#i love how invested he is in storytelling and his character

[girl4music]

Just finished Act 2 of Season 1 of Arcane. Wowzas!

Environmentally we’ve gone full steampunk and even cyberpunk which works very well with the evolutions of the main characters. Once again - choosing to use the visuals and narrative to represent and develop on them.

Jinx is a meglomaniac, as expected with the amount of trauma she’s accumulated and the corruption of Silco. Vi is a prisoner shunned from society and cut off from all the love, affection and beauty in the world. Caitlyn is an enforcer who wants to prove to herself that she can solve Piltover as well as the Undercity’s problems and become her own legacy. Jayce has been seduced into the fame and glory of his own successes, leaving his partner to stand far behind him in his shadow while he wines and dines with the prestigious as Viktor is dying.

There’s a lot going on narratively all the while the themes and tones just get stronger and stronger.

Not to the mention the WLW ship started interacting and there’s complications there due to Jinx’s chaos.

It’s all heating up to boiling point ready to spillover.

I love this so much. I’m already heavily invested. This is how to do creative TV show storytelling the right way.

Everything just draws you in even further to engage with it. Exactly as it should be. I am very impressed.

It’s no wonder why this show is so popular right now. It makes me hopeful that more of this will be a priority instead of the absolute senseless, mindless pile of crap they keep churning out to make a quick sales turnover.

Surely Netflix can see that their strategy is the wrong one after the massive success this TV show has gotten.

[ghostatas]

I need someone to make a words document or something of all the fuckin BANGERS of lines bbh has dropped cuz HOLY SHIT

"You need to break him, like the battlefield broke him""You'll spend so much time worrying about how to catch him, and in that time he will fall, and he will break"

Like excuse me????!?!?!?!?!?!? HELLO?!?!??!??!

Please send me ur favourite analysis of him I need it

[zombie-eats-world]

Crocodad Theory: The not-so-Crack-pot Theory.

Making this post in order to replace my old Crocodad thesis since I think I can do better now. Plus I was still using the old theory name then and I dislike seeing it pinned on my tumblr now. You can find that older post HERE if you desire to!

Crocodad theory, chances are you have heard about this theory if you are even slightly invested in the One Piece fandom. But despite its infamy, and outside its stanch believers like myself, it's mostly considered a crack theory and used for a laugh.

Now let's be clear, Crocodad theory is not a crack theory. A crack or crack-pot theory is more of a headcanon built on vibes, it's a fun idea made up out of thin air and isn't really serious. If the Crocodad theory was a crack theory it would have evaporated into the nether by now. It's over a decade old, after all, and yet it persists to this day! That is because the Crocodad theory has real evidence from the canon, the One Piece offshoots, and maybe even Oda himself.

If you weren't aware of the Crocodad theory, sometimes lovingly called Dadodile, let me summarize it very succinctly. The theory is that Crocodile is a transgender man and gave birth to Luffy. Crocodile is Luffy's other father and his birthing parent. If you think that sounds ridiculous or even hilarious, let me walk you through it because I assure you- that is intentional.

Let us begin where the theory began... Impel Down.

The possibility for this theory was born in 2009 with these panels:

The simple fact that Ivankov exists and that he knows Crocodile, from "when he was just starting out" mind you, makes this not only possible but probable.

What other "secret" could Ivakov be speaking of here? It's definitely not his weakness to water, that would just be bad storytelling. It could be that Crocodile is the child of Rocks which is possible considering we now know Ivankov was at the Gods Valley incident. But if I could speak as a writer for a moment, it would really be a waste for an author to introduce a character that can change genders and then bring back one of the first big villains like Crocodile, AND THEN connect the two with the mention of weakness but not make that secret that Crocodile had once been a woman. Or even at least a part of the reason.

But if that reasoning falls through for you, here is some in-canon evidence for the idea that Crocodile is transgender:

First of all, the agents' code names are so gendered: Every single digit agent is Mr with a Mrs, or Ms partner.

Crocodile’s name. His moniker is different from almost every other powerful pirate the story introduces to us. He isn’t just Desert King Crocodile, he is Desert King Sir Crocodile. Again it is oddly pronoun-centered. As if he is trying to remind people that he’s a guy.

The introduction of Bon Clay. Bon Clay is our first canon queer character in One Piece. He makes mention of being a girl many times and feels like a joke character when we first meet him. But as we know in One Piece, a pirate crew is a reflection of the Captain. Crocodile isn’t prejudiced to queer people like Bon Clay alludes to others being a few times. Crocodile even allowed Bon Clay to be both the male and female of his team!

Next up was the reveal of Baby Crocodile and how it’s deliberating ambiguous what gender Crocodile is. In every other Warlord's childhood look reveal, their gender is obvious, so why was Crocodile left out of that?

Then of course we have Gold Roger's execution, and how almost everyone got a reaction panel. But not Crocodile. No, we only see the back of his head. Oda has shown that he loves to get every single character's reaction to major events, sometimes to a fault. So why is he trying so hard to hide Crocodile from us? It just isn’t Oda’s style to leave someone out unless there is some kind of secret he wants to build up too. Now be sure to keep this in mind for later.

Last but certainly not least is just how much of an absolute troll Oda is. This will not be the last time I bring this up, Oda is a HUGE troll. He loves to play to his favorite fan theories and he decides most everything on how funny it is. And wouldn't it be funny if the first antagonist in the Grandline was secretly the birth parent of Luffy?

I mean just look at this! Oda, you absolute troll.

Bottom line: Trans Crocodile is more likely than not.

But this is where a lot of people decide the rest of this theory is crack, they take Trans!Crocodile and leave Crocodad out for reasons I honestly can't understand. Despite that, Cracodad has just as much if not more evidence than the Transgender part of this theory.

Before I begin I would like everyone reading to keep a few things in mind. All throughout the Impel down arc and the journey to Marineford, and even the first few chapters into Marineford, Crocodile could not have given a shit about Luffy, Ace, or the war at all. He did not care who won the war or if everyone involved died. He came to the battlefield for the sole purpose of killing Whitebeard. PERIOD. He was never once shown reacting with any concern when Luffy began facing down anyone strong. Not even Magellan. Crocodile had been around Luffy, seeing him do inspiring things for a massive amount of chapters by the time we get to Marineford, and yet Crocodile literally didn't care if Luffy lived or died, he just wanted to fight Whitebeard.

With that clear let's move on to what happened after Luffy's father was revealed to the world in Marineford. This moment is where the most obvious evidence first came about:

When Sengoku announces Luffy's father to the world we get many reaction shots, but once again Crocodile is conveniently missing from the lineup. He even disappears for a whole chapter! The young man who took down his decade-long plan to take over Alabasta just got announced to be the most wanted man in the world son, and we get no reaction from Crocodile... its suspicious.

Crocodile stopped Ace’s execution: Now Crocodile explains this by saying he ‘didn’t want to let Sengoku have the pleasure of victory’ but seriously? What kind of petty ass BS reasoning is that?! Crocodile has dreams and ambitions, and yet he gives up trying to be the one to take down Whitebeard to randomly save someone he canonly mocks in Impel Down? Someone he doesn’t care about. Some people will tell you it’s because Luffy inspired him like Luffy does many others, but what exactly is Luffy doing in Marineford that he didn’t in Impel Down or even Alabasta? Nothing. That means Crocodile has an entire about-face for no believable reason while completely off-screen. Which we've already said isn't Oda's style.

Daz and Crocodile face Mihawk to help Luffy: When Daz blocks Mihawk’s strike, Luffy questions it. Daz answers: It’s an order from above! That means Crocodile ordered Daz to specifically protect Luffy. Again, why? What reason did he have to do that? If this was some latent Crocodile has been inspired™️ moment, why wouldn’t Oda show it? Oda loves to hype up those moments, and loves to detail it all to the smallest piece. But Crocodile just randomly decided to have his main man Daz look out for this person that he COULDN’T HAVE GIVEN A CRAP ABOUT JUST TEN EPISODES BEFORE does not fit within the story. Then, right after Daz blocks Mihawk, Crocodile appears out of the woodwork to block another attack.

