Nine years ago today, Monty Oum died of an allergic reaction. Today is a day of mourning for fans of his work, including RWBY. There’s no sense in waiting. Let’s finish this and heal.

The Showrunners

Miles and Kerry often received the brunt of the attention when it came to RWBY. As the writers of the show, they bore responsibility for the largest chunk of why it eventually went into the shitter, and fan anger against them was almost certainly not helped by the damn near idolization heaped on them by fervent stans. They are, undoubtedly, the focal point of RWBY fans’ parasocial relationship with the show.

Of course, despite sharing about the same credits space as his partner in crime, Kerry tended to fly under the radar a lot, with it being Miles who received the brunt of the fandom’s fury with each successive volume. It’s not hard to see why; the character Miles voices has been consistently over-exposed and is in many ways an obvious creator’s pet, with denials as to this fact falling on deaf ears as Jaune’s screentime continued to balloon past its merits, whereas the character Kerry voices could just about wrangle an average of ten seconds of screentime every three years. Certainly Miles has been in trouble with fans more often than Kerry for the shit he’s said and done. The Ruby body pillow and the Tifa Lockhart ‘prostitute’ comments come to mind. Oh, and the slurs, that one too.

But perhaps the reason Miles gets so much more flak than Kerry is that Miles just...acts like an asshole a lot of the time. Even aside from above examples, Miles’ flaws come out in his writing: he’s petty, holds grudges, can’t take criticism, and just overall has way more power over the story than someone of his caliber should. He’s very poor at disguising his real feelings and often lets them bleed through, and when he actually decides to voice them on purpose, things get ugly—refer to that Cameo about Ironwood.

But as tempting as it is to treat Miles as an out-of-control cockwaffle on the rampage and Kerry as his sympathetic ineffectual shadow, the reality is that they’re co-writers, have been for ten years, and anything Miles gets away with doing is as much Kerry’s fault as his. If the Gray Haddock situation has taught us anything, it’s that more people tend to harbor blame than the one individual that makes an easy scapegoat.

Since aside from aforementioned n-word business, Miles and Kerry are almost never connected to moral outrage, this makes it easy for the stans to uphold them, since all they really have to defend them from is accusations that they didn’t honor Monty’s “vision” for the series. This is only easy because the stans are fucking insane, but that’s for later on down the page.

“Vision” is in quotes because that’s how fans treat it, we all know they don’t really care. Miles and Kerry’s vision matters, and we know that much because of Calixyn’s interview where she all but begged to be told that RWBY Volume 5 was as bad as it was because the “good bois” had control of the show ripped from them. Nope, turns out all that racism, homophobia, and plain shitty writing is all on them. But at least they’re nice!

(Miles was 26 when he said the n-word. I’m 26 now when writing this. I think it’s pretty fair to call him an asshole.)

But the truth is that it’s objectively stupid to think that the direction of RWBY hasn’t changed since Monty’s passing, it’s impossible for it not to have. There are more writers on board than before, and it’s been a long time since he was alive to contribute his thoughts. The real question is whether they at least tried, and I don’t think they did.

I mean, Shane Newville never names Miles and Kerry in his letter, but he does state several times that the choices made for the show were not only not what Monty wanted, but “straight up just shitting all over what Monty made”. I find it very difficult to believe that that insinuation, and all of the people caught up in the net it casts, wouldn’t include those two. And like it or not, but the person who is able to compile tons of clips and interviews over the years as some sort of seeming immutable proof that “CRWBY” are good-hearted people determined to preserve Monty’s vision, isn’t really looking at any more evidence than the person who’s come to the conclusion, based on what they’ve seen, that that the opposite is true. And they’re certainly looking at less evidence than the people who actually did work there around Monty, Miles, and Kerry. The facts sometimes boil down to ‘if it walks like a duck, talks like a duck, and is implicated in the walls of text like a duck, it’s probably a duck’, guys.

Even in the best case scenario in which the work of Monty Oum turns out to have been treated with dignity and respect (and was just really shittily written from the beginning), the fact remains that Miles and Kerry did not put a quality product into the world. I will be very surprised if either of them manages to get a lead writing position ever again, because once the popularity of RWBY fades, so too will the goodwill they’ve somehow amassed among its fans. RWBY, much like Twilight, is inevitably going to taint the people who were in charge of writing it.

But Miles and Kerry are just two dudes. What exactly is going to happen to those fervent fans who hung on their every word and insisted they were the embodiment of everything pure and innocent? What, exactly, is going to happen to the RWBY fandom that once seemed to be unavoidably populous on the internet?

F, N, D, M

We already went over “constructive criticism” and “worldbuilding”, so let’s add another eternally-misused word to our roster. You know, something I’ve occasionally thought about in terms of online spaces is that no one knows what a “comfort show” is. It’s one of those terms that became too popular almost as soon as it was introduced, to the point that it became meaningless, much like “hyperfixation” and “anxiety”. I see people refer to RWBY as their comfort show and I’m just like...how? A comfort show is supposed to be the show that always puts you in a good headspace, a show you rest easy with because you’ve always connected with it because the love was always there. A comfort show is a show that you watch in your down moments to feel better, not a show you think is just the greatest thing ever, the bees’ knees if you will.

A comfort show is not a show you force yourself to like, it is not a show you defend at all costs, and it is not a show you only still cling to because enjoying it once coincided with a time when you felt popular and among friends. Which, increasingly, seems to have been the case for RWBY fans.

RWBY’s Fandom

Very rarely would I ever consider a fandom on its own worth its own section of a Final Thoughts. But I’m doing it now because the RWBY fandom, though now it’s a shadow of its former self, is still a sizable chunk of people and took a lot longer to die than most other fandoms.

