#i tried to get into it and it might be another characterization problem

[cloud-somersault]

another asshole-type move from cloud: I think the only way I like spicynoodles is if it's unrequited 🫤

[dollypopup]

"all the negativity is killing the vibe"

"just be grateful for what you got!" "was it perfect? no! but we got some good stuff!" "people are just being so down about season 3"

There is a reason people are displeased.

We are consumers of this media. We PAID for this media. With time, with money, with subscriptions. We bought the merch, we watched the promos, we paid in attention, we paid financially, we paid literally and metaphorically.

And they did not deliver.

So, yes, we have a right to complain because objectively speaking, it was a bad ending. It just was! It was poorly written and poorly edited, it did not leave viewers happy, and there is a REASON the engagement of part 2 is much lower than part 1. Polin is not the problem, sidelining Polin is the problem. Writing Polin poorly is the problem. Shoving Colin to the side (half of the pairing) is the problem. Inconsistent characterization is the problem.

the fact that we came in with high expectations and they were let down for us? makes it a bad ending. makes it bad writing. the fact that we waited 2 years for it and then another month in between and did not walk away feeling as though that time was worthwhile? makes it a bad ending.

the writing was disjointed, characters were underutilized, Colin was pushed aside in his OWN SEASON, they tried to do a #girlbossfeminism narrative and then threw Cressida to the wolves because she did a few things that hurt the main heroine's feelings, even after showing us as viewers we should (and do) empathize with her. I mean, for fuck's sake, there was literally a big speech and everyone clapped moment. stakes were defanged, there were threesome scenes that cut any and all tension building between Polin, Eloise's character was written inconsistently for the sake of swift forgiveness, they threw Babies ever After at us, momifying the one character who was said to be plus size representation at NINETEEN, there were more sex scenes for Benedict than there were for the main couple Polin. Lady Whistledown was a black hole for good quality because instead of writing a narrative that suited the couple's ending, they wrote a narrative to keep her as a plot device by any means possible. This season was a roller coaster that went up up up and then stagnated.

there are legitimate criticisms to be had about this season. as if we don't have a right to demand good quality from something we paid for.

and the worst part of it is that they set it up SO. WELL.

I ended Part 1 pacing my apartment, giddy and kicking my feet and rewatching the ending over and over. Part 2? None of that. And the reason people have been so negative about it is that IT SHOWS.

Yes, in part, some negativity is homophobia for Michaela, who I honest to god adore and am so happy to see on screen. Yes, in part, some negativity is for Polin from haters, a couple I love with all my heart.

But most of the negativity comes down to poor writing. Inconsistency. A lack of bravery for dropping a plot device (Lady Whistledown) that the show has held onto not for Penelope or for Polin, but for Bridgerton's story moving forward that writers do not feel confident portraying without a narrator so it might crutch them.

Stop licking a plate of crumbs and claiming it a meal. They had 2 years to deliver a fantastic season. They didn't do so. That is not at all on the actors, because they are FANTASTIC, it is on the writers, and on the production. Was it beautiful? Sure. Was it well acted? Absolutely. Was it good? Well edited? Well written? Meaningful? Fun?

No.

There are parts of it that are, but when you fumble an ending, it sours the entire experience. The reason people loved Part 1 so much was because of the ending of Episode 4, which was done beautifully. It felt satisfying. And then Part 2 felt like an entirely different beast. If you settle for mediocrity, that is all you will get. So yes, I demand better of this season. I demand that we get more than just one thirty second scene of Pen and Colin being intimate after their marriage. I demand more characterization and time devoted to the main couple instead of useless side plots. I demand better writing. I demand better EDITING. Cressida was done dirty, Colin was done dirty, Eloise was done dirty, Penelope was done dirty. And at the end of it, VIEWERS were done dirty.

There's a reason Part 1 had such glowing positivity and then Part 2 is garnering horribly mixed reactions. It's because one is better than the other. And if this show is CAPABLE of delivering content like Part 1, then yes, I will absolutely demand it of part 2. One day, Bridgerton will learn how to write a proper final episode, a proper closing to an arc.

That day was not in Season 3.

[lvlyghost]

I LOVE YOUR WRITINGS SO MUCH 😩❤️😍 the way you characterize ghost is so good I can't 😭❤️ I wanted to ask if you could maybe write something for me since your writing style is sooo good frfr

How about ghost and reader have an argument that was started by ghost and he goes a bit too far breaking the reader and making them cry and be just a shell of themselves how would he feel when he sees the readers state and how would he fix it with a happy end please

Broken Wings

Pairings: Simon "Ghost" Riley x F!Reader

Summary: After a night out, things seem to take a turn in your relationship with Ghost.

Word Count: 2.1k

Tw: angst, hurt/comfort, self doubt, jealousy, probably ooc!simon, curse words. lots of grammar mistakes, poorly edited you know the drill🐝

A/N: i loved this request sooo much, though i did have a lot of trouble when writing it since i wasn't feeling too inspired. also had two different stories but ended up deciding to post this one i might post the other one idk, hope you like this anon! I did try my best🫶🏻🤍🩷✨corrections are appreciated; remember english isn't my native language 🐸

Masterlist✨

"I like you." You said with big bright eyes.

"But no one can know about this. Just you and I. That's enough." He answered, hand tracing the side of your face.

You blink rapidly. You have always been daydreamer. It caused you tons of problems although you tried to do your best when you were out on missions. Ghost is walking ahead of you, boots sinking in the sand beneath your feet. The waves crashing on the shore is something you like listening to and seeing too but under different circumstances. Both of your gear clink with every step you take, it's the only sound as well as the sea that swallows the tense silence that falls between the two.

Things have been rather... strange since two days ago and you've tried to talk to him about it. It wasn't weird for Ghost to push you back every now and then, he was a complicated person and you couldn't be more different from one another.