When Mihawk questions why he’d protect Luffy, Crocodile’s only response is “I’m not in the best mood now, Mihawk, you better watch yourself.” It’s interesting that he has no reason, none, he just comments that he’s in a shit mood. Maybe because he just found out he once stabbed his own child in the gut and left him to die?!

Crocodile vs Akainu: The brother killing Lava Man™️ is probably the most dangerous person in the war. He has no mercy, no morals, no restraint. So the fact that as Luffy is lying comatose and weak, with Jimbe slumped over him, Akainu about to deliver the final blow, Crocodile coming out of nowhere once again is so telling.

The fact is: Crocodile went above and beyond to save Luffy. That final stand against Akainu is so powerful. Crocodile doesn’t just save Luffy, he rushes to Luffy's aid, slicing through Akainu and reassembles to stand protectively between them. He did not need to do this at all. Oda didn’t need to have him do this either!

There were plenty of other characters that could have essentially done the same exact thing, but Oda chose to have Crocodile, someone who shouldn’t have been on Luffy’s side at all, save his life in the final moment.

Lastly, without a word, Crocodile uses Sables to get Luffy to Law’s ship. He risked his life, faced down the one person who could kill him without a second thought, and sweeps Luffy away to safety without any stated reason at all. In fact, everything he says is deliberately vague. Crocodile doesn’t believe in loyalty, he dumps people if they are weak (see; Alabasta Crocodile vs Luffy desert fight) so his line of “you gotta protect the one you wanna protect! Don’t let them have their way!” Feels so out of character. Crocodile has to have a reason for this odd behavior. And no, it doesn’t end there! In the defense of Luffy, Crocodile has an awesome and powerful moment where he stands in unity with all the Whitebeard commanders. HIS ENEMIES. Crocodile stands in unity with the people, he himself stated he hated more than anything, for Luffy!

These are the moments that alerted people to what would soon be called the Crocomom theory, now called Crocodad. But just because it began there doesn't mean there wasn't foreshadowing from before Marineford.

Let's go over all of that now:

First to talk about is once again Crocodile's crew. Miss Father's Day debuted in episode 124 of the anime and chapter 205 of the manga. She has a green amphibian theme to her, which is interesting because she is a woman with the moniker Father's Day while also having a theme of an animal that is famous for being able to change its gender. Her debut episode even has her introduced along with the reveal that Luffy's using his blood to fight Crocodile.

The next point is something Oda has never explained. Crocodile has strange relationships with children. From hiring a sixteen-year-old Miss Goldenweek, leaving her out of the Mr. 3 assassination order, and her history of actually sinking Crocodile's ships before getting hired, all the way to how Crocodile lectured Luffy in their fight. It just had the cadence of a parent. Not even Luffy's parent, just a parent. He lectures like someone who has experience with children.

Next, Luffy does not look like Dragon. That is a direct quote from Luffy in the manga. But you know who he does look like?

That's right! Luffy looks a lot like Crocodile. If you need more convincing on this, there is a great post by Dashevacotton that puts together many of the best canon pictures of Luffy dressed up like Crocodile. That post is here!

Crocodile and Luffy are incredibly similar. Not just in looks, but in personality, and in their general life.

These two have so much in common. From having a way with animals, to the amount of unadulterated loyalty they've inspired in their crews, all the way to the cadence of their speech.

Crocodile and Luffy even have a similarly goofy reaction to seeing the underground passage to the Alabasta Poneglyph.

Episode 123, episode time 13:16 Crocodile spots the entrance and laughs, "Ha, now I see secret stairs." Also in episode 123, episode time 20:47 Luffy looks around and spots the secret stairs. "That hole... it looks gator-ish."

Even what we know of Crocodile's backstory is that he had a rapid rise to fame just like Luffy by being a rookie who came in and beat down non-canon characters like Douglas Bullet to the shock of the world.

Next, let's bring up an earlier point: Oda-sensei is a mega troll.

This isn't exactly new information, Oda once deflected to bringing up a dick fight instead of answering if Zoro or Sanji was stronger. He is a Troll. He loves wordplay, and he likes to hint hint nudge nudge us all day long. Just look at Oda having Sanji call himself a prince in Alabasta as a joke, only to realize years later that he actually was a prince.

It's because of Oda's tendency to play around and make knowing jokes we've gotten some pretty compelling evidence for the Crocodad theory.

First would be the wordplay!

-Crocodile is closely linked to a Bananawani-> Monkeys like Banana -> Monkey D. Dragon is a reptilian Monkey attracted to Banana reptile. Fight me - A 'crocodile smile' is a term most often used to mean a fake or ingenuine smile. Crocodile's scar has been liked to look like a 'crocodile smile', which would mean Crocodile is the only character that always has a smile on his face. What a fun bit of wordplay to foreshadow the birth parent of Joyboy!

Then there is this SBS alongside the One Piece School spin-off manga by Sohei Koj.

What a great way to get out of revealing Luffy's parentage without actually revealing it!

And of course, we have the One Piece Mafia Theatre episode of the anime.

Oda would certainly make this canon just because of his troll tendencies. This is a hilarious theory because the story supports it yet only a fringe group believes in it. It's hilarious and therefore it's probably true.

Lastly, the symbolism makes this theory truly great.

I've already mentioned how Crocodile's scar being a 'crocodile smile' and thus giving him a permanent smile on his face would make him the most meaningful candidate for Luffy's birth parent. Joyboy, our Sun God Nika, was born from a man with a permanent fake smile; who is also named after an animal with the world's biggest smile.

It's just such a perfect setup, it makes my writer's heart swell.

Since Oda has stated a mother in One Piece would stop the adventure, it would fit that the first major villain in the Grandline to try and stop Luffy's adventure ended up being the man who gave birth to Luffy.

If we are going to speak of symbolism, I'd be remiss not to mention what a crocodile spiritually symbolizes. I really don't think I need to explain why adaptability, creation, ambiguity, and duality mean so much to this theory.

This theory could die or be confirmed any day now that we've entered a God's Valley flashback. I will love it either way but truly, honestly, I believe this. I hope I convinced a few of you to. If you are interested in the succinct list of Crocodad evidence that post is Here!

So in conclusion...

Crocodad is canon!

[zyafics]

I love your fics 🫶🏾 do you have any recommendations

hi baby!! omg, thank you so much, and i definitely do have recs!

this isn't an exhaustive list, btw, these r just people i can think off the top of my head. i have a rec account where i reblog my fav fics and whatnot w reviews + commentary @zyafics-recs

@nadvs ONE OF THE BEST RAFE WRITERS, she is the reason why i got introduced into fanfic writing and the reason why i actually wrote today! i love all of her series and her entire masterlist has anything u could ever look for—from fluff, to smut, to angst. it's all there! personal favorites are cam girl and home before dark!

@itneverendshere MY PERSONAL FAVORITE WRITER AND MY ABSOLUTE LOVELY GIGI, i am her biggest fan (will fight u for this position 🔪) and whenever i feel down, or lacking motivation, she is the reason to help me get motivated! she's such a lovely person, and her prose, dialogues and descriptions are to die for. if u like my written fics, i say gigi and have pretty ~similar~ writing style. she also can have ANYTHING ur craving—from canonverse plots, to aus, to fluff, to smut, to angst, EVERYTHING! my personal favorites that got me invested into her work is her thornton!reader with rafe, the other side of paradise (maybank!reader and rafe, lowkey canon, lowkey not), and love you at your worst. also i requested a lot of hockey!rafe from her, so if you love athlete!rafe, she's definitely ur girl!!

@aliyahwritings my bABYGIRL FR—she currently has this series called the contracted heart, which is about model!reader and athlete!rafe and it's to die for. if you love banters—especially if you love witty banter back and forth—this is your girl. if any of you read the addicted series, and loved rose and connor, they lowkey mirror that dynamic. on top of her amazing dialogues/banters, she has such rich representation of desi!reader. like she isn't afraid of portraying explicitly BIPOC readers which i admire so much from her.