The RWBY fandom itself was an especially big and very online fandom, and the show produced an abnormally large amount of big name fans who continued to use their own influence to push its success and keep its momentum going. As I’ve said before, the RWBY fandom is something that Rooster Teeth were able to extract an excessive amount of praise out of for minimal effort; it simply seems to be in RWBY fans’ nature to speculate and theorize and over-analyze and fill in blanks, and to perceive good writing and animation where there is none. But you know how fandom operates—the bigger its size, the more infamous it becomes.

Long since famed for being especially toxic, those who are in the know consider RWBY fans a different breed, really. They create and move narratives at high speed and act quickly to correct any perceived dissent in the ranks, casting out anyone that feels disillusionment with the product and insisting everything is peachy even as their world crumbles around them. To RWBY fans, the “CRWBY” are always separate from the “problematic” aspects of Rooster Teeth (which is basically the whole company) and it doesn’t matter how many of its flaws get highlighted; RWBY and the people that make it are always great, innocent of any harm done and fantastic, and anyone that dislikes them is a villain—even if those people were at one point part of the “CRWBY” themselves. Loyalty is everything. In other words, they behave like a cult.Those acronyms themselves have always bothered me, and I’ve grown a strong distaste for them. Originally they were just a quirk of the show; a format for team names that spawned the name of the show and eventually stopped being relevant altogether. But RWBY fans are simply unable to not use them. It’s not “the fandom” it’s “the FNDM”. They’re not “the RWBY team” or “the RWBY crew”, they’re “CRWBY”. Even people that the fans are actively trying to shame, shun, and harass don’t get to simply be people—they’re “RWDE” and, when that became an actual community of sorts unto itself, was switched to “HTDM”, short for “hatedom”. They remind me distinctly of code words that get formed and passed around in cult movements, identifying terms that quickly provide boxes to put people in and make it easier to sort loyals from disloyals. “Hatedom” itself is another one of those terms that spread and got so prolific it really doesn’t carry any meaning anymore. Real hatedoms are surprisingly rare, guys. Every fandom that becomes big enough for its respective product to become criticized eventually comes to believe it has a ‘hatedom’ because how could someone dislike something I like so much? But a hatedom on its own arises out of very specific circumstances and environments, and causes the spread of hate for a product based on broad foundations that are often unfair to the product and which creates perceptions that spread faster than the work, so that the work is often talked about in mocking reference rather than true dissatisfaction.

RWBY doesn’t have a hatedom guys, it never did. The Last of Us doesn’t have a hatedom. Fairy Tail didn’t have a hatedom. Blackpink doesn’t have a hatedom. Even Marvel doesn’t have a hatedom.

Paris Hilton had a hatedom. Nickelback had a hatedom. Hell, the website Tumblr itself had a hatedom. These were examples of people or products whose reputations spread too quickly and eventually swallowed rational perception of them, with people who have never experienced them or their work dismissing them and the fans who enjoy it wholesale.

Using the term “hatedom” is understandably common because (and in spite of the fact that) it allows for easy miscategorization. A hatedom is not composed of people that were actually exposed to the work, found it lacking, and expressed that. A hatedom does not occur in the wake of a product that was so bad it pissed off its fans and caused them to walk. People don’t hate Metroid: Other M because they can’t stand the sight of a woman being vulnerable and don’t understand challenging drama, they hate it because it was poorly written, badly designed, and tarnished a long-running and highly cherished gaming heroine’s reputation. People didn’t hate Fifty Shades of Grey because of some bias against women expressing their sexual freedom, they hated it because it was a wildly misogynistic and badly-written piece of dreck. People didn’t hate The Last of Us Part II because of homophobia and transphobia, they hated it because it was a misery fest with a tired moral theme that posited itself far more deep and compelling than it really was. And just because people with the above disingenuous views also hated these things does not discount the fact that the works got the reputations they did because they were getting back the exact amount of love and respect that was put into them.

Similarly, RWBY doesn’t have a hatedom. It does, in fact, have an ex-fandom. Those are also things you don’t see very often, but when you do, they almost always follow the same pattern, don’t they? A work which got wildly popular very quickly, took really deep nosedives afterward, and became disowned by the people that had formerly propped it up.

But that’s a discussion for later. What exactly makes RWBY’s fandom so toxic and cult-like, and why and how did it get that way? I think it’s a combination of several key factors that were baked in and collided badly.

The first was ease of access. RWBY was sold extremely well early on, and shared enough similarities with both anime and video games that it attracted many curious people from those communities. Combine that with vibrant colors, an attractive visual aesthetic, an air of badassery, and good music, and it gained a lot of loyal fans quickly—fans of anime and video games, specifically, being fans that tend to get more attached than to other mediums and are known for spending a lot on merchandise. These, in turn, morphed into nostalgic elements ripe for misremembering—people often have difficulty acknowledging that something they once liked isn’t good anymore even on its own, and I think RWBY fans in particular put way too much energy into the show to be able to admit that all the time they spent defending it (and harassing people who criticized it) was for nothing.

That skyhigh rocket to fame early on, of course, was attached to the reputation of Monty Oum, and once he died, he quickly became a martyr, which galvanized the loyalty of the show’s most toxic fans even further. To this day, talking about Monty at all, even for the right reasons, is seen as disrespectful or distasteful unless you’re trying to use him to prop up Rooster Teeth, a double standard I’ve unfortunately run into even in seeming safe spaces. I think if we’re comparing RWBY fandom to a cult, then Monty Oum and his memory can be compared to a central mythologized figure, the center around which are formed all of the pretty lies the members of the cult will tell you. Monty’s name is irreplaceably tied to RWBY, and as such, in order to defend Monty, its fans have to defend RWBY...and you can see where this leads. Attempting to talk about the mistreatment Monty and his family went through at Rooster Teeth is seen as using his name as a weapon—nevermind the fact that Rooster Teeth and their fans regularly use his name as a shield.

Of course, what this really reveals is that many such people don’t care about Monty, who he was, or who he went through, but rather his name alone. In fact, I’ve straight up seen RWBY stans say that people shouldn’t “take Monty’s name in vain”, as if Monty were in fact some sacred religious figure. It’s both bizarre and harmful.