You were the sun and he was the darkness that came at night or so he had said one night at the common room back at the compound. He was stoic, grumpy and hardly found himself enjoying somebody's company. You on the other hand, even though you wouldn't consider yourself the most outgoing person like Johnny, still you liked talking unlike him. You loved going out with the task force. And most importantly you loved when Ghost joined because you loved him, you loved having him around, despite his gruff responses or annoyed looks.

You jog though your legs shake and tiredness sets in your body.

"How much farther until we get there?" You ask, ignoring the fact that his frame goes rigid when you speak . He doesn't acknowledge you at first. All you hear is a small sigh leaving his lips. You kind of wish he wasn't wearing the damn sunglasses so you could see his eyes.

They always said a lot.

"Thirty minutes. Give or take." The answer is short and cold, breaking your heart a little more than before. Still, you decide to try again.

"Sir, is something bothering you?" Before he can stop it he scoffs, shaking his head. "What?" Brows furrowing on your features. "Simon..."

He stops all of the sudden, turning to face you with a tense stance.

"First of all don't bloody use my name out here. Secondly it's your own fault we've been walking for hours. So don't go asking if something's bothering me, Sergeant."

Taking a step back you open your mouth.

"My fault? I was doing my job!"

"Didn't know your job was to get your fucking head blown off!!" He seethes. "Fucking hell you can't be this reckless and expect me to clap at your poor acting on the field." Your heart begins to race, he had never said such things to you. Taking a small step back your grit your teeth, you hated that his words were making your eyes blurry. This was the Simon you never wanted to see. And yet there he was. "Now we lost the damn intel thanks to you." He spits. But something isn't adding up.

"It's not just that. You've been acting strange for a few days now, Ghost. Don't come and tell me it's just because I did what I was supposed to do!" He stiffs yet again. Jaw clenching so hard you fear he might break it. "Not missing the way you avoid me ever since..." you close your mouth shut. "The pub..." he shifts his weight from one foot to another. The waves are increasing and now reach your feet, dampening your boots. And then you remember him storming off the local pub before he even finished his own drink. Everyone had heard the hard slap to John's arm when he had tried to calm him down. God why didn't you pay more attention to that moment? Because you both had agreed to keep your distances? And going after him was out of discussion? Then the next day you'd barely seen him, just for a short moment during debriefs and that was it. The moment you had gotten up from your seat he was gone. And today you were supposed to go to a special op that had soon become a problem that eventually led to the two of you in the middle of a beach, it was a cloudy day and if it weren't for the heavy layers you wore you're certain you'd be shaking. Sometimes –and you were ashamed of it– you were oblivious to many things and it seemed that Ghost's anger toward you was one of them this time. "What happened?"

He inhales deeply.

"It's over. That's what happened."

Your heart sinks and you swallow hard. Your whole body loses color when he mutters those two words. Out of all the things, all the possibilities you thought he'd say to you, he decided to end everything. Shaking your head you try to touch his hand but he doesn't let you.

"Ghost where is all of this coming from I don't understand!" You choke out. "We were fine..."

"No. You were fine. If I wasn't enough you should've just said so."

"Stop... you... what the hell are you talking about???"

"Nothing that matters anymore. Keep walking and don't say another word. That's an order."

He turns and keeps walking as if nothing just happened. As if he didn't just completely broke your heart.

'You were fine'.

What was that supposed to mean? You think, walking a few meters behind him, scared to even say anything else; to even try to grab him by the arm and force him to talk. It would only make things worse right now.

By the time you reach the safe house it's started to rain the silence between the two is deafening and tense. Ghost's cold demeanor and hurtful words have left a scar. Never in a million years would you think you'd be here, with a broken, shattered heart and no explanation from his part.

Words that pierced through your soul.

That day something died inside you. And he was the reason.

-

Two weeks, three days and seven hours.

That's the time that's passed since that day at the beach. Two weeks since Simon broke you and gave you no reasons.

You're a disaster.

You barely eat or get any sleep. There's dark circles under your eyes and you're sure you've lost some weight too. Ghost has been gone on a mission alone with Johnny for a week now, which left you with a lot of spare time to think about the two of you.

More tears stream down your face when you remember that day. Had you missed something important? Was Ghost's mind somewhere dark? Somewhere it shouldn't be? God knows he was... difficult to say the least. But every single time you tried, tried to be there for him. Did those late nights at your home meant nothing? Had he not seen the way you looked at him? Had you not shown him enough of your affection? Everything you'd do for him if he simply asked?

Getting up from your bed you get ready for another day. Not bothering to lace your boots just shoving them inside your shoes you walk down the hallways until you get to the training room. Gaz is talking to John in the far corner, the Captain's arms are crossed over his chest while Kyle frowns and shakes his head. You don't to even go and salute them as you normally would do, instead you put your earphones on and hit the treadmill.

It doesn't last long though; after one minute someone stops it by pressing down the off button. Your brows knitted together as you stop, turning to look up at Gaz who smiles politely.

"Sorry for that, sweetheart. You okay?" You nod, but say nothing more. "Come here." He pats your shoulder and helps you down from the treadmill. If you could smile now you would. But no even the faintest, softest grin leaves your lips. Gaz takes a quick glimpse at your face and rubs the back of his neck. "You know, Soap and Ghost just got back. Heard Lt. was asking about you."

"Oh." You murmur. "Okay." You don't move nor dare to meet his eyes. "I'll just head back to my room."

"Uhmm. I- what I meant is he's looking for you..." Shaking your head you walk away, not having the energy to face Simon right now. And why did he need to see you? Made pretty clear that you two were done, therefore was no need to see each other unless it was work related.

-

"You really do like it here don't you." Your body goes rigid. This was supposed to be your safe place. The roof of the armory was rarely visited by anyone at this hour. Simon's voice seems softer than ever before but you don't answer. Not even turn to acknowledge him. You hear muttered words and then he crouches down to your level. "Price said you're not eating. Do we have to send you to the military counselor now?" How dare he? After all he caused this. You know he doesn't mean it in bad way, somehow he cares for you deep down. Your hands ball into fists, fighting the urge to snap at him, to push him down and just break him the way he broke you. But you don't because you still love him, and could never bring yourself to hurt him. Simon is staring intently at you, waiting, hoping for any sign. He knows he shouldn't be here. Bloody hell he knows you shouldn't even look his way never again. He deserves it. Every bit of it. "Talk to me, love. Please." It's a low whisper. A plea.

