#i need to know who wrote this episode

[jurassic-cunt]

The last three months, same five ties. Thursday should be that paisley thing. It's a gift from my wife. No, it's not. Julie hates green. You bought that yourself. You wanna look pretty. At work. Wilson's got a girlfriend. Stop, stop. I don't.

So, what's her name? When do I get to meet her? There's nobody. Give it up. Your lips say no, but your shoes say yes. Well, they're French. You can't trust a word they say. Solid, yet stylish. A professional woman would be impressed. I'm thinking accountant. Actuary maybe. It's somebody in the hospital. Patient? Chemo's not sexy. Daughter of a patient. She would certainly have the neediness you need. I'm not gonna date a patient's daughter. Very ethical. Of course, most married men would say they don't date at all. There was no date! I had lunch with one of the nurses. It's her first time in an oncology unit and she's having a tough time, emotionally. Perfect. I wanted to be nice. That's all. I mean it. You always do. It's part of your charm.

I know you love your wife. You loved all your wives. Probably still do. In fact, you probably love all the women you loved who weren't your wife. You can be a real jerk sometimes, you know that? Yeah, and you're the good guy. At least I try. Well, as long as you're trying to be good, you can do whatever you want. And as long as you're not trying, you can say whatever you want. So between us, we can do anything. We can rule the world!

[starry-bi-sky]

realizing i have. a lot of untapped trauma potential for clone^2 danny because i just Fully Processed Four Months Late the fact that his parents were capturing and torturing ghosts in the basement before he became Phantom. and the fact that he was on house rest for 2 weeks. during that time period. and he wasn't really leaving the house. he could hear their screaming through the floorboards

*points at clone danny* i can give you suuuuuuch a bad time babe ahaha. i've got two untouched years before you meet damian what fucks you up before then

[psychomusic]

so. I've been reading some posts on the jedi order tag AND i won't talk about my opinion on "are jedi good or bad discourse" BUT i wanna point out some lore to everyone who's complaining about the jedi taking kids into their order: (in the EU) it wasn't always like this.

if you take swtor era (more than 3000 years before the prequels) there were many jedi who joined at an older age. like, for example there was a guy who broke his engagement to become one. most jedi remember their families because they were old enough when they decided to go.

THEN in darth bane's book trilogy (circa 1000 yesrs before the prequels) there is a passage where two sith lords are talking about taking bane, already an adult, to study at korriban. one doubted him because he was too old, ans the other told him he sounded like a jedi, and that ONE DAY jedi will have to accept only kids into their ranks if they really want to find "pure" people that can learn their lessons quicker.

one day!! so it wasn't always like that!! the ongoing wars with the sith, who corrupted and killed many of them, had pressured them into taking always younger people into their ranks.

also, consider a thing that this video explains super well: training to become a jedi is not like exercising, because there is a transformative lesson at the end of the training that changes everything. you can't just do as much as you can, but not finish.

the transformative lesson, as the video explains, is that through the force, everything is the same - from rocks and ships to life and death. at the end of the training you have to understand this fundamental truth.

yoda says "you have to unlearn what you have learned". during times where they were constantly killed off or corrupted by the dark side (and if you haven't learned this lesson you are more susceptible to this corrupting), younger people were taken in to actually finish their training (a training that was ultimately about being a good person AND that you could leave at any point if you weren't sold on that, too)

(remember that for the sith failure = death. like. that was the alternative for force sensitive kids. it's not like sith had any moral problem with taking kids away without consent. sith don't have moral problems: they believe that them being stronger in the force means they can do whatever they want as long as their strong enough to go and do it. there are MANY passages in many different star wars stories, even in different mediums, that say this out loud)

AND (this is more of a critical thought than just stating the lore) the fact that they started doing it out of necessity doesn't mean it's 100% good BUT you know. the whole set up of the prequels is that we're starting off the story in a period of crisis and decadence all around. most of the systems of the times were about to fall. OF COURSE they had problems. if they didn't, we wouldn't have the story to begin with.

that doesn't automatically mean jedi = bad and sith are better, tho. you wouldn't take the last, chaotic and decadent period to jugde something, would you? it's like deciding that the athenian democracy sucked because people at the times of Demosthenes failed at recognizing the new schemes in which the world was evolving into, and still believed that their city would be important as it had been in the previous century. They just didn't fucking expect the Macedons would conquer half the world known and more, and have the subsequent political power. Still, their experiences in the 5th century with democracy were very good, even better than ours on many fronts, if you contextualize a little. the jedi had flaws, and most importantly, they didn't fucking know the future and everything that ever happened, ever, so they made mistakes. that doesn't automatically make the system ill, or bad, or not-working. systems can have setbacks when the world changes. (just like athenian democracy had one when they lost the empire that was funding the democracy. they even had a tyranny for a while and then fixed the problems. that doesn't diminish retrospectively their democracy)