A third factor was popularity. For a lot of the same reasons as, say, Supernatural, the perception of RWBY skews much more broadly between fan and ex-fan than that of the typical over-hyped show. The truth of the matter is that when a show gets popular, or really any work gets popular, enjoying it becomes a cliquey sort of thing. People that enjoyed being into something well-respected and widely known and basically the hottest trend are far more prone to become overly attached, put too much of themselves into it, and remain unequipped to deal with the fact of that trend’s eventual passing, especially if it’s a fall into disgrace rather than a quiet entrance into history. You can still find certain especially toxic big names from the RWBY fandom active and posting, pretending not to notice that their audience has become smaller and smaller over the years. Let’s face facts here, a lot of people that enjoy being part of the “in” crowd never manage to figure out how to accept losses and will do anything to try and regain lost popularity, or fool themselves into thinking they’re still on top of the world.

But we can reason and explain all day. Another truth of the matter is that it shouldn’t be other people’s problem that fans can’t accept reality and adjust, and that the RWBY fandom quite honestly deserves its reputation as abysmally toxic. The way terminal fans of the show have treated anyone who dissents, most prominently Shane Newville and other ex-employees, let alone other ex-fans of the show, is quite frankly disgusting. RWBY stans are difficult to look at in all of their bewildering, teeth-gnashing toxicity and forgive...so I’m not going to. People that still insist there’s nothing wrong with this show or the company making it are, as far as I’m concerned, beyond help, and are part of the problem. Many an ex-employee certainly thinks so.

In a lot of ways, you could call the fandom one of the driving forces of the show’s failure, mostly because they had an abnormally large amount of influence over the show. Pleasing the fans has always been a major goal of the RWBY team (unless you like characters Miles Luna doesn’t, I guess), but it’s almost disturbing how the Rooster Teeth strategy has been to lead them along and bat their eyelashes at every turn and how the fandom laps it up.

Of course, Rooster Teeth feeds the parasocial engine by engaging with the fans as equals, and I was given a disturbing reminder of how many of the people who worked on the show—the ones who aren’t pissed and digging themselves out of trauma ditches—behave exactly as the fans do, tweeting twenty times a day about their favorite ships and memes. By creating the perception that RWBY’s team is just like the RWBY fanbase and wants the same things they want, they tap that line of excess energy that’s kept this fandom going so long despite how far it’s fallen. It’s that “hey! my friend said my ship is going to be canon and he works on the show” feeling.

Of course, a probable reason as to why so many employees who worked on RWBY behave the way RWBY fans do is because a lot of them started out that way. As in, student hires. This has long been an open secret of Rooster Teeth’s M.O. for a while now, hiring people who look up to them and engage heavily with their content. Many an ex-animator has lambasted this tactic because it’s insidious, and purposely designed to make the incoming staff feel honored and indebted and excited so they won’t notice how they’re being fucked over. Arryn Troche, who made the ‘gays greenlighting volume 10’ tweet, rings up as a particularly eerie example considering they have the same rather-uncommon and unconventionally-spelled name as the voice actor for a ship they’re obviously very attached to. A quick search reveals them to have been a longtime fan and cosplayer for the show before being signed on as a junior animator.

And it is the fandom who ultimately makes the legacy for any given work or body of work. So what is RWBY ultimately going to be remembered for?

Legacy

I thought about it for a little while and found five things that are most likely to be associated with RWBY in the public’s memory after its death. The first should come as no surprise to anyone.

Bumbleby

The only part of RWBY that will likely be carried on by fans who stuck with it until the end is, of course, the only part of it that mattered, to many of them. You’ll know from my earlier recaps that shipping was always a big deal in fandom, but due to key choices (or if you prefer, mistakes) made during Volumes 2 and 3, one ship grew larger and more promoted in fandom circles than any others.

This is a combination of the unique features of the RWBY fandom and their one-track mind. The fans are well-known, as I said, to fill in the blanks in a pattern that best suits their narratives, and this works out with Rooster Teeth because it means that any sudden changes in direction they make will always be excused and praised rather than critically examined. Unsurprisingly, Bumbleby’s fandom, now that their victory has been cemented, have doubled down on their narrative that this was the intended goal from the beginning, despite it being plainly obvious that early RWBY was angling for Sun Wukong as the love interest and threw the occasional bones to Blake/Yang shippers to try and play nice.

This used to be one part of the fandom, of course, but as the show continually bombed with viewers and made more and more decisions that pushed them away, all competitors were slowly filtered out as their fans left, until Bumbleby shippers were the fandom. It’s no coincidence that Blake and Yang suddenly started acting unusually touchy and sentimental in Volume Six, following on the heels of a volume of RWBY so wildly unpopular that it woke up the company execs and forced them to acknowledge that the biggest part of their fanbase was only going to remain loyal in exchange for one thing: their ship.

The sad thing is that you can tell Rooster Teeth wanted to explore other options. Volume Five features a rather sudden shift into Yang and Weiss interactions in what I remain positive to this day was an attempt to sway shippers into a potential second choice while Black Sun was still in the oven, and this really represented one of the major errors of Rooster Teeth, in that they failed to understand the audience they were trying so hard to please.

Bumbleby became what I call a “Big Red Button” ship, and it is only the second of its kind that I’ve seen. The first? Destiel.

Yes, there’s a reason I kept comparing RWBY to Supernatural whenever Blake and Yang’s relationship came up. I admit I wasn’t a part of the Supernatural craze in its heyday and have never really enjoyed the show, but I’ve watched enough of it to connect the dots from what cultural osmosis I had to the eventual downfall we saw in November of 2020.