@whytheylosttheirminds okay listen, NAT has one of the richest descriptions of storytelling that evokes such a personal level to you. whenever i enter her storytelling, she has such details and beautiful imagery, i actually have to stop reading just to admire it. i'm still digesting her masterlist, but my personal recs are: blue sweater, snooze, and i remember everything!

@starkeysprincess one of the sweetest people on this platform, i absolutely devoured her kinktober fics, but one thing about shania is that she writes every scenario of rafe—from doctor, to handyman, to stepbrother, etc!—and she does it so well. her smut is so fun, and dynamic, especially with their dialogues, and it's so easy to digest her fics in one setting (be warned fr)

@erwinsvow ok i absolutely ADORE the way shea writes, ok?? like everything she puts out, i eat UP!! especially when she written her long fics, aint nothing better for me (toxic!rafe), all mine, bitchy!reader and rafe, and my heart and soul that i religiously reread every week got what u wanted <3

@ilyrafe one of my favorite writing pieces and introduction to analysis of rafe, is by gabi. she has this wonderful mini series (late night and early morning) that perfectly slows down the relationship of rafe and reader and the intensity of his character. if u wanna read more about how he sees the world, and why his character acts the way it does, gabi does is so successful. she also has a hitman!rafe currently in the progress, which i know just released a pt2, i am gonna to read it soon, promise!

@softspiderling okay ELLE HAS EVERYTHING!! she has smaus, to written works, to series, to oneshots, i'm obsessed with everything she puts out, especially because it's so intriguing and the way she writes just leaves me craving more. i would personally rec ocean blue eyes (smau), illicit affairs (best friends to fwb to lovers) and think you’re a genius (you drive me up the wall) <3

if u want more social media aus—

@ghostofwriting has one that is the reason why hb:l is alive today. kildare split is about a band au with rafe and reader and they had drama. and she's also currently writing one about biker!rafe and book influencer!reader, which is so fun, witty, and filled with drama. i absolutely adore kildare split, and it will always have a special place in my heart bc it's my first introduction to smaus <3

@sematarygirls ohmygod, i am currently obsessed with salt & secrets. it's actually magnificent, especially the graphics. the efforts sol puts into them is so detailed and telling, u can see it's made with love. but the PLOT!!! the way the story moves, the way it's a gossip site and reader is a huge instigator. this fun enemies-to-lovers feud between them (that i'm still wondering if the reason reader is targeting rafe means something more 🤨) and the COMMENTS AND BANTERS!! reader is so hilarious. all the characters are so funny and witty, it's definitely something to read to soothe the angst and tension from hb:l LOL 💘

@rafeskai i'm also currently reading this smau about reader and rafe having a little thing before she moved away for college, and she came back! it's so interesting, especially because kai mixes multimedia and written work in one place, so u get to experienced both!

lastly, this is for sarah cameron specifically, but @spellewrites! she's currently working on this smau about sarah cameron and f!reader and i'm excited to see how it goes, especially because sarah is dating(?) topper, reader's brother.

[malakaie]

had some feelings to write out – for/about @tommyend, no pressure at all to respond

I started watching wrestling – specifically, AEW – in late October 2023. It’s been just over a year since I started watching, and I didn’t expect it to consume as much of my brain-space as it has. When I started watching, I didn’t really know who anyone was. I had heard a few names – Randy Orton, CM Punk, Jade Cargill, Roman Reigns – but had no real concept of the landscape I was entering or what it would mean to get invested.

Truthfully, it was a little overwhelming, and there was more I didn’t understand than I did. In those first few weeks, I received one very helpful piece of advice: don’t try to understand everything. Find a wrestler or two whose vibe you like and stick with them – the rest will click into place eventually, or it won’t, and either way is fine.

And so I did. I think it was around the lead-up to Full Gear 2023 that I started really paying attention. There was something about what House of Black was doing that was different from anything else I was seeing. I could understand just enough to recognise talented athletes when I saw them, but I wasn’t quite plugged in enough to the overall wrestling “ecosystem” that that was enough on its own to get my attention. Now that I understand more of what I’m looking at, it’s easier to understand what I’m meant to be impressed by – it’s easier now to have that moment of, holy shit, how did they do that?

But I didn’t understand yet. I’d been watching wrestling for about a month and was still finding my footing. What I saw, and latched onto, in House of Black was a group of four impressive performers that I could tell were in love with the art of what they were doing. Everything was done with intent – the way they entered the ring, the different but cohesive styles with which each member of the House wrestled, the gear they wore, the ever-evolving paint on Malakai’s face, the evolution and growth of Julia’s character.

It was both the moment that I finally, properly understood that professional wrestling was also theatre—and, I think, the moment that I was magnetised. It felt like a faction that was made for me: a band of storytellers who wanted to take my hand and show me what wrestling could be and was and is, and had the creativity and cohesiveness and physical talent to pull it off.

I could breathe a sigh of relief. I wasn’t lost anymore, desperately trying to catch up to understanding something that everyone around me already seemed to know. I had a guide of some sort, and one that resonated: I’ve been reading since I was 3, writing stories since I was 11, have always been a little “strange,” drawn to creative types and niche hobbies and other people that don’t have many friends. And here was someone who not only felt like me, sounded like me, but was wanted and loved and succeeding. A stranger to me, in the way that performers and public figures always are, but I felt like it was going to be okay. If Malakai could make it—though I didn’t and don’t know him personally, I had no way of knowing if he was ever afraid, or if he doubted himself—then maybe I could, too.

The more I watched and the more I learned, the more true that became. I’ve been depressed and anxious most of my adult life. I have scoliosis that is likely to get worse as I get older, and causes me pain multiple times a week, if not every day. Hearing someone whose work I admired be open about his mental health—especially when sports industries have typically not been kind to people, perhaps especially men, who are vulnerable in that way—and be honest when he’s in pain shook something loose in me that I hadn’t quite realised was stuck and frozen in shame. It’s okay that I’m afraid. It’s okay that I have days where my brain is trying to consume itself. It’s okay that I’m in pain. Did I get out of bed today? Have I been outside? Have I eaten? Have I done something to be kind to myself—or, failing that, kind to someone else? Have I done something creative today?

I started my “gender journey,” for lack of a better phrase, in 2018. There was a lot, a lot, of messing around with pronouns, labels. I didn’t know what I was, only that “just a girl” didn’t feel quite right anymore. And then I felt like I was lying, because, well—I was fine being a girl when I was ten, and thirteen, and sixteen, so why was it suddenly different at 25? Sometimes I still feel like I’m lying. The generation above me often still holds an image of trans people that requires them to have always been miserable, always been “pretending.” A few months ago my mother suggested it was fine if my idea of being feminine had expanded, but she didn’t really believe I was trans, because I’d never been unhappy as a girl child, and besides that I looked like a “clone” of the small handful of other transmasc and nonbinary people she’s met. I must be a pod person. (Newsflash, mom: This is just what queer people look like, a lot of the time. I cut and dyed my hair and got one singular tattoo. How terrible.)

She didn’t ask me how I feel when people call me she, or her—it makes me feel horribly small and unreal, by now—and in fairness to her, I didn’t quite defend myself either. I cringed and shrunk and asked for time to think about it, when what I wanted to say is yes, I know I haven’t had the history you expect to see from me, but this is who I am, and I’m not telling you that I was never a girl. I’m telling you that girl isn’t the place where I stop.

But I was scared, and I felt cornered, and I didn’t say any of that.

What I did have, though, was an artist and a performer and a storyteller who did things with his expression, his clothing, how he presented himself to the world that was like a lightbulb going on. The confidence of a man who told stories with the way that he looked, and who used feminine symbols to do it. He wasn’t any less masculine—but it was an embracing of both that cemented who he was, and I thought: holy shit. I can do that. Our identities are not the same, and I’m not too keen on speculating about the identities of public figures that I don’t know in any event—but it’s reassuring, motivating even, to be able to regularly see someone comfortably expressing his gender (because, yes, cis presentation is gender expression too) in a way that makes sense to him and incorporates the feminine and resonates through his art without doubt or reservation or compromise. This is who we are. Take it or leave it.