"What do you want Ghost?" You ask softly. Simon leans closer, sitting down with his legs propped up against his chest and arms resting on his knees. It's a funny look for someone his size.

"Jus' wanted to see you." You scoff playing with your hands, refusing to lock eyes with him because if you did you'd be done. "Wanted to explain..."

"Then just do it!" You sob. Your lower lip trembles. "And then leave."

"Fine." He agrees. "But I'm not leaving. I- I made a mistake, and took it out on you okay? I was scared."

"Scared?" Your head snaps to where he is sitting. It's painful just to look at him. "Why would you be scared Ghost?" You retaliate

He grumbles, never fancied when you called him that when you were alone. Quite the contradiction given the fact that he told you not to call him his name that day at the beach.

"Because I saw you." He points out. "That night. Everything you're missing for being with someone like me. Can't even show proper affection because it's not me... and you deserve more than that. More than me."

"Ghost..."

"No. Lemme finish, love." He swallows. It's always amusing how controlled he seems. "I lost it, yeah? You looked so happy. How on earth do I deserve you, on what universe do I deserve ya'?"

Sucking in a sharp breath you recall the moments that preceded the events. The sound of music blasting through the speakers, when you joined the rest of the soldiers on the other side of the pub. Private Miller had slung his arm over your shoulders in a friendly manner. You laughed and drank too much that night, it was joyful. Everyone was there, your team. You never thought he felt that way about it.

"Oh my... Simon." You cover your mouth and cry silently. He hesitated for a moment before pulling you close and into his lap. "Should've known something was wrong. Forgive me... I should've stayed with you, follow you after you left." You cry out.

You were scared too, for very different reasons. That he'd get tired of you eventually, that if you weren't cautious enough your secret would be known. Both would get suspended thus separated and discharged.

"No, love. You shouldn't have to go running after me. I should be running after you. Now forgive me, say you will. Or else I might just lose myself for good." You cradle his face in your hands lifting the balaclava just above the bridge of his nose. Thumb tracing his lower lip. Your tears have dried.

"I've missed you so much, Simon. All you gotta do is talk to me, always." He tightens his grip around you. "You think Price would let us go home tonight and not ask questions?"

His chuckle is short and soft.

"Yeah. I think he's known for a while now."

[nilboxes]

I didn't know who to say this too but i was about to explode thinking about this and you are one of the few people in hsr fandom that i trust to understand ratio so my apologies to be dumping this on you all of a sudden but... I think Ratio's technique is so interesting in a way and speaks more about him than people give it credit for. Like...creating a fake version of himself that aggros the enemy is already very meta of how hsr fandom tends to see him, esp with the number of people that started hating him after that "betrayal" scene in 2.1 xD And it makes me wonder about his voiceline where he says something like "im fine with showing my true self if it helps me teach students/cures patients but i find that doing so is counterproductive most of the time"...wdym "true self" sir...and why are your character details completely devoid of any details from your own pov...and why do you get so evasive when anyone tries to ask about your past (going by that one interview when someone asked him what he was like as a child and he's just like "what a silly question, i was a normal boy")...it seems to me the princess is hiding something...

Thank you for your ask OP! It's really interesting to think about your question, and I'm humbled by your trust! I hope whatever I cook can satisfy you in some way. It's going to be a bit long!!

Let's start by saying I do operate under the belief that we know a lot about Dr Ratio and at the same time we only know what he wants us to know, which I find incredibly interesting to his character.

It can go many different ways. A lot of people use this mysteriousness to hint at the following:

1. something sinister (I am not necessarily saying you are doing this)

2. suggesting that he is more than who he is, like he may be more than who he presents to be (may or may not be evil in alignment but just more)

3. he really just thinks divulging further personal information about him is pointless and he values his privacy as an individual rather than a prominent figure

Let me now unpack the most wrongest [sic] take, number 1, which I find to be antithetical to his character, because Dr Ratio has always been aligned with doing good. He isn't your typical good person, but he is morally pushing for good (eradication of ignorance, people finding and reaching their potential etc), and he rather he reminds me of a very stern but nonetheless kind educator who genuinely demands good be brought into the world through one's aptitude and ability (just like himself) and not relying on others to solve problems for you

Number 2 is a little tricky, since we cannot really confirm nor deny that Ratio is no longer truly following Nous after he realizes he will never be acknowledged, he may be aligned to another Aeon or none entirely! I personally dislike the Mythus/Fictionologist take, because again it is antithetical to who he is as a character. Fictionologists will rewrite history and twists facts in order to create the possibility of uncovering more, but this is akin to something called accelerationism, which is in plain words to incite chaos (bad) in the slim chances that from the chaos a great good might emerge/ be produced/discovered etc, a practice and ideology I feel Dr Ratio as he is characterized now would be extremely against. Now I do subscribe to the fact that Dr Ratio may not be following an Aeon at all or we aren't privy to who they are yet, but this is a possibility that there is a facet to Dr Ratio we have not seen yet and will down the line so...

Number 3 is where I am at now, I really, genuinely think Dr Ratio just thinks of himself as some guy who was gifted with the equivalent of 8 genius brains but it isn't anything exceptional. From how he acts, he feels like some guy who had a rather normal childhood (if not really lonely, which I talk about in my twitter thread here) and grew up to be exceptional except in all the ways he wanted/was taught to want/thought he might want.