Both Bumbleby and Destiel were held up as the gay ship that would change everything, the biggest ship in the fandom and the one that would’ve been a major push for LGBT visibility, at least during their heydays. The problem was that its fans were not really that interested in LGBT visibility and were simply obsessed with the ship itself, applying it value as a win for LGBT audiences purely to bolster its perceived importance. Fans like this were not ever going to accept any alternatives regardless of the sexual orientations or gender conventions involved. Hence, the metaphor that is “the big red button”. You have a big red button that says “canon gay ship but not the ship you want” and ask the fans you’re trying to court whether they’d press it or not. Whatever they might say out loud, you know none of them is pressing that fucking button, ever.

Both of these Big Red Button ships became what they were due to showrunners being forced into courting an audience they really didn’t care for, and how could you blame them when both were infamously very, very over-active and annoying in general. Just like with RWBY’s well-intentioned but misguided Freezerburn phase in Volume 5, Supernatural also tried to gently shut down fans who then managed to obliviously ignore any and all hints that their ship was not meant to be endgame, and I can say that because “he’s like a brother to me” in any fandom but Supernatural would’ve been a tactical nuclear strike that sent the shippers packing. Once it failed, the gay bait came out in full force. It’s well known by now that, contrary to what one would imagine, the CW was not pulling a profit off of Supernatural’s minor mainstream success pushed by a cult following, so it’s no wonder they eventually resorted to desperately baiting the one audience that was going to stick it out no matter what, provided they had the right relationship dangled in front of them. RWBY went through the same thing.

The main problem with these two ships is that for all its diehards insisted that it was all about the gay representation, their respective shows teased and baited for so long that the world outside the little bubble these shippers lived in had moved on by the time they came to fruition. Gay visibility in media these days, at least western media, is easily available, to the extent that sometimes people believe homophobia is totally over when it really, really isn’t. If you’re looking for gay representation, you can find it plenty of places, and the first place you look probably isn’t going to be Supernatural or RWBY. So the huge wave of viewers that these shippers expected upon their victories was never going to occur, which might could’ve been avoided if the writers had simply grown a pair and made moves towards canon much sooner than before the shows were on their last legs and due to be scrapped.

Or, you know, just been honest. Diversions and alternatives were never going to work. The only thing that these shippers were ever going to understand was a hard no, a “sorry, this ship isn’t going to happen”. But the execs in charge of these shows were never willing to take a hit like that, so instead they dug their own grave.

And where does that leave the shippers, those people who devoted their whole lives to these fictional characters, only to find the show that bore them into the universe dead in a ditch? Well, nowhere good. Much like Supernatural, RWBY is heavily associated with its booming period, the heavily online portion of these shippers’ lives in the early and mid-2010s when it was all the rage, and yet in modern day, it’s seen as a bad neighborhood to hang in, an abandoned mansion at the corner of the street where awful things happened. These shippers don’t have many friends except each other.

Just like RWBY, Supernatural also exists primarily as an ex-fandom now. Much of its former fanbase remember the good days fondly but make no secret that they stopped following it once the writing tanked, and this left the shippers without many allies to associate with since so many of them had been pissed off with the way their shows ultimately became the Destiel Show and the Bumbleby Show, respectively. Contrary to an unfortunately popular idea, these shows did have actual LGBT fanbases, only a lot of their LGBT fans were not on kool-aid and avoided being sucked into a trap called “if you don’t ship this, you’re homophobic”.

You will find that the Bumbleby fandom are often looked on with disdain by quite a number of viewers of RWBY who have accused them of speaking over minorities, sexual and otherwise. Many fans have noted that, aside from Blake’s bisexuality being a seemingly late addition (Arryn Zech is noted to have cast her as straight when discussing Ilia Amitola’s ill-fated crush on her as late as 2019), Blake was very swiftly removed from all faunus characters who held romantic connotations in favor of Yang, implicitly saying that Blake was better committing to a white human woman than to an ethnic faunus male. There are obvious reasons why this left a bad taste in peoples’ mouths. Not to mention, other LGBT fans that invested in the show were not exactly welcomed with open arms.

Fair Game, or as I tend to call it, Qrowver? Qrow x Clover? Yeah, that was huge in Volume 7’s airing days. It very much experienced a rapid ballooning in fans and fandom love...but we all know how that ended. Many a fan who felt heartbroken and, importantly, betrayed by Clover’s sudden and rather pointless death turned on RWBY and Rooster Teeth and accused them of gaybaiting, which is of course exactly what happened. They received no sympathy from Bumbleby shippers—because of course they wouldn’t. If Rooster Teeth would gaybait with Qrow, a popular male character, that would mean they could potentially be gaybaiting with Blake and Yang, too. That was unacceptable, and so ironically the part of the fandom that had always crowed about the importance of extending a hand to LGBT viewers turned on LGBT viewers, valiantly defending Rooster Teeth as they always had.

And because Bumbleby fans had no room in their hearts for anything about RWBY except Bumbleby, and were hostile to anyone who didn’t ship it, they ended up being their own best friends and everyone else’s bad memories. When RWBY has faded from the public’s memory and is no longer a source of active income at all (so, basically right now), one of the only relics you’ll find of this show will be the two women making out in all the fanart you’ll find on the occasional Tumblr blog.

The Bigotry

You could call this section “the Racism” since that’s the biggest part of it, but we’d be remiss in neglecting the harm done to other minorities as well. We’ll get to them in a minute, but race is the thing that’s going to pop to mind when we talk about one of the other things RWBY left behind in the common memory.

One of the longest-running subplots that RWBY ever went through with was the racism subplot. Its basis is one of the things that so severely dates RWBY: creating an in-universe stand-in for people of color through the existence of people with animal traits was something you would absolutely not get away with after 2020, and even by 2016 was something liable to be seen as tacky. Nonetheless, RWBY openly used the faunus as stand-ins for black Americans and the struggles they faced in a white world.

Except that the company, based in Texas and headed largely by white staff, did not feel the importance of that. What slowly started out as a main character’s attempt to redeem an organization she felt had been driven too far and was no longer her home was slowly transformed into a means by which some incredibly racist people could spout off about what they felt were the real issues to be talked about, which were the condemnation they felt was deserved by activists that turned to violence, labeled, a little too quickly, as terrorists.