I don’t know what’s coming next for any of us. AEW looks like such a different place—in a good way—from when I started watching, and the world is looking pretty scary these days, but I’m still here. The art that got me interested in wrestling in the first place is still here, and I have my theories—unsubstantiated, so far—about where Malakai and House of Black are taking their story, but regardless of theories I’ve been so fortunate to watch them continue to grow and evolve over the past year. There’s a lot I don’t know, but I know the love for the story and the art is real.

I don’t know you personally, Malakai, and I don’t want to claim to, no matter how many scraps I’ve gathered together from interviews and how much of the backlog of matches I’ve done my best to watch so I can understand where you’ve come from and where you’re going next. But your work and your love for your craft has moved me, and I’m glad I stayed alive when it was hard so I could be around to see it when it mattered.

[apdreadful]

Since the election I have deactivated some of my social media. Blocked some people I never should have ever engaged with to begin with, and unfollowed several accounts on IG that just don’t bring me joy.

And 911onabc was one.

Is it because Buck & Tommy didn’t end together? No. I’m a grown ass adult. I can be irritated by the something and not be dramatic or hateful about it.

It was because several storylines lately have been complete bullshit.

They start strong with solid good storytelling. But then..eh we’re bored. Only whatever we do absolutely can not make sense!

The lazy fucking way they wrote Christopher’s character out, and that weird ass doppelgänger storyline.

New season? Let’s start by putting Bobby and Athena through to some major disaster! Hey it worked last season! Let’s do it again! (Do not even get me started on that fucking drug cartel shit..what the hell even was that??)

We are only allowed to have one character or couple drama free at a time. And if we can’t come up with a plausible way to create discord or havoc, we’ll just do some stupid shit instead!

Spend several seasons showing the deep strong bond between Eddie and Christopher. Gavin’s family moves? Just make it something dumb..but fast! I know let’s have him get mad at his dad and ask to move in with his grandparents!! Never mind he’d never do that!

The amount of psychological trauma they have inflicted on Maddie. The near death experiences of Chimney. Jesus. Just what tf?

Hmmm. Karen and Hen..the fans would revolt if we broke them up. So let’s go after their kids!! And we can’t make it about them being gay! Let’s create this over the top villain Councilwoman Ortiz. Who’s the mother of that drunk coked up dude from the accident. Only we absolutely cannot have Hen or anyone defend what happened or shut that shit down by saying “Your son was a fucking menace and maybe if you hadn’t kept covering for him he would have gotten some fucking help and not caused an accident.” Also do not mention Hen was cleared of all wrong doing. Nope. Logic has no place here!

Ok so the fans have been clamoring for Buddie. But Eddie Diaz is straight. Period.

So hey! Let’s make Buck bisexual. And tell everyone we are getting him off the hamster wheel (because really, we’ve given him the emotional depth of a teaspoon for a while now)..And his love interest/boyfriend should be Tommy Kinard, who used to work at the 118, and we will invest time to give him a compelling backstory, and lay a ton of Easter eggs showing how richly we can mine this pairing and these characters.

And make them HAPPY for several episodes. Blissfully in love. And then totally out of the blue, let’s break them up. But the reason has to be complete bullshit, totally against character out of left field BULLSHIT. Like they should start out the episode great and about 80 percent in..wait! Let’s also make him the SAME Tommy Abbie from season one was engaged to before she started banging Buck! And then let’s make Tommy who is so into Buck it’s palpable, dump him because he’s afraid of getting his heart broken! Even though it’s one of the most tired, overdone, stupid tropes ever!!

Yeah. I don’t know WTF is going on in the writers room I would swear it’s like there’s this talented group of writers who start stories, and then they go out in Wilshire Blvd and ask some random person on the street to write the ending, but they have to do it, right there in the next 20 minutes.

No I am not going to stop watching 911 forever. I just don’t really want to see them on my IG. This last stunt, sparked only incredulity and scorn.

[daniigh0ul]

simblr story recommendations pt 1/?

hi i have been reading a ton of stories in this community for the past several months and i thought it'd be fun to recommend some of them to you all! these are sorted by genre with a small blurb for each! i also included if the story is still being updated or if it's a finished story! :) i didn't include content warnings because most, if not all, have warnings listed on their pages, ty! this post is long but i didnt want to put anything under a read more cut so !!

fantasy/supernatural

@madebysimblr the princess and me status: complete

cordy steele is in college and not taking it very seriously when raina comes into her life. while they may not get along at first, it is a pleasure and a joy to watch their friendship form and grow with them. this story made cordy my favorite from coffee's SIMnematic universe, and i hope she will become yours, too. :D

crime/mafia

@earthmoonz wifey status: ongoing do you want to read about a queer relationship forming while both deal with their grief with the backdrop of crime in london??? then read this!! it is so cinematic and well-done!!! i am rooting for max and lena til the end

royalty, baby

@nexility-sims 1992 status: ongoing

follow leonor as she navigates grief in the public eye--this is a prequel/spin-off of n's main story, which is also very good, and reading both gives you extra context and i fully believe 1992 is worth the read for the cinematic nature of it as well as the wonderful prose. if you support women's wrongs, i highly recommend you read this.

@armoricaroyalty the house of st. fleur status: ongoing

do you want to watch a family push each other's buttons while navigating royal life? do you want to support women's wrongs and become apart of the Worst Man's hate club? then this story is for you!

@bridgeportbritt simdonia status: ongoing

follow along as bria wu marries into royalty life and all of the ins-and-outs of that new life as she navigates her family life, her relationship with her new husband, and as her kids grow up and navigate their own relationships and lives. the drama is so good and it's such a blast to read!

slice of life/legacy

@lynzishell star sign legacy status: ongoing the story starts with phoenix as a teenager, and follows him into his adulthood--we follow along as he navigates love, loss, anger issues, and a little bit of trauma go a long way, but what i really love is how the relationships form over time, whether they be romantic or platonic and now i am too invested in phoenix and the people in his life!! and i hope you will be, too! @elderwisp tessellate status: ongoing this ensemble cast are navigating their twenties and their relationships, but secrets and tensions lie underneath--will anyone get what they want? girl i don't know but it's fun to watch everything unfold and it's beautifully edited so 10/10 do recommend @honeyjars-sims safe harbor status: ongoing do you want to follow along as three siblings navigate their young adult years while dealing with trauma and the complicated experience that is navigating your early adulthood? then read this !! there are drag queens, a nightmare, and love--romantic and familial and platonic--and i guarantee you will become invested in these's characters' lives. @hannahssimblr lucky girl status: complete

evie is probably the most relatable girl you'll ever read about. she's insecure, she's in love with a boy, some of her friends suck, others don't. as we follow her through her young adult years, we watch her navigate her love of a boy, her naivety and later, her wisdom, as she grows up. and will she get the boy in the end?? you'll have to read it to find out !! @sirianasims the duchelli legacy status: ongoing i think my favorite part of siri's storytelling is reading about her sims navigate their family relationships--usually in the form of a parent getting their act together for their kid(s)!! but there's also space travel, romance, friendships, and general chaos and it's such a fun read so i highly recommend it!!