So I operate on several headcanons about Ratio just genuinely being so smart in a planet that is presumably the remnants of the civilization in the Laurel Wreath Galaxy where a Philosopher King/Philosopher Union was mentioned. This headcanon is heavily colored by this excellent theory a fellow fan made and I have to admit I can scarcely distinguish between mine and theirs while I turn him around in my brain so do give them/their thread a read too when you can, but I do also subscribe to how Ratio must have been exceptional in a civilization that prizes scholarship and enlightenment.

Knowing this, I presume he grew up with a lot of expectations placed upon him, particularly that of gaining the gaze or glance of Nous and ascending as a genius society member or more! That is a lot to place on an individual, especially someone like Ratio who is very much hinted to have grown up very fast due to his vast knowledge and while it's a stretch to say he was forced into growing up fast, because he def wasn't, he was nevertheless seemingly not really given much opportunities to be a child, as the push for him to start university very early could suggest that his aptitude and potential were so valued that it overridden any other needs he may have. If we wanted to ask about his childhood, he would have very dull things to say too, so to speak. I imagine it wasn't eventful at all, but filled with just studies.

Where am I going with this about his statues? They are called Mold of Idolatry! Idolatry meaning the extreme adoration or love of someone. That Dr Ratio makes the statues of himself never seems like the narcissistic sort, that would imply he holds himself in an extremely high regard to the detriment of others, but Dr Ratio isn't narcissistic, he would be a vastly different character if he was. The key to narcissism is that there is a great need, to the point of detriment, for admiration.

Now, look over to how Dr Ratio presents himself to us in his 1.6 quests. He wears his plaster head as not to be recognized by others, to remain incognito if you will, and is content to sit at the sidelines nudging things along in the background rather than swoop in and take the credit as the hero when Duke Inferno was trying to wreak havoc on the Space Station. His heroic deeds are never realized by the people he saved from being spaced, that is not an action of a narcissistic man who would gloat about saving other people. No, he sees his job is done and he walks away without fanfare, without even so much as seeking a thank you from the people he saved. That's one of the clearest and most well-thought of character introductions/demonstrations in the game and a solid proof that he isn't a narcissist (again self-centeredness is different!)

With that in mind, what does the statue imply?

Dr Ratio operates by redirecting attention not to himself so he can freely move in the background. That it looks like him in funny poses speaks to a silliness I feel he never really gets a chance to let loose too often, so his "art" is his outlet. That it directs enemies to attack that instead of him, I can't help but feel like there's a sense of "look at this 'image of me' others have built up, pour your love/expectations/wants/aspirations (and the extreme opposite of that maybe?) to that likeness of me instead, and let me be free from that to be who I could be without all of that baggage"

tl;dr -- it's not that deep but it is?? I feel like Ratio just wants to be left alone to do his thing and that's what the Mold of Idolatry represents.

I hope that satisfies you, anon! Thank you for your question, since I do have more insights to Dr Ratio now. I think I'll also find a way to condense this into a Twitter thread sometime.

[nordickies]

What's your opinion on rusfin? And the time Finland spent in Russian empire

While I don't really vibe with "Russia/Soviet State" ships in general (RusAme, RusFra, RoChu, etc. are more of my thing), I don't really have strong feelings about RusFin one way or another. It's not quite as unbalanced or overused as some other Russia ships, I feel like? Plus, like I stated earlier, I kind of like the idea of Russia being disinterested in romance, at least in the traditional sense. I personally don't have an interest in exploring them as a serious couple in my writing; I just can't see them ever working out. They'd become too toxic at some point and it wouldn't be fun anymore. And I think they have enough to deal with each other even without romance getting involved

And I'll be honest: I have never focused on Russia's character, and I'm always a bit lost on what I'd like to do with him. How would I characterize him? I think all hws characters should be allowed to have nuance and let be individuals at the end of the day. So, I don't think Ivan is the manifestation of all the evil things in the world. To me, he's an extremely flawed person who is easy to blame and villainize. For many of the characters, he embodies the worst memories and moments of their lives. Surely this is the case for Finland, too, which makes their friendship extremely complicated.

I think Fin is quite naive at the end of the day and always tries to see the good in people. He values mutual trust more than anything, which can be an admirable trait but also makes him prone to ignoring warning signs. Fin, in his youth at least, was rather easily led, and he unsuspectingly followed others and their orders, counting on them to have his back no matter what. While his trustiness can backfire at times, with Russia, it might have been the right approach. Because right away, Fin managed to build trust with him and Ivan, being calm and respectful, expecting them to handle this new situation in a professional manner. Perhaps Ivan is used to people being terrified around him, giving his paranoia reason to doubt their loyalty. But he never had that problem with Finland, and they got along surprisingly well.

Historical context: When Finland was seized by the Russian Empire in 1809, the Grand Duchy got a pretty good deal in exchange for the Estates swearing loyalty to the Russian Tsar; Finland would remain an autonomous region in the Russian Empire, and it got to keep its Swedish constitution, laws, language, religion, and even the right to keep the taxes it collected for itself. Finns were also exempted from the Russian military. The reason why Finns got such a good deal came down to Tsar Alexander I wanting to avoid excessive fighting during the Napoleonic Wars (he only seized Finland to pressure the King of Sweden in the embargo against England to begin with). By making a good enough offer, the Finns, who had been getting tired of the Swedish monarchy's growing incompetence and turmoil, wouldn't fight back. Also, the Tsar was interested in westernizing his Empire, so Finland's western state structure was perfect for that. Finland's and Tsars' relationship was rather special in the Empire, and Finns were viewed as exceptionally loyal and cooperative by the state. Finns had an easier time remaining loyal to the Tsar due to their freedoms and autonomy status, which they sought to protect by subjecting. For example, Tsar Nicholas I abolished various autonomies and freedoms in his Empire during his reign; except in Finland. This was partly due to Finnish soldiers' voluntary participation in crushing the November Uprising in 1830. When the Tsar's officials criticized Finland's independent status in 1850, Nicholas had allegedly said: "Leave the Finns alone. Finland is my large Empire's only province that has not caused me a minute of worry or dismay during my reign." Nicholas was not the only Tsar who viewed Finland so positively. Most Tsars had a summer house in Finland, and many of them wrote about their time in Finland being some of the most serene they have ever felt. For example, in 1891, Tsar Alexander III shocked his court by deciding to travel through Finland via train instead of by boat. When the court opposed this idea, calling it unsafe, the Tsar called their worries nonsense, stating "I have never needed any guards in Finland."