The 2010s saw a shift in social values, and much as with gay audiences and gay characters, black audiences and black characters—as well as other racial minorities—were experiencing something of a renaissance, with efforts to put the voices of these people into the public’s feeds. It wasn’t just George Floyd in 2020—the unexpected and frankly traumatic reign of Donald Trump as president of the United States galvanized the divide in America and social awareness became a bigger thing than ever, and since Trump was a flagrantly racist person with racist beliefs who enacted racist policies and was uplifted by racist Americans, people pushed back as they felt their lives and existences being threatened by a racist establishment...an establishment which Rooster Teeth came down on the side of very firmly.

No quarter is given to the fictional stand-ins. Sienna Khan’s policies are never examined in-depth, and the only close looks we get at the sorts of activism the White Fang does are at Adam, who is obviously condemned by the narrative and made into everything but a mustache-twirler, with delusional and frankly baffling beliefs of faunus superiority spelled out at length. No matter what concessions Rooster Teeth might’ve tried to make with Sienna’s beliefs before they stuck a sword in her, the fact of the matter is that their beliefs came through in the voices of Ghira and Blake, who made it very clear that the individual motives and experiences of people like Ilia, Corsac, Fennec, Yuma, and the rest simply don’t matter in the face of what they’d been driven to do by them. The whole ‘blacks can be racist’ tone of the final scenes involved in this subplot are both miles removed from the more cautious and neutral tone of early RWBY, and also just a very alarming red flag overall.

I went over this in my Volume 5 Final Thoughts: the shoddiness of the volume does not lie solely with the animation department. Miles and Kerry are known to have had generally sole control of the show up until Volume 7—but we also know that they didn’t have to, if they were writing anything company execs felt wasn’t to their tastes. The sudden twisting of Adam into a homicidal incel ex-boyfriend, along with his mutation into a faunus supremacist, when he was the face of the faunus movement as a whole, along with Sun’s blatant ill will towards the White Fang when he’d previously been willing to give them a chance on Blake’s word, all imply that Miles and Kerry endorsed the worst possible interpretations of racial activists and felt free to condemn them and place responsibility onto the faunus—and by extension, the real-life minorities they represented—to take a stand against the bad seeds within their causes, and the fact no one stopped them from airing this implies the higher-ups felt the same way.

People didn’t just leave RWBY after Volume 5 because of some really badly animated fights—they left because they’d felt too much of the authors’ racism coming through in the narrative and couldn’t comfortably continue watching. Every member of the faunus that had “bad” views was either killed (Adam, Sienna, Fennec), arrested (Corsac, Yuma), or “redeemed” by choosing to fight the first two (Ilia). All of these combined factors, with no room for charitable interpretations…not a good look.

And once Adam was defeated in Volume 5, and the White Fang reformed, that was the last anyone saw of that subplot, which had taken five years to wrap up and somehow still ended too early. Miles and Kerry had washed their hands of it, and references to Blake’s place in society were sparing from then on. This subplot’s inescapable presence throughout the show, combined with how it was dropped out of existence, left no room for redemption, either. No one was going back and saying “maybe this looks really, really bad”.

And so, that’s what a lot of people carried with them as their final and most relevant memories of RWBY: it’s astounding levels of racism. This is a bitter subject for many an ex-RWBY fan, many of whom aren’t white and, even among those that are, it’s simply inexcusable. Meet someone on social media who talks about RWBY at all, and isn’t one of the Bumbleby stans we’ve already discussed? You will find some mention or other of RWBY’s racist elements somewhere within their sphere. And so, that becomes a part of RWBY’s legacy, as a feature of the show that was simply too big to ignore and too poorly-handled to forgive. People don’t get over this shit, man.

This is of course not to mention the well deserved shitty reputation RWBY has for its other bigoted elements, as well. Bumbleby, as we’ve discussed, encompassed pretty much every RWBY stan left standing by 2020, but that left quite a few ex-fans that were fed up with the company’s obvious ploys when it came to sexuality and gender. Remember when I talked about Qrowver up above? Its ballooning and immediate fall from grace was a much-condensed version of RWBY as a whole, and pretty much featured as Rooster Teeth blowing their last remaining patience from LGBT fans to smithereens. The fact of the matter is that when you get down to it, every RWBY volume after Volume 4 was not a good time to be a minority. If you were gay, the show seemed to either ignore or despise you—between the background gays that warranted mockery, the mixed reception Ilia generated, and the outrage that finally boiled over when Clover bit it, part of RWBY’s legacy is how utterly unpleasant it has been for LGBT fans who expected and deserved better.

And so despite entering the scene in 2013 as a supposedly progressive show all for being led by four women, the show died known as a low-effort half-baked cringefest whose politics were always on display and always several years behind the trend.

The Good Days

Of course, another major part of RWBY’s legacy is the early days when everyone actually liked it. This is, again, something the show creators brought on themselves and something fans assisted with. I did mention the nostalgia for the Good Ol’ Days as a significant part of the RWBY fandom’s more cult-like elements, after all. The fact of the matter is, on some level, everyone knows that RWBY has spent several years going downhill. The ex-fans lament this fact, and the diehard stans insist that it’s all just as good as it used to be, primarily by doing what they do quite a lot, and linking completely coincidental elements back to things characters said or did in previous volumes as some sort of evidence that this has been the plan all along.

I’ve run polls on this matter before; even though I’ve recapped Volumes 1-3 thoroughly and shone lights on some pretty significant flaws, you ask anyone what they think the best volume of RWBY was and they’re gonna tell you Volume 3. Yes, even with all of the stalking incel Adam and the deaths of Penny and Pyrrha. It’s the last time RWBY felt cohesive and even though some obvious derailing was in effect, and Shane Newville has openly said that the behind-the-scenes matters were pretty ugly, it’s still the golden child. Shane’s only one person, and it’d be a while before RWBY scandals would become consistent and begin to overshadow the show as a whole.