[scintillyyy]

hm. tbh i do think that one of current bernard's "problems" as a character isn't the oft claimed he's just boring & there's nothing you can do with him (like, actually, on a purely hypothetical level, i do think that he has the potential for some pretty interesting conflict hooks with tim, or as much as tim's other friends that could have been brought back), it's that he's actually a surprisingly tricky character canon logisticswise to bring back & i don't think fitzmartin necessarily cared about canon logistics so much as she cared more about the emotional parallels she wanted tim to have with the era bernard was created in. and, like, the emotional connection is a good hook for the coming out story, but for bernard to be a long term love interest that people get invested in (especially as a character who was *brought back to be a love interest* versus just creating an OC), you need to be able to hook him into his past canon and explore and expound upon the past canon connection. and bernard is actually a pretty hard character to do that with.

bc the unfortunate reality is that he's intrinsically entirely tied to war drums/war games by virtue of his origin and to be able to bring him back & explore his & tim's shared past you have to....dig into war games. which no one is ever going to want to do. sp you have fitzmartin, who brings him back based on the emotional connection of the uncertainty of identity war games era tim with the feelings of uncertainty of his sexuality & it's not a bad choice give the parallels, it's just very fanficcy by nature. and fitzmartin, who has bridged the gap of original bernard & her current bernard in her head for probably a long time and wants to focus on the coming out vs how we even met bernard to begin with, brushes past the canon logistics of bringing him back. bringing him back explicitly re-canonizes war games, which is a huge thing that would create a lot of conflict hooks for his character given everything that happened there. however, no one at dc is going to touch the implications of re-canonizing that event & all that entails to bring depth or focus on conflict hooks or the shared past tim & bernard have based on war games. hell, even fitzmartin prefers instead to create new trauma for bernard (the chaos monster, his evil homophobic parents) rather than significantly delve into and tie their reunion into their shared past.

and fitzmartin, when it comes to bernard as a character, has the benefit of having his journey in her head & is able to tie him emotionally to tim & wants him to be tim's perfect boyfriend & a really meaningful choice for emotional thematic reasons, but other writers don't and won't have that of him & because she tied so much of bernard into her personal perception of how she thinks he should have grown (hence the. bernard is basically her oc), she writes him as the kind, supporting, loving boyfriend without any conflict because it's about the now emotional stability of tim having fully accepted himself. which is nice! but doesn't particularly lend to long-form storytelling outside of maybe one arc or to storytelling by other writers when he is so ill-established and the relationship.

bc other writers don't have that basis or personal investment. they have war games & fitzmartin's finished product to go off of when it comes to the relationship & what there actually is to dig into between them. they are probably fairly uninterested in her finished product because so much of it is implied about him so it's hard to nail down--who is bernard really, they'd just once again be making him into a basically new character. and it's hard to use war games when 1) it's war games and nobody is ever going to ever write it because the complexities involve the girlfriend people are made tim broke up with starting a gang war that got bernard's best friend murdered and 2) fitzmartin already established their stable relationship completely bypassing the complexities of the canon logistics and conflict hooks of their shared past. their main option is to continue to keep making bernard have either no conflicts or newly engineered conflicts that have nothing to really do with his history and the oc-ification where he becomes far removed from his origin to the point where people do generally wonder why you bothered to bring someone back when he's basically just a new character with no real connection to his or his & tim's shared past outside of vague references.

so it's not that he's a bad choice or anything to have been brought back, it's that there's actually a lot of tricky complications surrounding him being the one to be brought back that makes it a bit harder to work with him and be able to meaningfully connect him to his post-crisis self which is generally what you want when you're bringing back a character with shared history specifically to become a love interest. and so you're forced into a bit of a box & he ends up becoming more generic/this story could have probably been told with anyone there's nothing particularly unique to him.

[blorbologist]

look, ima just say that yes, the cast understands their characters best - but they are not writers, and might not know how to best get those traits across to their audience.

My brother is like, the ideal target audience for a new fan. Big nerd into anime and mature animation already, a fan of several of the VAs and has a smattering of D&D experience. He absolutely loved seasons 1 and 2! In fact, his favorite characters in s1 were Grog and Keyleth, and I believe that held true in s2 as well.

While live chatting to me watching s3, he was so frustrated by how stupid and childish she was acting. He's completely naïve to C1 (but has endured some C2 when my dad and I would watch together). Without me to explain the complexity and depth of her in the campaign, he's gone from absolutely loving a character to loathing her appearance on screen because the writing did her so dirty in ways that are, frankly, easy to spot and easy to fix. Telling him how Keyleth was in the campaign was heartbreaking - he found it so cool! That was the character he found so interesting!

But whoever she was, she wasn't apparent in s3 Keyleth.

He also called Raishan 'the worst schemer (archetype)' he' ever seen, and enjoyed bitching about episode 10 with me more than he did watching it, soo...

I use Keyleth as an example because she' the most relevant one, as a favorite of my brother’s and having been done so dirty this season. But it applied to... a lot. From the friendships to the character choices to just the whole structure of season 3.

It's one thing to know Keyleth is strong, and angry, and feels responsible for her people, and doesn't trust Raishan. It's another thing to communicate that effectively - and this goes for everything and everyone else this season too. You just hear more vocal complaints from fans who know the show because they have, right there, a blueprint for how these inner conflicts and personalities were shown very well, and so have easy examples for how it could have been done better.

But hey, how dare we engage with s3 as a work of art on par with s1-2 instead of turning our brains off, right? The campaign will always be there - as a reminder that this season definitely lost new fans and those that stay will walk away with carricatures of the characters compared to what they were in s1-2. Look - genuinely beautiful battle sequence! 😍 I have no concept of storytelling or writing and clap in delight at the third Ripley fight of the season! Wahoo!

(Ignore that all that gorgeous animation and score were not enough to keep my brother invested when he, a member of the target demographic, started getting annoyed by the writing. Nothing is worse for art than being annoying.)

[heyclickadee]

I understand that people are going to cope how they are going to cope, and trying to find meaning in the handling of Tech in season three is part of that, but it’s also okay to criticize the show.

I like a good character death. Tech’s departure was not that. My issue is not that he’s presumed dead, my issue is that it and the handling of it is nonsense. So (I once again get very negative about my favorite show under the cut):

1. When you kill off a main character, you really have to kill them off. How you do so can vary from story to story, but you really have to do four things:

One, you need a good reason to kill them off in the first place. (“Stakes” is not a good reason. A secondary character, sure, but not a main one. More on that in a minute.)

Two, you need to make it perfectly clear that the character is, in fact, dead.

Three, you need to show the other characters processing and accepting that death. This is important because doing so will allow the audience to do the same and let the character go. This is especially important if you’re writing for a young audience.

Four, you need to make it explicitly clear that the character cannot come back. This is especially true in sci fi or fantasy. Especially if you’re the Character Resurrection franchise.

And guess what the show didn’t do?

Any of that. Any of it. What it did instead was ambiguously remove Tech from the story (uniquely in a show that loves making us watch characters die on screen; last time we saw Tech for sure he was alive), never gave a good reason for doing so in or out of the show, never showed us any character working through the impact of his loss (even though there was ample opportunity for Omega, especially, to do so), and ripped the “could he come back?” box wide open by parading CX-2 in front of our faces. It is never, at any point, handled like an actual main character death. It’s handled as a plot point from which the narrative moves fairly quickly, and treated by all parties as an absence. By all the rules of storytelling, Tech isn’t dead. He’s just ambiguously gone. And that means the writing team did a terrible job if what they wanted to do was kill him off. We should not be debating this after the show has ended if he’s actually dead.

2. I understand why some fans are trying to find meaning in losing Tech. I am not, because that meaning is not offered by the text itself. And, if the plan was to never bring him back, it should have been.

We are not, for example, offered a lesson about how not everyone comes home from the war. In order for that to have been the case, we would have needed to see someone, probably Omega, working through that. We would have needed to see her refusing to accept that Tech is gone—like we do in Plan 99, by the way—and slowly coming to terms with the idea that her brother isn’t coming home. But we don’t get that, not even as subtext.

Something else we could have gotten that would have worked with all the little visual reminders of Tech, empty chairs, name-drops, and even the CX-2 leading? The batch being so haunted by losing Tech and not really knowing what happened to him for sure that they start seeing him everywhere. But for that to work we would have needed, again, to see that as an explicit subplot where someone, probably Omega, again, gets really invested in the signs that Tech is coming back and even starts assuming that CX-2 is him, only to realize that she’s seeing what she wants to see and having to accept that Tech isn’t coming back, but that she can still keep Tech’s memory alive by following in his footsteps. That’s something you can kind of project onto what we’re given in the epilogue, but you do have to project it, because it’s entirely absent from the rest of the show.