[acaptainbyanyothername]

Midst spoilers for S3 E16: Trustfall

This is sort of just a jumble of my own interpretation of Phineas and Jonas’ dynamic (which is definitely influenced by my being aspec and having a strange understanding of romance) but I honestly don’t think the kiss complicates their relationship any more than it already is complicated. I feel like their overall dynamic would have been relatively unchanged if they hugged in that moment instead of kissed. Phineas said it best— they’re each others’ person. They both made atrocious mistakes and fucked each other up, but at the end of the day they love each other. When going into this episode, I had no idea if they were going to kiss or not (I knew both were possibilies, but didn’t know the direction it was going to take). But I knew based on their respective arcs and views of each other they were going to plan their futures in conjunction. They were always going to be the most important person to each other. They just so happen to be similar-aged and both attracted to each other, so they used a kiss to demonstrate that to each other instead of other methods of affection. I think trying to wrestle them into typical “romantic” or “platonic” boundaries will always fundamentally miss an aspect of their dynamic. They both fucked each other up, but they want to work through it and plan a path forward. They are the most important person to each other, and they demonstrated in multiple ways througout they episode, one of them being a kiss.

[kairenn-n]

arthur and lancelot have SUCH a dynamic. the prince fighting to get a commoner knighted. then the king and his most loyal knight. the love triangle. the sacrifice. the betrayal. head in hands i can't with this

[sophfandoms53]

I wish Hazbin had more than 8 episodes this season bc 1) the pacing is all over the place (outside of episode 4) and 2) it would’ve been so nice to actually see when and why Alastor started to genuinely care about the hotel.

The pilot and the first episode of the show characterize him as sticking around for the entertainment because of how silly the idea of redeeming a sinner is to him but then episode 5 has him fully backing up Charlie’s wishes for the hotel and even tells Mimzy she’s welcomed to stay if she actually wants to try redemption and was upset she had put the hotel in danger with her presence.

I think that turnaround in Alastor’s perspective is so interesting but when did that happen? Why did that happen? How did that happen? What made him care?

He clearly still has ulterior motives, there’s 0 denying that given his scene with Husk in the same episode, but he does seem to actually care about Charlie and her hotel. Which can be connected to the leash Husk claimed Alastor is bound by but Alastor is also the most distant from the cast.

We never see him around everyone for more than a few minutes at a time. Everyone went out to the club in episode 6 but Alastor is nowhere to be found in the entire episode.

That bond with anyone in the hotel, even Charlie, that would explain Alastor’s sudden support in the hotel has not been shown on screen and I really wish the show had more time to do that.

That’s really what Hazbin lacks. Time. Time to slow down and just let the characters breathe. Everything is moving so fast because they probably didn’t know a second season was coming until later which I can understand but that also means the plot takes priority over the characters and a majority of the cast is suffering from it.

Angel’s the only character who’s gotten an episode solely about him and exploring, expanding, and developing his character and his bonds in the hotel are what we see the most. This makes sense given he’s the main guest in the hotel but no other character has been able to have their own character and arc be explored the way Angel has.

The show needed more episodes like Masquerade to explore the cast before diving headfirst into the Heaven vs. Hell redemption conflict. That was always going to be the direction the show went in but they needed so much more time to do it because there are so many characters to juggle and so much is happening. Big moments that are supposed to matter don’t hit as hard as they should bc the cast is overstuffed and everyone is fighting for screen time.

This isn’t the teams fault, they’re doing a decent job with the limit time they were given but 8 episodes is not enough time for a show this ambitious with everything it’s trying to do. Doubling the episode count to 16 would’ve done wonders for the pacing and the show could slow down and take its time.

A lot of what Hazbin presents are good ideas. It’s all interesting but none of it is given enough time because the big Heaven and Hell plot has to take a majority of the shows focus. I do hope season 2 fixes this but that’s also gonna depend where the show is going after season 1 is over. We’ll see next week.

My main wish for the show going forward is each character gets their chance to be explored just as Angel has.