The RWBY team themselves have certainly nurtured that very much on purpose. That tactic started with them, of course. Many elements that were either unpopular or predicted to ruffle feathers were stated to have originated in earlier volumes, even in situations where this wouldn’t have made sense or where it’s an obvious lie—such as Maria Calavera. They know full well their seasons post-Volume 3 were unpopular and receiving blowback, and tried to minimize it by linking them to more well-respected seasons. Suffice to say that this simply didn’t work. But it does make people remember those earlier volumes. Because so many ex-fans lost their energy for RWBY after its most active period, much of the hype from the hype era is all that you’ll see when you encounter one. Nostalgia wins out in the end, and at least RWBY can say that, as a show, it had enough of a headstart to leave an impression that lasted in a positive way. Although that’s only one side of the coin...

The Scandals

Let’s face facts here, the biggest part of RWBY’s legacy, period, is that it fucking died. It didn’t die instantly, but rather took hit after hit, blow after blow, and slowly had its image tarnished alongside that of the company, which failed to contain repeated scandals as ex-employee after ex-employee after ex-employee spoke out about the abysmal ways they’d been treated.

RWBY is Rooster Teeth’s biggest IP by far and, really, their only one worth talking about. Every other show was either eclipsed by it or unofficially canceled after bad reception. So when Rooster Teeth suffered the consequences of their actions, so did RWBY. It really can’t be overstated how the last few years of RWBY’s existence have been absolutely bombarded by a barrage of terrible Glassdoor reviews and bombshell exposure letters. Fans managed to stay strong through the first few rumblings of ill will, but after Volume 5 shook the fandom loose, discontent entered enough of the fandom sphere to be normalized, and once that happened, it was all downhill. Once people were actually allowed to talk about not liking Rooster Teeth’s content, they sure as hell weren’t going to be dissuaded from talking about not liking Rooster Teeth as a company or its practices.

Separating the art from the artist is a very difficult thing to do and only really appropriate in certain situations. Don’t fall for any kool-aid, guys, it doesn’t make you more mature or ‘above all the drama’ to actively ignore the damage done to real people in the process of getting fictional content out into the world.

If you’re still able to enjoy the Harry Potter books and look back on the good times they gave you in fondness, then fine. If you actually purchased and played the Hogwarts Legacy game programmed by antisemites and which puts money in the pocket of the transphobic owner of the franchise, then yeah, people will be right to give you shit for it. There’s a difference between quietly enjoying a product in a manner that doesn’t hurt anybody, and actively ignoring the people hurt to make that product while feigning concern. The gap in the fandom widened as the repeated leaks and scandals continuously ate away at the protective bubble around Rooster Teeth and it became clear that whatever fans might bleat, Rooster Teeth wasn’t going to ‘learn their lesson and do better’. The habitual cycle of using whatever recent scandal had occurred to cast disappointment and anger on a particular figure and uplift the rest of “CRWBY” (see also: the Gray Haddock issue) gave diminishing returns as the bombs kept dropping. This is part of why RWBY has such an ex-fandom, because if they aren’t enjoying the product and people were hurt to make it, why stay?

Crunching employees so hard they struggle to sleep and suffer debilitating health issues? Writing the n-word on a white board knowing a black employee will see it? Goading someone into trying to kill themselves? Calling an LGBT employee a slur and then making up a public-friendly nickname in place of that slur just to get away with continuing to call her that? Laying off people without warning or a means of letting them stay afloat until another job is found? Not paying or crediting employees and cultivating an environment where those in charge do what they want and those in the public eye reap all the benefit while those without a consistent spotlight get treated like dirt?

Just some of the things I thought up off the top of my head. There’s plenty more in the details. And you can’t blame Fullscreen, you can’t blame Warner, you can’t just write it off as something that happens at animation studios, because it isn’t. Yeah, the work environment in general for animation studios in America is lacking because, ya know, late-stage capitalism hellscape, but that’s dismissive of the point. Rooster Teeth are a bad company and hurt their employees and lie when called on it. It’s impossible to separate RWBY from Rooster Teeth (despite stubborn stans’ best attempts, which themselves have been called out by these same ex-employees) and because of that, RWBY’s legacy is one of corporate abuse and utterly vile behavior towards people that just wanted to make something cool.

People have refused to associate with the show over these things and honestly, they’re right to. RWBY’s ultimate legacy, if we’re honest, is the show that became a shadow of its former self, still trying to dazzle with reminders of its former glory and promises of gay relationships, all while trying to squeeze money out of both the employees who made it and the fans who upheld it. It’s the show that cost hundreds of people their physical and mental health and didn’t even have anything to show for it at the end of the day. It will live on in history as the most bitter of pills to swallow, that something you once liked and wanted to succeed can and will be ruthlessly twisted for profit margins and might actively hate you on the side. And speaking of…

Monty Oum

The biggest travesty of RWBY’s legacy is that Monty Oum is ultimately only the smallest part of it. He’s there, but barely—he’s a name in the credits that quite frankly is only there to keep up the facade of loyalty, when the show had stopped being Monty’s show before he even died and by now can be safely said to resemble nothing he would’ve made.

It’s a shame that for all that Monty was held up as a genius of his craft and a genuinely good man who inspired so many people, all he’s going to be remembered for is...this. A show people only attach his name to in an effort to insist it’s actually worth sticking by. Yes, Monty did other things, had other works, but none of them ever achieved even a fraction of the fame and respect that RWBY had from its first baby steps in 2013.

Maybe this could’ve been avoided if the real carriers of Monty’s legacy—Sheena, his wife, and Shane, his pupil—hadn’t been cast off as they had.