As is, Tech’s sacrifice isn’t given any weight. From a narrative perspective, it was an incredibly contrived set of circumstances that accomplished nothing except punting Tech off a train, and gave Tech no choice but to remove himself from the story—exit, stage down. Losing Tech doesn’t, even sub-textually, serve as anyone’s motivation. It does nothing to move the plot or anyone’s character development forward. The primary motivators of season three were Omega’s kidnapping, Crosshair’s PTSD, and Hemlock needing to get Omega back.

Tech’s absence does nothing to move anything forward and only really serves to slow the plot down and make the others struggle to do anything because he’s not there to carry the team like he did in the first two seasons—and nothing about that would have played out any differently if Tech spent the season in a coma in a bacta tank. The only part of Tech’s sacrifice that has meaning is that he loved his family enough to offer it. And that is profound, but that’s not something that would be negated by a return because the love and the offer remain. As for his presumed death? His return couldn’t have taken meaning away from that, because the show never gave it any meaning in the first place.

And no, Tech “dying” isn’t something I have to accept. Tech isn’t a real person, he’s an idea, and an idea that didn’t come to fruition. I can point out the ways the handling of his departure didn’t work all day if I want.

3. CX-Tech was not an overly online theory. I need people to understand this. It was an assumption made by most of the casual audience. My sister, who has no contact with the fandom and doesn’t like me discussing the show at all until she’s seen it, assumed he was Tech. My brother-in-law, who was a die-hard Tech-has-to-be-dead-shut-up guy for the entire hiatus and the first half of season three, was convinced he was Tech. Every kid I’ve spoken to who watched the show thought he was Tech and is deeply confused that he got speared like that. My brother, who doesn’t even watch the show but who does walk by when I’m watching it sometimes, thought he was Tech. You can’t get more casual and away from the fandom than that.

The thing is, the answer we get isn’t that he’s not Tech. It’s, “We’re not telling.” Which means that as it currently stands, a season-and-a-half of CX buildup amounted to a five minute boss fight and a non-answer. That’s…not something that works! That’s atrocious writing if that was the whole sum of their intent all along.

And you can say, well, that was a clever misdirect! Plot twist! Except, one, misdirects and twists only work if the real answer is more satisfying than the false one, otherwise it just falls flat. Two, if it was a misdirect, it’s not one the creative team is willing to own. No one will touch the Tech-CX-2 parallels with a twenty-foot pole, except the Kiners, who have incredibly meaningful explanations for every musical choice but then say shit like, “that chord just sounds good in brass” about Battle of the Snipers (…before going on to say that the four note lose motif from “Plan 99” is Tech’s leitmotif…which is also all over Battle of the Snipers…and is only there according because the batch is divided in that scene, a scene in which Crosshair’s leitmotif is entirely absent even though he’s just supposed to be fighting his own dark side represented by a guy who’s totally not Tech. Sure. I’m going to go eat drywall.) Because acknowledging that and saying that was supposed to be Tech will just make the audience angrier, and they may not even be allowed to do so, and saying that it is Tech—you can understand why they can’t do that, right? The implications are horrific. But that horrific implication is probably what at least some of the casual audience who will never interact with the fandom or a single interview is going to walk away with.

4. The thing that bothers me most about all of this is the combined toxicity of the fandom and the leading from the marketing and social media. Part of the fandom saying that there were never any signs Tech could have survived (in Star Wars, no less) is starting to feel like gaslighting; and while I don’t think there was any malice in the leading in the marketing and social media—I’m even willing to give a tiny bit of leeway for the creative team maybe knowing something we don’t yet—it was handled badly, expectations for this season should have been set early and clearly, and as of right now it all feels like an incredibly cruel prank at autistic fans expense, whatever the intent may have been or may still be.

5. And finally, here’s the thing: I’m willing to give the writers a bit of leeway on this. I’m willing to grant that some choices may have been out of their hands for unknown reasons. I’m even willing to say that maybe they’re not really done with this story yet, that The Bad Batch could just be the first chapter of a longer show that was split up for stupid business reasons, and that the finale is the way it is because they had to have an ending of sorts without actually resolving anything. I’m willing to grant a lot of grace there. In fact, I actually think there’s a very good chance we’ll still get Tech back alive in canon, and sooner than later, if only because no one (not even the voice actors) seems happy about this, most fans are coping but disappointed at best, the creative team got asked about Tech non-stop for a solid year and a half, and the writers don’t seem at all committed. We know from the rest of the show that they know how to definitively kill a guy, and, frankly, Tech in the first two seasons comes across as something of a writer favorite. They like using him!

But whatever I’m hoping or suspecting, and whatever leeway I’m willing to grant the creative team here, the final product is all we have right now. And I am going to criticize that final product for badly handling a (presumed) character death and straight up breaking the central conceit of the show in doing so.

[cfr749]

So in the interest of engaging in a respectful way, I wanted to put my thoughts into words about why this situation with the picture is far bigger than the picture for me personally. I also don't think the picture is that serious. I do think the pattern I talk about below is problematic.

If you love everything about the show and how Tim and Lucy got together, I think that’s wonderful. 

But before getting annoyed that people are voicing their opinions and concerns, I hope that people at least try and consider these are layered issues. 

Lucy is a woman of color in the LAPD who ended up in a relationship with her former boss, despite knowing it could come at a price for her professionally. 

For me, it is important to see a story where Tim and Lucy choose each other, respect each other, and support each other. Equally. 

And, for me, that is not at all the story we got in seasons 4 and 5 (and the end of season 3). These are my issues, and why I think it’s important the show be more balanced in its storytelling going forward: 

What we got for Lucy: Multiple instances of Lucy being petty, jealous, immature and unprofessional at work (and mind you this is a character that is hyperaware of how hard it is to be a woman in the LAPD, and specifically the optics of romantic relationships between officers, and I think it's shitty that the writers chose to portray her like this not once, but multiple times)

The Katie Barnes storyline

Webb and the cat personality test + vocally reacting in roll call in front of her fellow officers when Tim chose Smitty over her to be his aide

Being clearly invested and heavily focused on bets and competition with Tim

What we got for Tim:

a retcon of his bad behavior in S1 being because he needed to show Lucy the world could be a scary place. Because, as a woman who was literally threatened with sexual assault and a car jacking in the pilot, she was too naive and inexperienced and "empathetic" to know that.

Tim putting Lucy in her place and reminding her about the seriousness of their work by calling off the bet

***

What we got for Lucy:

Obvious jealousy over Ashley (you're in a relationship? you're dating a lifeguard? break up with her! the reaction to the proposal, etc.)

What we got for Tim:

Setting Lucy up with another man without a second of hesitation.

Encouraging her to end things with Chris (a WHOLE other issue I won't get into), after Ashley had dumped him

***

What we got for Lucy:

Being seemingly more invested in and concerned about Tim's relationship than her own (Tim's planning a vacation with Ashley, while Lucy doesn't want to meet Chris' parents and is very concerned about whether Tim is going to propose)

Dumping Chris, not of her own accord, but because Tim was able to “open her eyes”

Specifically dumping that guy FOR Tim, in a way that made her look like an asshole 

What we got for Tim:

being in a relationship with a woman he was absolutely into, despite their clear incompatibility (we heard from Eric himself that Tim was genuinely interested in Ashley, happy and invested in his relationship with her; we heard Tim say he could see himself marrying her)

Choosing not to break up with Ashley despite all of the indications they weren’t right for each other and being willing to cheat on her

Not being willing to retire for her, but still not ending the relationship

Being made into the victim when Ashley dumped him in a way that made her look like an asshole

Only pursuing a relationship with Lucy after he'd been dumped, while she was still in a relationship

If you don’t feel the story was lopsided and unfair to Lucy, or have a completely different perspective (I'd genuinely love to hear it!!), just don’t care, or find it that serious, that’s great for you, but it’s completely valid that people feel this way.