[unnamed-atlas]

Finally finished sweet tooth s3. Having incredibly mixed feelings

[rowanthestrange]

The thing is, you could’ve made Rogue entering to “I’m The Bad Guy, Duh.” easily make sense if you’d wanted to. You’d have just written that he thinks he’s a bad guy all cool and nefarious - Rogue neither refers to himself negatively, and the Doctor says he’s cool not him (admittedly you’d still have to explain him pre-approaching the string quartet to play it, or it be magic but whatever).

You have Rogue think he’s A Bad Boy, but the Doctor be all ‘no you’re not there’s a heart of gold there’. He wouldn’t have freed himself with an I Am A Time Lord speech giving himself authority over Rogue, it would be appealing to Rogue’s good side that he doesn’t actually want to incinerate him etc. Rogue would choose to do the ‘good guy’ decisions himself, not have them imposed. He’d convince Rogue killing the birds is wrong, not just take his stuff and modify it - he’d get Rogue to reveal his better nature. The Doctor would convince him to leave his gun on the ship.

This is what would bite them later, where they’d both know, maybe with just a look, that if Rogue could have just shot the birds stuck to the glue trap, they wouldn’t have been in this mess. With Rogue then acting correctly ‘sometimes you need someone to be the bad guy’ by taking the controller when the Doctor was busy snogging him and dispatching Ruby himself.

Leading into a finale where Ruby is in a different dimension and relying on her battle-earpiece skills to fend off 5 murderous birds as long as possible, giving us an opportunity to engage with whatever her reality warping powers are but it ‘could’ just be dimensional weirdness, and if the TARDIS was still the one who programmed the teleport she knows where Ruby is, and luckily for her if unluckily for the universe, the dimensions are now all bleeding at the edges and seeping out and Doctor Who is a TV show, yada yada yada.

[skydaemon]

congratulations to daniel faraday for harnessing the power of bisexuality for its true purpose: time travel

[bardinthezone]

Watching Making myself sit through Moffat's Who, trying to give it a decent chance and I can't stand it already. Y'know why?

The stupid fucking love triangle.

Because not only is it just generally annoying as a trope, but it is so poorly written here. It takes over the show in a really obnoxious way and completely flanderizes characters who, in the first episode, were decent people.

Rory is portrayed as a fool for being... concerned that his fiance is cheating on him with the not-actually-imaginary friend she's been obsessed with since childhood, who she ran off with and kissed (A normal thing to be concerned about!!). And just generally, he's portrayed as a bumbling idiot. As the one who just gets confused and makes one-liners about being insecure. And both Amy and the Doctor just brush him off, leave him behind! Mocked by the woman who's supposed to be there for him and abandoned by the Doctor who's meant to keep him safe. He's being reduced to basically just comic relief here, and it sucks.

The Doctor is so.. aloof. More so than 10 and DEFINTELY moreso than 9. He's a silly, childish man who often fails to recognize the emotional consequences of his actions. He has his emotional moments, yes, but a lot of his writing falls victim to what I call "Sherlock Syndrome." When Moffat just writes an aloof super genius and expects the audience to fawn over him because he has good outfits and witty one-liners. Matt Smith is a fantastic actor and he carries a lot of his run, but putting glitter on a turd doesn't stop it being a turd.

Amy is yet another victim of the "every woman falls madly in love with the Doctor" pitfall. Worked with Rose, got old with Martha and after that almost every one-off woman who flirted with him just made me roll my eyes. Her obsession and anger with the Doctor didn't have to be romantic, but Moffat just couldn't resist writing a "strong female protagonist" who's sexy and she knows it, who loves having all the boys fawn over her and flirts without a care in the world. Who's a brash girlboss in charge of her boys, but who also turns into a sobbing damsel in distress at the slightest sign of danger.

All three of these characters are so blatantly characatures of themselves right now that it takes me out of it. They're all just quippy one-liners of their smartness or their brashness or their insecure foolishness. Can these types of people exist in real life? Yeah. But the way they're written about here is just obnoxious. I'm willing to accept that later Moffat seasons might be better than this (at least on the interpersonal conflict side of things), but it's season 1 and he's already dropping the ball so hard.

We could've gotten something truly marvelous, with a PLATONIC conflict based on the Raggedy Man from her childhood finally coming back and offering her freedom from a boring adult life. She's enamored with him, but doesn't entirely trust him because hey, he massively fucked up once already. Maybe Rory is concerned about his place in Amy's life, and Amy tries to be comforting. Maybe she messes up, maybe she says the wrong thing. Maybe she says the wrong thing right before losing Rory to the crack in space and time. But she has to try, because why should I care about a relationship where one person doesn't care about the other's happiness, at least a little? And right now it just feels like she doesn't.