Shane seems to have found a new life and is working with Dillon Gu on animation, but I think we’ve all noticed his name hasn’t gone mainstream yet. I’ve tried to get in touch with him; from what I’ve gleaned, I frankly just advise leaving him alone. He wants to move on and I don’t think the RWBY fandom, which was so awful to him for telling the truth, is ever going to be a place he can feel welcome.

Sheena has mostly been quiet and done her own thing, cosplaying and watching anime and hopefully enjoying herself, although I notice posts on her Twitter feed from last year calling for a New Deal in the animation sector and castigating corporate abuses.

She also plays Hades, a much better product than RWBY with more love put into it and much better LGBT representation, which means her taste is excellent. She has a site now that you can go to, and the about section doesn’t mention Monty, her late husband, at all, for obvious reasons: Sheena doesn’t want to be connected to RWBY. Though, there is something there that’s noteworthy, in the last paragraph:

Still desiring a social element to her career, the animator turned professional cosplayer also has a history in the live stream world. Past broadcasts have included creating costume pieces, playing games with community members and subscribers, RPGs and more. No matter the project, peers or problem, Sheena strives to keep moving forward.

That powerful phrase we all associate with Monty.

It’s a shame that this show had to be Monty’s legacy, and that years off from now, his name isn’t going to mean anything to the public because the project he was passionate about and died making outlived him and his passion. It feels like his legacy was stolen, and his own part in the show’s legacy is held up purely as a pedestal on which the show should rightfully shine.

Every time I think about Monty, I think about how much I don’t want that to be me. For all the years I’ve spent here, with my graphics certifications being wasted since I earned them while I slave away in retail, I wonder if I’m the lucky one. If I were to enter the workforce and do what I loved, would it be worth it in the end? Would what happened to Monty and Sheena and Shane happen to me? Not sure I wanna know.

Snipped here.

43 notes · View notes

mar-the-magician · 2 years ago

Note

Mar..... is Amir and goody-goody's relationship going to be a slow burn..............

MAR..........

WHO KNOWS??? 👀👀👀👀👀👀👀👀👀👀

#i do have some slowburn storylines planned out #you don’t know which ones yet tho hehehe 😈#layered realms #layered realms chapter five #amir amator (original character)#amir amator #amir (original character)#amir #goody-goody

10 notes · View notes

strongwomenunited · 2 years ago

Text

I saw a post today of someone being unsure if they wanted to watch the Warrior Nun because of queerbaiting. This is a fair question because of all the queerbaiting lately. I am here to tell you that of all the shows, Warrior Nun has zero queerbaiting within it. I've had my fair share of queerbaiting with The 100, and then most recently with Supergirl. The Warrior Nun, isn't like either of those shows. Not only did the creator of the show literally say that he had planned Ava and Beatrice being together even before the show was cast, but seeing the chemistry between the two actresses made it even easier to do. See HERE. The actress that plays Sister Beatrice even said so HERE in an interview that they had planned to put them together. Even comes down to Beatrice coming out in Season 1, apparently when the script first came out, it wasn't very good, and Kristina Tonteri-Young (Sister Beatrice) was able to give some creative direction on the scene itself to make it what it is now. She talks about it HERE in this interview. So if you are worried about queerbaiting, this show doesn't have it. Season 2 is just full of moments between Ava and Beatrice of them so clearly falling in love. All the gifs that are on this site, I mean, they aren't 'well let's hint at this moment as being more' no it is what it looks like it is. These two characters falling in love. They even added in a male character, and in most cases, this character probably would have caused a love triangle, but not in this show. It becomes pretty clear, pretty fast how Ava feels for Beatrice and vice versa. I mean you can watch Miguel being thrown into two separate pillars because of the halo power going off to protect Beatrice. The season leads to them making the ship canon, after a literal slowburn storyline throughout the season. After that, I mean, watch past the credits, and it's clear that there will be more of them in Season 3. So... if you have any doubts, squash them and watch the show. Help us get a season 3 so that we can see how the relationship builds. We finally have an epic show with a canon main LGBT couple. We need to ensure this show lasts as long as humanly possible.

Watch the Warrior Nun. Stream Season 2 from start to finish for the next 6 weeks so it gets picked up for a season 3.

#warrior nun #avatrice #sister beatrice #ava silva

53 notes · View notes

thranduel · 2 years ago

Text

i’m convinced that mike and el are somewhat like a "red herring" in this story. after all, one of the main genres of stranger things is mystery and the show has always been known for having so many unanswered questions and plot twists because the duffer brothers don’t like doing what’s “boring” and expected. in season 1 they also made a point of hopper getting mixed up with will and el during his investigation and he realised he was probably chasing the “wrong kid”. what if mike has also been with the wrong person this entire time and hasn’t realised yet?

what if the intention was to make mike and el a self-insert superhero x nerd couple just for the first season, because they didn’t think the show would continue and el apparently wasn't supposed to return anyway, and the writers are trying to trick viewers by making them think they’re stuck together because they technically became canon in season 1 and some people view them as “the main ship”, BUT instead they’ve actually secretly been planning the most incredible slowburn childhood best friends to lovers storyline THIS ENTIRE TIME that many people don’t expect unless they pay close attention to subtext and details (which is what they want fans to do) and they’re going to reveal it in season 5?

everyone will be on the edge of their seats and it won’t be boring or expected because so many people already think it’s unrequited when it ISN'T so they’ll be so surprised and it won't be forced or rushed because it was being built up the entire time (also leaving it for the last season is smart because 1. the relationship develops slowly and properly as the characters are figuring themselves out which makes it even more beautiful and worth it in the end and 2. if people are mad about byler being canon they can't do anything about it because it's the last season so it's not like it matters if they lose viewers lol). shawn levy also said “our show is an anthem for the marginalised and imperfect, precisely because the duffer brothers know from experience that the popular and easy road is rarely the most interesting one” and that immediately screams byler!!!!!!!!!!