There’s nothing wrong with wanting to see a woman in a relationship be valued and treated well. That has nothing to do with insecurity or jealousy. That has to do with respect and representation. We all come from different perspectives and have different backgrounds that reflect in our perception of how women of color are portrayed on TV.

[generalluxun]

I'm still trying to get my head around Chat Noir's complete sidelining not just in the finale, but pretty much the entirety of the show. Based on some of the tweets I've seen, Thomas Astruc is pretty hostile to the suggestion that Chat should have more of a share of the narrative.

So... why? Why make his family, his very existence, the fulcrum on which the show turns? If you want to be the show to only be about Marinette, with Adrien as a side character and "just" a love interest, then MAKE the show only about Marinette. Don't make the main plot about Adrien, and wonder why people are confused when he's not more involved in the main plot. It's such a self-inflicted wound.

Heck, the least they could have done was give Marinette SOME personal stake in her conflict with Hawkmoth, even if it's as uncomplicated as making Marinette a paragon-type superhero like Superman or Captain American who takes her duty to the people of Paris very seriously and feels deeply about the hurt Hawkmoth's is putting them through. But most of Marinette's personal conflicts are about romance or school dynamics. The closest any of her conflicts come to her actual enmity with Hawkmoth are those that deal with the stress of being a superhero/Guardian, in which Hawkmoth doesn't really feature as a person who is her mortal enemy but as an impersonal cause for the stress she's in.

While the finale tries to summon some emotional weight to Marinette's situation, the final fight, at least on Ladybug's end, feels less like the culmination of an epic rivalry and more like a contractual obligation Marinette needs to meet as Gabriel's assigned nemesis.

I mean, the unsatisfying but true answer is twofold:

1)TA never wanted Ladybug to have a partner. That was a requirement in order to get producers lined up to hand over money. It should be understood that I am NOT trashing the producers for this. It is their money. If you want to pursue your purely artistic goal then you secure other funding or self fund. If you want to get something MADE then you have to make what people want to pay to have made. A portion of the friction here comes from the fact that I don't think TA ever stopped fighting for his original version of the show, and that version conflicts directly with the version he was paid to write for.

2)In the context of the above- Adrien is a TROPHY. Gabriel is the DRAGON, and his home life is the TOWER that the KNIGHT Marinette must rescue him from. If Adrien were a side-character he wouldn't be much of a trophy, investment wise. Is it good to make a character purely a trophy? No. It's not good when it is done ot female characters, it's not good when it's done to male ones either. (Or intersex, enby, nongendered, etc) We've moved past the kind of storytelling TA is selling in his vision of ML. It feels like something out of the early 00's, which when you consider where he started his work, makes a lot of sense.

Should they have connected Marinette to Gabriel more? Absolutely! They both do fashion! SHE could have had an internship right along with Lila. Can you imagine the rivalry there? Can you imagine the conflicts with Gabriel?

At the VERY least they should have let Marinette actually track down abriel. Let her put all her planning and analysis to good use! Instead they just had Felix do it all and then some blind luck at the end. That's LAME, that's cheating Marinette out of a well deserved culmination story beat.

Punching has never been what Ladybug was about, so a final fight could never be a satisfying climax no matter how 'epic' it was.

[hunter470]

Here’s my imagination having fun.

TM: Let’s break up Buck and Tommy and make it really hurt. It’s gonna be great.

Writers: But, Tim, this doesn’t make sense. We’ve been laying the foundation for a long-term healthy relationship for Buck. You even brought Tommy back because of all the connections he had with the 118. You wanted Buck’s love interest to be connected so they wouldn’t be off on an island. This just feels like it’s coming out of left field.

TM: True, but I keep getting texts from Oliver and he wants “Buck to f**k” and I think that would be fun. I mean, he’s newly bi so he should sleep around with a bunch of people before finding the one. We can have a lot of fun with that. Just think of the possibilities.

Writers: But that goes against all the character development we’ve done for Buck over the last seven seasons. We wanted him off the hamster wheel and to get into a long term relationship. Plus, aren’t you being a bit biphobic with your statement?

TM: Nope, I like Oliver’s idea so let’s do that. Oh, and make Tommy the bad guy and don’t let any of the other characters encourage him to talk to Tommy. We can have fun with that…maybe have Buck baking to get over him or he wants to call Tommy and Eddie steals his phone. Yeah, I like that. Use it.

Writers: Are you sure? We’re gonna get a lot of pushback from the audience. We’ve all seen the overwhelmingly positive response the Buck and Tommy relationship has gotten online.

TM: That may be true, but because the audience is so invested in the relationship, it just makes it more fun when we break them up. Remember, based on our ratings, the audience will watch whatever we put out there. Besides, Tommy’s just a side character so they won’t care. They only care about Buck. Oh, and I wrote a whole scene about Tommy being engaged to Abby. Make sure to work it in. It’s genius.

Writers: Abby? As in the Abby Buck dated? That doesn’t make sense. It doesn’t fit the timeline or the previous episodes’ narrative. So, Abby was engaged to a firefighter from the 118 and then dates another firefighter from the 118 and what, it just slipped her mind? Seems like a bit of a stretch. Also, why didn’t Tommy tell anyone he worked with at the 118 that he was engaged? Wouldn’t that have helped him stay hidden from his team? Kept his secret safe?

TM: It doesn’t matter. Just retcon the timeline or ignore the timeline altogether. It’s not like anyone will notice. The audience doesn’t pay that close attention. Plus, they’ll be too upset over the breakup to care. It’s just such a great idea that I got from the fans who sent me that red string theory video. They’ll love the fact that I used it.

Writers: We’ve seen the video but that was to show how Buck and Tommy are meant to be together and not to cause problems. Won’t that upset people?

TM: I doubt it. They’ll just feel acknowledged that I used it and be grateful. The audience loves everything I do. Remember, these are the viewers who loved a bee-nado and my obvious ripoff on a 1975 airplane disaster movie. They even bought a 66 year old police sergeant and a 10 year old boy landing a heavily damaged plane on an active freeway in LA. So, it’s not like they expect reality in our stories.

One day after episode 6 airs…

ABC Executive: Tim, have you seen the number of saddened and upset viewers commenting on social media about last night’s episode?

TM: It’s amazing, right? I knew people would love it! We’re doing great things over there. You can expect this level of storytelling for the spinoff. You’re gonna love it!

Executive: I’m afraid you didn’t hear me. People are upset and saying they’ll stop watching the show. We’re even getting hundreds of feedback messages on the ABC site. People are not happy. How are you going to fix this?

TM: Don’t worry. People won’t stop watching. They’re all lemmings and love everything I write. Anyway, it will all blow over after the next episode. I threw in some Tommy crumbs that will make viewers think he’s coming back, which they’ll live off of and keep watching. Oh, and if that’s not enough, we have a scene with Buck and Jee baking that is so cute they’ll forget all about being upset over the breakup. Cute kids are the answer to everything.

Executive: 🤦🏻‍♂️

[homerforsure]

TL;DR: it's not my ship, but they were done dirty

I always always always come back to that weird little reveal that when they were first floating the idea to bring Tommy back, they said it was to do a storyline with Eddie and it got switched to Buck because it was too weird or tricky to have them both break up with their LIs offscreen but only one actress could come back.

Because a stepping stone relationship makes perfect sense for Eddie. Something short and intense with angst and softness for him to get to this moment of letting himself feel joy and to taste how truly good it can be. He didn't need an endgame relationship right now. He did need to have his "first."

Buck didn't need that. Buck is absolutely ready for his forever and he has been for a while and giving him the "inviting Natalia to move in and then catching his own bad habit for once and backing out" would have been great.

But that didn't happen. Instead Eddie had to sit like a hot dog on one of those rolling warmers for a season while Buck started the queer dominos falling (and I admit this is a little bit from a Buddie endgame perspective because it doesn't feel to me like the show was deciding to explore the a character's sexuality just for exploratory purposes and I'm willing to admit I have a blind spot here.)