During his time in the Empire, Finland tried his best to get along with Russia, never provoking him and more so trying to keep attention away from himself, just so he didn't accidentally upset him. Like the aforementioned references tell us, I think Ivan actually trusted Finny and felt comfortable giving him more responsibilities, which inevitably let Fin get closer to him. And while Fin was aware of Russia's flaws and his own privileged position, he surely was also grateful for the freedoms that he had been granted. As bad as it must have felt, he had more possibilities there than he did with Sweden.

Finland probably had his own place, and he was free to come and go as he pleased. He was allowed to join Russia's events and meetings, probably as some kind of assistant, which was crucial for Finland to learn how their job operated and all the responsibilities that came with it. Traveling around Europe from event to event also meant Finny could build his first diplomatic relations with other nations he had never even met before - and even put his own name out there to begin with. It was all new and exciting to him, which in return made him want to keep up the positive relationship

However, Russia's clear favoritism toward Finland would not go unnoticed, and I think that could create some unfair gossip at Finland's expense. People probably think Russia is never nice or does anything good without wanting to gain something from it, so Finland must have done something really special to get his position. Without a doubt, this would sour Finland's relationship with some other people around the house who wouldn't respect his "bootlicking" and respect for Ivan. In the worst case, Finland didn't even know such rumors were spreading about him initially, leading to confusing encounters. I doubt Russia had any intention of clearing such rumors. After all, he didn't suffer from such gossip himself; more than anything, he could use it to his advantage. Whenever he wanted to annoy his old enemy Sweden, all he had to do was wrap his arm around Finland or move him closer - Innocent enough for Fin to not consider it too weird but powerful enough to upset Swe, who couldn't do anything about it. I also think Ivan would try to manipulate Fin's thoughts and insecurities just like anyone else's, being one of the tactics to keep people dependent and loyal to him. He'd feed misinformed ideas to Finland about his past, painting Swe in a worse light than he actually was.

I can really only talk from Finland's point of view, but I doubt Finland himself would have had romantic feelings toward Ivan. I think he saw their relationship as purely beneficial, something to better his own status after living in someone else's shadow for centuries. But he still respected Ivan, at least in the beginning, and believed they could work it out as friends. But I could also see Finny being prepared to act passive to Ivan's potential advances - at least to a certain point, if it meant a more favorable position for himself. Finny can be more cunning than people give him credit for. So even if something had happened between them, I doubt it was genuine, at least on his part. But again, I really don't know if Ivan would even care or try anything.

But in the end, their mutual respect wouldn't last forever. There's no way Finland's and Russia's relationship didn't crumple during the Russification period from the 1890s onwards. Finny most likely lost a lot of his previous freedoms, and he wasn't going to accept it, becoming uncooperative and dishonest. Due to this, Ivan quickly lost his trust in Fin as well, treating him like everyone else around the house. Unfortunately for Ivan, by letting Finny get so close to him in the beginning, it had opened Finland the opportunity to learn all of his tricks. By having had so much freedom and experience in nationwork, Finny was ready to seek his independence as soon as possible, when the moment was just right.

I could always write more, but maybe this is a good overview of their situation during the Empire years specifically. The decades after Finland's independence have been their own rollercoaster entirely. Also, I think personifications' relations are way more complicated than drawing one-to-one comparisons between real-life emperors and people, but here the emperors' favoritism just somehow works for their characters? Anyway, I just really don't know where I'd like to take Russia's character, so I can only write from Finland's point of view here. You can come to your own conclusions and ideas, I suppose!

[flanaganfilm]

Hi there! I recall hearing at some point that in Midnight Mass, there was a deleted scene where Erin speaks in the confession booth about knowing Bev killed Pike, but doing nothing about it (or something to that effect? Apologies if I'm misremembering). I thought that was an interesting bit of characterization, could you elaborate on what that scene was like and why it was ultimately cut?

Yes, that's correct! It was a great scene, too. Very well acted by Kate and Hamish. The general gist of it was that Erin confesses to Father Paul that she was pretty sure Beverly Keane was the one who poisoned the dog, but that she knew she wouldn't do anything about it, given her standing in the community and her feeling that nothing would happen to Bev. And she knew that Father Paul was obliged to keep it secret because of the nature of the sacrament of confession - he couldn't tell anyone. She also talked about how her mother, who was abusive, was celebrated by the community even when they knew what she did, and how that made her feel like she would always be viewed as the problem child. No one would listen to her, she figured.

It was meant to show Erin being too afraid to do something in this case, even though she knew it was the right thing to do, and then we'd see her make a different decision at the end of the series when the stakes were at their highest. It was also meant to help demonstrate one of our central themes about the spread of fanaticism - that early in that process, good people often see what's happening and choose to believe it'll get better on its own, or that it isn't their place to intercede. And finally, it was interesting to me because it gave Father Paul an early glimpse into what Bev was capable of. He tries to persuade Erin that she might be wrong, that maybe there was another explanation - something else I quite liked thematically. He tries to rationalize it and reframe it right away, which is an important character trait of Father Paul's when we later learn how he responded to the Angel. I really loved this scene. It was cut because Netflix wanted the episode to be shorter, and had targeted that scene specifically as one that they felt "dragged". They also were confused as to why there wasn't a consequence to Bev, "why doesn't Father Paul do anything with this information" and weren't moved by my argument that 1) that isn't how confession works, and 2) his denial of what he learns is an important character trait. First we tried a shorter version of it, but it was one of those situations (frequent on that show) where a truncated version made the scene less impactful - shorter wasn't better. Ultimately they pushed for its removal and we conceded, opting to save our powder for a different creative battle. I regret cutting it. The show was better with the scene intact.