some people say mike and el have been built up for 4 seasons (they have not, unless you consider “building up” to be a forced, rushed and unhealthy relationship where two kids don’t understand each other or feel like equals), BUT little do people realise that this entire time, byler was being built up alongside mike and el because will has been intertwined in mike and el’s relationship since DAY ONE. mike and el only met after will went missing and mike only found her in the woods when he was searching for him. she basically filled the empty hole that will left behind when he was missing and will did the same when el disappeared. in the season 1 trailer, there’s a voiceover from mike where he says “that’s not will” to show that was his first thought when he saw her. everyone in town said el looked like a boy because of her shaved head and some people actually thought she was will. el and will are two sides of the same coin. they both have traumatic childhoods, so many parallels (i made a video with all their parallels right after season 2 came out) and a special connection. they ended up becoming siblings and some people call them the twins. mike has never been able to balance his relationships with will and el at the same time and one of them always has to be far away or pushed to the side when he pays attention to the other.

mike only said his monologue to el because of will. will’s painting gave mike strength and made him feel loved and appreciated (no one else has made mike feel this way. he’s been insecure and felt inferior for so long until will made him feel better). mike’s monologue was basically a response to will’s monologue. will was in the frame when mike said “i love you” for the first time. mike fell in love with will’s feelings for him even if he doesn’t realise it yet. that’s why the painting has to be brought up again in season 5 because it’ll be the thing that finally makes mike realise his true feelings. mike only confessed to el because of will and that is a very big thing that people can’t just ignore. he thought will was talking about el when he was actually talking about himself he entire time. this painting was so heavily focused on and the duffer brothers said it took so long to make it perfect. the van scene also took hours to film so they could get every angle right. i highly doubt they put this much effort into will’s love for mike just to use him as a plot device to force another ship back together while will suffers all alone. that would be the most cruel and unnecessary thing they could do to a kid who has suffered enough. will's art and the d&d party is also a very personal thing between mike and will only. no one else. making it about another ship isn’t okay at all. they have to address it again because it’s important to both of them and it's the only thing that’ll make sense from a narrative standpoint. it would also be so beautiful to finally see two childhood best friends realise their feelings for each other after all the slowburn and build up and it would make rewatching the show so much more worth it because then you’ll notice all the little details.

anyways, mike and el don’t understand each other at all or have anything in common, but mike and will do. el said to mike “you think i’m a monster too” and she also said she feels like she doesn’t belong anywhere. will said to mike “you make [me] feel like [i’m] not a mistake at all. like [i’m] better for being different. and that gives [me] the courage to fight on”. mike makes will feel like he does belong.

mike and el become worse versions of themselves when they’re together because they constantly lie, pretend to be people they’re not and exclude their friends. mike and will bring out the best in each other and can be themselves with each other. el was the happiest she had ever been when she was without mike and spent time with max. will was the most devastated he had ever been when he was without mike and all alone. el looked at photos of boys in magazines after her break up with mike and she was smiling and laughing. will looked at a photo with mike in it after their fight and ended up crying and having a breakdown because he was so heartbroken. mike and will need each other the way they want to be needed and we’ve seen how much they struggle when they’re apart:

“maybe i feel like i lost you or something” AND “it’s hawkins. it’s not the same without you” - mike to will

“if [i] was mean to you or it seemed like [i] was pushing you away, that’s just because [i’m] scared of losing you, just like you’re scared of losing [me].” - will to mike

mike said meeting el was “simple dumb luck”, but when he told will about the day they first met, he said “i asked. i asked if you wanted to be my friend. and you said yes. you said yes. it was the best thing i’ve ever done”.

he stumbled on el by chance but walked up to will by choice.

mike and will immediately found safety in each other and saw a part of themselves in each other when they met because they were so similar and they were both lonely with no friends. they share the same interests and hobbies and use fiction to distract themselves and escape the real world. they've always understood each other better than anyone else. they confide in each other. they comfort each other. they help each other. they give each other strength. mike has been insecure in his own relationship for years and hasn't even been able to let his own feelings and struggles out because el has her own struggles too (and that’s understandable, i’m not blaming el at all. but the point is, they don’t understand each other and that’s why they shouldn’t be in a forced romantic relationship because it’s unfair to BOTH of them) and even when they try to communicate, nothing gets resolved because they’re never on the same page. mike and will on the other hand are always there for each other and take turns comforting each other and letting their struggles out which helps them both and it’s so important for their mental well-being. people seem to forget how much unresolved trauma these characters are struggling with and they’re still just kids. they shouldn’t be in romantic relationships if there’s no trust, honesty, communication and understanding.

mike and el lie to each other, spy on each other, invalidate each other’s feelings (even if it’s not intentional), don’t understand each other, barely communicate, have nothing in common and have no heart-to-heart conversations. they literally started dating due to emotional attachment because they saved each other during a traumatic time and because of societal pressure. their relationship was platonic and they were building a friendship but mike probably suddenly felt this pressure to get a girlfriend when lucas and nancy started teasing him about having a crush and because it’s just expected in society (the show has been calling out societal expectations and forced conforming since the first season). since mike has always been a nerd and no girls have ever interacted with him, he probably thought this was his chance. and what made him even more fascinated with el as the fact she has powers because mike has an obsession with superheroes. he had absolutely no romantic interest in el when he first met her and he was just being a kind and decent person by giving her a place to stay. he was planning to send her away at first because his priority was finding will, not focusing on a stranger. this is literally canon and it’s in the show. even after she stays, his attitude towards her constantly changes depending on his mood and how the search for will is going. his priority was always his best friend.

mike and will on the other hand are always honest to each other, they respect each other’s personal space, they confide in each other, they support and comfort each other, they understand each other better than anyone else, they communicate properly, they have so much in common, they have experienced similar struggles so they understand each other and feel like equals and they have so many beautiful heart-to-heart conversations. there is such a big difference here.

it’s like they’re literally trying to tell us who is actually supposed to be together and it’s been in front of us the entire time.

#byler #mike wheeler #will byers #stranger things #byler analysis

34 notes · View notes