I'm not saying shows shouldn't have interpersonal conflicts and flawed protagonists. They should! But to pull that off well, you have to make us want to see these characters grow. You have to give us a reason to enjoy watching these characters interact, even at their low points. And revisting Moffat's run as an adult, I don't feel enjoyment. I just feel annoyed.

[slingbats]

I am going to need that rewrite on my desk by tomorrow, 12 point font, times new roman, double spaced

noOOOOOO IT'S TOO MUCH WORK!!! I DON'T HAVE TIME AND I DON'T CARE ENOUGH........ girl help!

my rewrite where uhhhhhhhhhh. everything is the same except the writers actually care about female characters. a lot of decisions were made because of actresses no longer being available so plotlines like fish's are more or less the same but like, Ivy either gets to grow up normally or is never a child at the beginning to start with (you can go the weird plant body route if you have to keep her relatively younger since this is a prequel ig), and I don't... even know what to make of KK or Isabella, and Sofia should just be fucking. dont tell me there isn't a single female italian bodybuilder who can act, I don't believe you. let her be buff. let her take up space. let her be huge and wear vintage fashion.

also Oswald is fat and trans

[maya-matlin]

very UO but if they couldn’t bring back Jake, they should have stuck Peyton and Julian together as endgame over Leyton! Julian and Peyton had already supposedly been in love, they both like cities (LA, NYC etc) and it makes sense they’d live there due to their careers, and both Peyton and Julian for a lot of their time on the series seemed ambivalent about starting a family. Also, Julian is smart and on the introverted side like Lucas but a little goofy like Jake - a combination of the traits Payron goes for! Meanwhile, we saw so clearly in season 5 that Brooke and Lucas both loved being back in one tree hill, they both seem to have jobs they can do anywhere, they both very much prioritize settling down and having a family, they were already unofficially co-parenting Angie, they still have that seemingly effortless and magical connection, they balance each other out perfectly…I could go on!

Honestly, I wouldn't have minded that one bit. First of all, Peyton deserved a million times better than Lucas by the time he finally got around to choosing her. She was lacking any sort of spine or self respect when she ran to that airport. As irritating as I found her character for large stretches of season 5, ultimately she wasn't in the greatest place and only imagined that her happiness could be attainable if she won Lucas back. Now to get back to what you were saying. I definitely think Peyton was better off and would have thrived most living away from Tree Hill in a bigger city where her dreams could really take off. I mean, the show really said that because Peyton wasn't exactly where she wanted to be at age 22 that this made her a failure and retroactively meant her decision not to rush down the aisle at age 19 had been a terrible, awful, shameful mistake. Seasons 6 and 7 Julian would have made a lot of sense as a partner for the ambitious Peyton who had faced so much trauma and pain in her hometown. STRONGLY agreed about your points re: Peyton and Julian being ambivalent and sometimes even negative about settling down in Tree Hill compared to Brooke and Lucas who genuinely loved it there and couldn't imagine raising their families elsewhere. I'm aware every aspect of this was unintentional considering the possibility of a Brucas endgame post season 3 was basically taboo, but in terms of compatibility Brooke/Lucas and Peyton/Julian made the most sense. If we couldn't have Jake back for Peyton, obviously. In the end, Peyton still left Tree Hill, something Lucas never wanted. And Julian settled for staying in Tree Hill for Brooke even though he'd rather be in LA. Relationships are all about compromise, but it's interesting how their situations sort of parallel. You should go on, because I love reading your thoughts! I genuinely think if not for Peyton's continued interest in Lucas and Lucas having an unfortunate history of making the same mistakes over and over again, Lucas would have eventually ended up with Brooke. Season 5 Brucas had such an ease around each other. Their goals lined up perfectly. The chemistry was still there. Their communication was really solid and both went out of their way to emotionally support the other. Maybe it's because the pressure was off considering neither was expressing their feelings, but you see them taking care of Angie and the way Lucas considered proposing to Brooke and instinctively know that they could have had it all. It's really depressing.

[spending-life-pretending]

I need you guys to understand how much this haunts me

[digifag]

i feel like in all the critiques i've seen on the way chibnall's written dr who everyone always fails to look back on the episodes he's written before becoming the head showrunner

[i-really-like-plants]

I'm actually so confused oh my god I'm watching murder she wrote and the Jessica Fletcher has a scare with a murderous car and in the police office, they offer her some hot drinks, tea, hot cocoa, and bouillion. BOUILLON what huh what. like I could understand ppl drinking broth at home but that's not really a household drink that gets offered usually I'm so confused can someone who was alive in the 80's or has ever been to Maine explain this phenomenon to me? I'm just bewildered.