[the-s1lly-corner]

J K Y with Sun

OKOKOK so two things:

ONE!! I am setting a hard boundary right now, I'm not taking fnaf requests. I am writing this solely because I miss the character and writing for them. I'm not pulling another F13 incident, I will not be entertaining any fnaf requests that may be sent because of this post (/lighthearted and not mad, but very firm)

TWO! I still havent seen help wanted 2 LMAO so I may be a little off on characterization I'm kind of just going off my hcs and what I've seen in clips 😭😭

Might make a moon version but idk

JEALOUSY:

Oh this boy gets jealous badly.. all of these feelings are new to him, so can you blame him for being a little possessive of you! Now sure, he might not do anything to cause problems. Primarily because there isnt much for him to do.. but he does sour a little when he hears about someone trying to make moves on you.. imagine the drama if one of the parents tried to flirt with you while they were trying to pick up their kid! Very firmly says that it is not the appropriate place or time for such talk in a passive aggressive tone oversaturated with sickly sweetness. Goes into a sort of denial when asked about it, his rays clicking around

KISS:

Said this before but I'll say it again. He very gently boinks his faceplate against your face.. usually he tries to aim for the mouth or cheek, but due to how his face is built he kind of bumps into your whole face.. it's still sweet though! He loves when you kiss his forehead and nose! Kiss the back of his hands and he will mock fan himself with his free hand. Bonus points if you bow when you do it, he loooooves theatrics

YEARN:

Does not handle it well. Hes antsy waiting for you to come on your next shift, often bouncing from one foot to the other while he counts down the minutes. Working with the kids does help take his mind off of it, though! Just as long as he has something to keep him occupied, he can function well enough without you around!

[snowblack-charcoalwhite]

I've said it many times and I'll say it again. I don't understand why so many people claim that Aemond is somehow Ryan's favourite or even self insert. I guess it would be obvious now that he hates him as much as the rest of the greens, but some still insist on this. Like, here is the character that actually was one of the most popular in s1 despite the fact that he barely had any screentime and is tg, yet we are halfway through s2 and look what they've done with him?? 5 minutes of screentime, half of it the unnecessary brothel scenes to show him naked and to destroy his relationship with Aegon for good. Zero interactions with Alicent, Helaena, Otto...No reaction to Jaehaerys (but yes to luke).. And he's somehow Ryan's pet? Yeah, no. I think that Ryan is staunchly tb who loves Rhaenyra and Daemon (and Rhaenys) and just watch him give Daemyra an intense and emotional reunion to confirm Daemon's loyalty to her. All these harrenhal scenes are just devices to make the moment more impact full and to subvert expectations™, I'm 100% certain this will be the case. And what the greens got? Mutual hatred, a nonexistent cause, Aegon who still bullies and humiliates his brother and only sees him as a weapon, Aemond who tries to get rid of his brother in the middle of the battle and is completely detached from his family, Helaena who barely exists and don't even get me started on Alicent and Criston. Therefore, if Ryan, Hess or anyone in the writing team "loves" the greens, they sure have a strange way of showing that lmao.

Anyway, I would love to hear your opinion on this.

Hello!

To be honest, at this point I have trouble telling which HotD characters are actually loved by the writers. I am really tempted to say that none of them are because no writer treats a character they love like Condal&Co treat the majority of HotD folks, even TB ones, the supposed faves. Rhaenyra (post S1E5), the protagonist - meek and boring. Rhaenys a.k.a "the voice of wisdom" - a hypocritical woman (who is also basically a mass murderer). Daemon - I don't even know what to say about him, his characterization has been all over the place.

However, IMO we need to take into account two things: 1) HotD writers apparently have received a commission to create a show with a clear as day feminist agenda to regain the audience's favor lost after Daenerys business in S8 of GoT; 2) the most important - they are fucking incompetent, and so they could ruin the characters they "love" just as effortlessly as they do with those they "hate" (sometimes they even fail with the latter - because they are kind of supposed to ruin them but, once again, are incompetent).

So, I really don't know whether Condal and the rest of HotD team are ruining Aemond on purpose - or are just trying to legit create a compelling arc for him by presenting him as a bullied kid with a fuckton of issues who one day just snapped and fully went into a psycho killer mode. Both options are possible - and actually both of them might be true because (and here goes yet another HotD problem) it really feels like the writers who work on the show have trouble communicating and coordinating their ideas. One pushes for one thing, another - for another, and as a result we have characters who act like they get a personality/brain transplant every episode (Daemon and Alicent in S1 are the prime examples of that).

As for the "Aemond is Condal's self insert" -everything is possible. To comment on that properly I would have to get into speculations about the latter's personality and mental state, and I'd rather not do this. As much as I despise him, he is still a real person; and I am neither a psychologist nor a psychiatrist (neither do I know him personally), so it's not my place to do that.

Thank you for the ask!

[eyesxxyou]

also I know you’re working on confessions but do you have any thoughts on like,,,, characterization for pirate!hobie cause he’s sooooo intriguing to me

Of course, I've been thinking of this a little bit since I plan to work on that after confessions. Here are some little facts and tid-bits that may or may not make it into the story itself.

Pirate!Hobie is a cocky bastard. Pirates historically tended to be daring in their raids and Hobie is just that. He only really attacks ships that are owned by the royal gov and does so to make a point. It seems that he goes in without so much as a single thought of planning, but he's meticulous with his actions.

His family is from the Caribbean, but the Spanish government at the time was colonizing it and in the process his family died from the disease they brought over. He hates the government, loathes them, and attacks any ship bearing the royal insignia.

Pirate!Hobie who takes in anyone who needs help. Sometimes members of his crew are temporary, sometimes they chose to stay, either way, he provides them food and shelter in exchange for loyalty. Most of them are young and lost, needing direction in life. Hobie tries his best to make sure they don't end up dead. Sometimes he even just gives rides to travelers who need to get from one island to another. Now he has a lot of people undyingly loyal to him.