And honestly I think the fact that Oliver cares so much about Buck and telling this story well both for the character and everyone who sees himself in him and that Lou met that energy turned the storyline and the relationship into a more beautiful beginning than it would have been in the hands of other actors.

Which gave the show it's next problem. Because we can all see that Buck is ready for his forever love and you introduced a new love interest and then instead of sticking to a few episodes of awakening and moving on, I think they saw that people were starving for it and latched onto it and Tommy harder than they expected. So it's an easy thing to do to milk that for a little bit longer, but it was absolutely the wrong choice because people got invested in a way they wouldn't have if this had ended after the original number of episodes we expected.

And Buck and Tommy worked! I think you can nitpick relationship things if you weren't that into it and write a breakup narrative using those seeds, but their puzzle pieces absolutely fit together. So much so that they definitely had forever after potential that everyone could see and a lot of people were excited about and investing in and oops wait that wasn't the plan.

So what do you do? You either abandon the plan and embrace the accidental beauty that you discovered and let it ride or you write your way out of it. Give them some hurdles, some angst. Give them a tear-jerking breakup that respects what you built and the viewers who are invested in it and slowly work your way back to where you wanted to be.

They didn't write their way out of it.

And I so don't want to believe that after the work the actors put in and the viewer feedback that they were still viewing the relationship as a placeholder ready to be yeeted once Eddie's arc got back in position again, but I'm not sure what the alternatives are?

Either it's being talked about that this is the last season and so if they're really doing buddie then it's now or never? Or actually the internet is not a valid reflection of the viewership as a whole and someone from on high said the plug should be pulled?

Or the storyline was stumbled into and fumbled around from the beginning and never treated with as much care by the people in charge of it as it was by the people who loved it.

IDK it's just messy messy storytelling and I say that as someone who is not a multishipper but who does value a good story and a good narrative. They let the relationship go on for too long to end it so abruptly. If there was going to be a breakup, there was a better one to be had and it doesn't make me feel good that my preferred happy ending could come from one that breaks the heart of so many of my friends. And if it isn't in the service of a bigger, already in motion endgame, literally what the fuck?

[jesncin]

Hello! I'm not sure if you read the Actions Comics #1074, but I wanted to get this thought out of my head. Spoilers ahead!

Clark got sent back in time when Krypton has yet to be destroyed. After saving a stranger from a malfunctioning flying bot, he was sent to Krypton Hospital and, after he was given treatment, a meal, and new set of clothes, he immediately went to place Lara and Jor-El were.

I couldn't help but think his sudden visit to Lara and Joe-El reminded me of how in some Asian countries, you could just walk into your neighbor's home, usually without a prior notice, and just...eat with them, talk with them, and other activities. I remember someone talking about how in their country, they would go to their neighbor's home so much and help them with chores like laundry, they knew the days when that neighbor does which chores and always got meal going there.

In my country, the Philippines, my grandpa's neighbors would just appear with no notice, and give my grandparents company!

Indeed, Clark did send some sort of message about his visit to that Lara received, but he immediately left from the Krypton Hospital to the place of Lara and Jor-El's, and even though the Science Council is conceited, the communal spirit must be so strong for Lara to just accept this stranger's sudden and quick request for a meeting, even though she doesn't know them.

just...something about community and how people just helping each other because they want to, which bring about an easier life and also a joyful one

Anyway! What comics have you recently read? I think Absolute Superman is out now! Have you read Absolute Superman? What do you think about it?

I gave said Action Comics issue a quick read!

It's definitely not intentional in the story, but it does serve as a nice jumping off point to thinking of Krypton as having a type of collectivist communal mindset for treating thy neighbors. Part of what fascinates me about Kryptonian worldbuilding is exploring what the idea of a doomed utopia could be like. I'd personally love to see writers pull inspiration from cultural philosophies like Gotong Royong or Bayanihan, along with challenging human structures of gender, class and spirituality. An indigenous-inspired Krypton would be phenomenal.

But as long as DC Comics continues to be a reflection of a white dominant industry, we're not going to get anything like that soon. The Action Comics story is charming enough, I like seeing Clark try out Kryptonian clothes and mention that he has a language barrier, but the white imagination can only go so far without having lived it.

I have read Absolute Superman! My feelings about it are actually pretty similar. I'm glad I wasn't excited for AbsoSupes because it sounded boring from the promos, and turns out, it (the first issue at least) was indeed dull. Something Absolute Superman shares in common with Absolute Batman is that it doesn't stand on its own. These takes rely on being contrarian (what they call "subversive") to their source material. If I didn't know anything about Superman, I'd honestly think this was a pretty generic alien superhero story.

I notice most of the people enjoying AbsoSupes are praising it because they've done 80 years of Superman homework to get all its references and recognize what it's twisting. But I think an over-reliance on expecting your audience to do reading pre-requisites to even like a story at all is weak. Absolute Wonder Woman on the other hand, is an outstanding, mythic take on the character- no homework required, just genuinely compelling characterization and storytelling.

(spoilers for Absolute Superman #1)

To bring this back to my feelings on Krypton, Superman writers and DC as a company; I think stuff like Man Of Steel, that Krypton tv show, MAWS and Absolute Superman reflect the very limits of the white imagination. New Superman writers are no longer invested in exploring Superman's origin planet as a utopia, because that's not something white people can relate to or fathom. Instead, they'd rather Krypton be a direct reflection of Earth's problems.

Kryptonians are now colonizers, classist and bigoted. Krypton is no longer the land of the future sending down their one hope to guide the imperfect people of Earth into a better tomorrow. There's no appealing contrast between Earth and Krypton anymore, and because of that- Kal El becomes an exception from Planet Colonizer. He's just some decent guy from the other equally shitty country. It's not that you can't make an interesting hero from that, but I've certainly seen that guy many times before. It's nothing new.

Kal now doesn't have a cast system and wanders around on his own, I've seen how that kind of character struggles because I've read Martian Manhunter stories. Kal talks to his suit because he's Iron Man now I guess. Kal was actually more grown up when he was on Krypton instead of a baby, so... just like Supergirl is in canon- well that's not new either. Lois Lane is a government agent here, because why have characters who occupy unique jobs like being a librarian or a journalist when you can make them yet another cop or agent? When the biggest personal experience integrated into Kal your Absolute Superman writer boasts about is how he's the first writer who is actually from Kansas to write Superman, this is what you get.

[growingnerves]

There’s no ambiguity to what Zabel said in those quotes. He called our ship a cheap gimmick. He said Caryl as a romantic pair would be too obvious and “easy.” As a Caryl shipper since 2011, NO IT HAS NOT BEEN FUCKING EASY. IT HAS BEEN HARD EARNED. How did this fool ever get hired to work on pre-established/existing character stories when he has no interest in them and has only ever wanted to tell *his* original story. His agenda goes against everything that has been built up over the years (Carylers are the built in audience!). He’s taking everything that makes Caryl exciting to watch (and profitable) away. He’s severing the fans. WTF AMC? Is this what the future of TWDU is going to look like?? No interest in investing in proper storytelling or keeping anybody around who might actually want to watch this amazing duo?? I refuse to watch Zabel’s version of these characters. Melissa deserves better. The fans deserve better.

Presenting Carol and Daryl as only friends/best buds is never going to be as compelling as romantic canon. Their bond is significant and distinct. They’ve been established as soulmates with an uncanny connection. Their relationship is built on deeply identifying, understanding and knowing each other- in a way that’s intimate and goes beyond what anyone else on the planet can see in them. TWD has always been an ensemble of chosen family and strong friendship bonds, but Caryl has long stood out as having an intrinsic love & attraction that is something much more than friend or family. Stop retconning their history!

Replace Zabel already. Time’s a ticking AMC! Start listening to the voices of your audience instead of the ones bts who are self serving. What’s the point in producing a show that only Nicotero wants to watch?