[weirdly-specific-but-ok]

for whom good omens is being written

Hey maggots and the rest of the fandom, it's the Good Omens Mascot here. Today I read a post about this tweet:

The accompanying video genuinely made me cry. And I've been thinking about this for a long while, as far back as February, when I saw a lot of conflicting opinions on what people wanted from the third season. It really is true that no matter what you do, some people will be dissatisfied. But what matters is that Neil is writing this for Terry.

And I was reminded of some paragraphs from the Good Omens TV Companion, which I'd read in Amazon's sample excerpt of the book. I know this is a long post, but I really truly do think you all need to read these, I've done my best to select only the most important parts. Here you go:

'His Alzheimer's started progressing harder and faster than either of us had expected,' says Neil, referring to a period in which Terry recognized that despite everything he could no longer write. 'We had been friends for over thirty years, and during that time he had never asked me for anything. Then, out of the blue, I received an email from him with a special request. It read: “Listen, I know how busy you are. I know you don't have time to do this, but I want you to write the script for Good Omens. You are the only human being on this planet who has the passion, love and understanding for the old girl that I do. You have to do this for me so that I can see it." And I thought, “OK, if you put it like that then I'll do it."

'I had adapted my own work in the past, writing scripts for Death: The High Cost of Living and Sandman, but not a lot else was seen. I'd also written two episodes of Doctor Who, and so I felt like I knew what I was doing. Usually, having written something once I'd rather start something new, but having a very sick co-author saying I had to do this?' Neil spreads his hands as if the answer is clear to see. 'I had to step up to the plate.' A pause, then: 'All this took place in autumn 2014, around the time that the BBC radio adaptation of Good Omens was happening,' he continues, referring to the production scripted and co-directed by Dirk Maggs and starring Peter Serafinowicz and Mark Heap. ‘Terry had talked me into writing the TV adaptation, and I thought OK, I have a few years. Only I didn't have a few years,' he says. 'Terry was unconscious by December and dead by March.'

He pauses again. 'His passing took all of us by surprise,' Neil remembers. 'About a week later, I started writing, and it was very sad. The moments Terry felt closest to me were the moments I would get stuck during the writing process. In the old days, when we wrote the novel, I would send him what I'd done or phone him up. And he would say, "Aahh, the problem, Grasshopper, is in the way you phrase the question," and I would reply, "Just tell me what to do!" which somehow always started a conversation. 'In writing the script, there were times I'd really want to talk to Terry, and also places where I'd figure something out and do something really clever, and I would want to share it with him. So, instead, I would text Terry's former personal assistant, Rob Wilkins, now his representative on Earth. It was the nearest thing I had.'

(...) As Neil himself recognizes, this is an adaptation built upon the confidence that comes from three decades of writing for page and screen. But for all the wisdom of experience, he found that above all one factor guided him throughout the process. 'Terry isn't here, which leaves me as the guardian of the soul of the story,' he explains. 'It's funny because sometimes I found myself defending Terry's bits harder or more passionately than I would defend my own bits. Take Agnes Nutter,' he says, referring to what has become a key scene in the adaptation in which the seventeenth-century author of the book of prophecies foretelling the coming of the Antichrist is burned at the stake. ‘It was a huge, complicated and incredibly expensive shoot, with bonfires built and primed to explode as well as huge crowds in costume. It had to feel just like an English village in the 1640s, and of course everyone asked if there was a cheap way of doing it. 'One suggestion was that we could tell the story using old-fashioned woodcuts and have the narrator take us through what happened, but I just thought, “No”. Because I had brought aspects of the story like Crowley and the baby swap along to the mix, and Terry created Agnes Nutter. So, if I had cut out Agnes then I wouldn't be doing right by the person who gave me this job. Terry would've rolled over in his grave.'

And, finally, this paragraph:

"Once again, Neil cites the absence of his co-writer as his drive to ensure that Good Omens translated to the screen and remained true to the original vision. 'Terry's last request to me was to make this something he would be proud of. And so that has been my job.'"

I think that's so heartwrenchingly beautiful, and so I wanted you all to read this, too, just in case you (like me) don't have the Good Omens TV Companion. It adds another layer of depth and emotion to this already complex and amazing story that we all know and love.

Share this post, if you can, please, so that more people can read these excerpts :")

Tagging @neil-gaiman, @fuckyeahgoodomens and @orpiknight, even if you've definitely read these before :)