Pirate!Hobie who's ship is a stolen one from the royal government with a few modifications. He removed the insignia and replaced it with his own symbol of liberation.

Pirate!Hobie who has no problem killing colonizer scum, he burns ships, puts them at the bottom of the ocean with the captain tied to the wheel. Every captain should go down with their ship. He stands by that, and often spares the captain last so that they die alone in whatever way Hobie chooses to take their ship down.

Pirate!Hobie who loves to share some ale with his crew late after a raid and sing late into the night getting drunk out of his mind. That's how he ends up meeting you which might be the best or worst thing that's ever happened to him in his entire life.

[little-shadow-club]

SL Rag spoilers below

just another Haein ramble post don mind me.

Look man I love Haein as much as the next person but I feel like, even with the new content of her coming out (from SL Rag to Arise to the anime) she's still lacking in something of her character. And, as I began to look more into her I kinda saw that the main culprit of her characterization is that: She is perfect.

Too perfect, I mean she holds no flaws or anything that can set her aside from the rest (and no being an s rank and female doesn't automatically make her different), and even if she does she doesnt hold them to the extent that other characters might have them, or she just has the same thoughts as anyone else. Her personality as well never clashes with the other hunters or is too different, especially from Jinwoo-- and okay yeah that's expected bc trophy wife trope and all that–  and in a sense I think this might derive from the fact that everyone wants her to still be stuck into this mold of “perfect wife + perfect mother” that doesn't have the same level of flaws as the rest. 

She wants a comfortable life, like Jinwoo, she trains constantly, like Chiyeol, she is not burdened by trauma unlike Juhee who leaves the story or Jinah who actively tries to stop his brother at one point from entering dungeons (and stopping the MC? Clashing due to real life precautions and worries? And expanding on that? No sir we don't do that). She is strong but not too strong to be a threat (in their first meeting maybe but then Jinwoo just levels up in the castle and then bam stronger than her again) just like… yeah everyone else lol. She fights Jinwoo at one point but it's not due to some difference in thinking or to stop him from something, rather Haein just wants to spend time with him. And yeah despite wanting a comfortable life, or so told so far, she is still placed in the spotlight during her idol years, and has to deal with the most supernatural shit going on in her life constantly. She might be strong but she is still a damsel in distress, and her olympic background… I mean it's there.

I like the implication that she might have been stressed about appearing perfect during her idol life, especially pressured to do great by the adults around her just as she was pressured to be a maintainer of peace when she was an S rank (friend’s death and all), but that… doesn't get anywhere, and I admit Haein hinted to being stressed was only in the date scene with Jinwoo, the rest was expanded by Arise and Rag, still, still its not treated as anything else except ‘oh she is so camery shy’ and ‘oh she just wants a normal life being a normal wife’ (mind you Jinwoo is there as well but he even he doesn't see a problem with that except for when the cameras are pointed at him to which he just makes all the photos look black) and not, idk, dwell on the amount of pressure she would have been faced in since she was a child, the failure of not meeting those expectations in her past life and wishing to meet them when she was given the chance to become an s rank hunter, or how all of that constant training might have affected her life and social ties with other children who werent as talented as her. Or maybe how Haein has had to constantly keep people at a distance due to her nose problems, plus her almost never appearing in the news (so it was said during her hunter years, bc she had signed a contract with Jongin for this to not happen i think) leading everyone to not get to know her as well as the rest of the other hunters who were practically seen as celebrities.

No? None of that? Not even tackling the fact that olympic athletes tend to suffer from burnout, eating disorders, depression, anxiety, or how traumatic the double dungeon must have been since it was the first time Haein, an S rank, had ever come so close to dying (as far as we know in the og sl), and it cant be backed away with saying ‘oh that would be too complex for the story!’ when we’ve seen Haein trying to challenge her fears against Beru during the Ahjin guild arc. 

It's also not needed for her to be so overly complex either, I was listing examples out of the many routes in which her story could be fleshed out more. She can have a small healing moment to herself or slowly unwrap the tolls of pressure she’s been under, and that would be enough, because tbh, she does deserve some time to breathe, as a character, as herself. For the most part she’s never alone, in every scene we see other she either is with someone (mostly a guy) or thinking about someone (90% Jinwoo), so seeing her outside of anyone’s interaction, seeing her go on about her daily life or her daily struggles, or seeing how Haein fixes her own situations without the reliance on others, that I think, would be more needed than ‘just more Haein scenes’ 

Arise has one scene which I like, her talking with Chiyeol after his double dungeon incident. Both characters definitely needed something like that in my part, 1) because it highlights Chiyeols maturity over the certain years he has been as a hunter, and 2) because it emphasizes Haein’s relationship with her teacher and how she’s not only learning to be skilled but also the pain that comes with losing your comrades afterwards.

And in Rag, though I find it way too absurd to the point that its funny that Haein has managed to protect an entire village, on her own, for the past 5 years, with daggers, in her 40s, no experience whatsoever in a fight unless it was also transferred alongside her memories, and also had no qualms in protecting the race of beasts that had once pose such a level of danger Jinwoo himself rewinded time itself— I do like her interactions with Sirka,  and it posses such an interesting dynamic to see considering she is one of the few humans who has managed to maintain a connection and lived alongside intelligent magic beasts like he elves (Suho being the other which is… interesting actually when you think about it considering Jinwoo is somewhat yes and not on the list). 

Again, she is so interesting in her own right, but the thing is that we never see her act alone or be solely in the spotlight, and don't get me wrong, this also goes from the other characters too. But with her I feel like too much of what she could be or experienced is brushed off too quickly or not given enough time to expand. 

So anyways, I will like to see where she might go off from here foward, especially in rag, and the anime.

[vergess]

sorry if this is an odd ask to send out of nowhere but i thought your mlp post was really interesting! could you go further into detail about what you think the show does wrong in later seasons? you don't have to, i'm just curious since i really like the show and it's been one of my hyperfixations for a very long time & you have really interesting takes/meta on things in general

thank you for your time!! :3

It very much gets "less about girls" as it progresses. People's background friends/family are suddenly almost always male, for example, with Fluttershy getting a brother, Rainbow Dash's other school friends being male, her dad being more prominently played than her mom, things like that.

This isn't even a bad thing!

While I would argue, and have before, that a show almost exclusively about women is an important thing for the media landscape compared to the glut of All About Men shows?

The reality is that any artistic lens that focuses exclusively on a single gender is going to be worse for it, if for no reason other than where are the trans people.

A truly "gender neutral gaze" would be the ideal, but to be honest I don't even know what that might look like. I can at least conceptualize the female gaze out from existing, limited examples of female led production for a female audience.

But in terms of, IDK, a trans-led production for a genderqueer/neutral audience, I don't even know it that kind of thing exists. It must, because well, trans people are everywhere in the indie arts, but I have never seen it.

Certainly I've never seen it around a kid's show. And one of the things that makes kid media so easy to analyze is, the "allowed" topics are fairly limited. When sex is off the table, you can devote that time to deepening friendships. When men are off the table, you can spend that time deepening female characterization. etc etc.

So anyway, while I would say a female gaze is preferable to a male one in this male dominated society, both have their deep shortcomings. The way MLP handled male characters in S1 by either not having them, or having them be kind of the butt of the joke (Spike) isn't actually a good thing, just a very different one than is common. And there are plenty of ways that the show mistreated Spike particularly for Being A Boy that would make me hesitate to suggest season 1 to, say, trans masc viewers.

But then there are some ways that I can safely say later seasons are just worse.

The fat jokes, for example, were Not A Thing in S1 and as a fat viewer that was a huge relief at first, which became a sharp slap in the face as characters began making fun of heavy eating or using obese background ponies as gross out gags, etc.

On the other hand, the racism very much was present from the beginning, as evidenced by Over A Barrel's portrayal of native americans as literally another species. And that's before we get into the sheer racism of pony colonialism in the first place. Also Zecora the Zebra's... situation. Which was okay as a one off bit in S1, trying if not succeeding at the message of "different=/=bad."

But, like many of these early flaws, the later seasons magnify the problem, especially when the show tries to approach real world issues. Just off the top:

Zecora becomes the magical negro whose mystic knowledge transcends that of the pony gods.

Gryphons become antisemitic stereotypes, obsessed with cash hoarding and isolationism.

Yaks live in technologically inferior wastelands of Yakyakistan, where they are loud, rowdy, and even dangerous.

Dragons are... just... really fucking bad, like by nature, with rare "good ones" going to live among ponies to become civilized.

The fucking saddle arabians apparently just Not Having Perfomance Art and needing to be taught by Trixie.

The kirin being very literally silent to show how zen they are, needing Westerners to give them back their voices.

The sheer audacity to bring Little Strongheart back in the fucking finale and "assign" her as Applejack's token buffalo friend (not even RD???) after AJ and her family nearly wiped the buffalo out and fully never fucking apologized

There's definitely more. Basically every single non-pony species shown to be sapient ends up some kind of a racist mess. At least cows are just like... white people from wisconsin so there's less racism inherent to their depiction but even then...

There are also ways in which the attempts to cater to a male audience weaken the show's overall presentation. Ponies with adult men's human meme images as cutie marks started popping up, for example, which is again not a bad thing, but weakens the overall fantastical world building.

Likewise, the attempts to modernize the setting are... um. Let's go with uneven.

In S1 technology is firmly pre-industrial Euro-Fantasy. I'd put it around 1770-1800 in the human western world.

By S2 there is an electrical grid even in "small" towns like ponyville, something which in the human world didn't take place until about150 years later, with another 50 years to roll out things like video games, which also start appearing.

But only for ponies.

Never for the other species.

I get why they did that. It's a "have your cake and eat it too" scenario where they can keep the pre-industrial fantasy tech level sometimes, but use a modern tech level at other times. It opens up more storytelling options. And it's not like the magical horse universe needs to obey our physics and timelines.

But then why only ponies.

All that does is deepen the racial division between ponies and other species. Which the later seasons LOVe to do. Deepen racial divieds.

After all, in S1 most other species (cows, gryphons, etc) were shown to live in equestria too. But in later seasons, are revealed to live in cloistered ethnostates nominally self ruling but in practical terms subservient to the equestrian state if they want basic rights like the fucking sun.

Which acts to retcon Spike's hatching and adoption from something very heartwarming into something very horrific.

Honestly, the "male gaze" is not the issue I have with late seasons of MLPFIM. It very much comes down to "this show got SO fucking racist SO fucking fast what the FUCK."

And that probably would have happened with all female writers and directors, too, if they were mostly white.

This all makes me sound like I hate MLP, but I promise you, all of this criticism comes from a place of utmost love. This show is really, REALLY good. It is charming, beautifully animated, excellently directed, with passion poured into every aspect of the visuals, the audio, the stories, the characters...

That's what makes these constant missteps so painful to encounter.

Because the highs are so high!

I mean, the movie easily constitutes the best 2D animation out of the western world in DECADES and every track on the album is a banger, and that's just the movie. Cartoon movies aren't exactly noted for their stunning quality, but MLPFIM sure as fuck stuns.

And when the highs are that high, oh man, the lows look lower by comparison.

[nutzgunray-lvt]

How Horikoshi Fails To Portray The Underdog Narrative

(All of this is just my opinion, don't take it at face value as I'm obviously not a writer)

I read an interesting article today, and it made me think of our green haired boi and some of the problems that's been noticed in his characterization:

Izuku is supposed to be the classic underdog that we see rise above all odds and become the number one hero, and I'm not saying that the road there is supposed to be perfect and conflict free. I don't want Izuku to be a Gary Stu that gets a good life handed to him on a silver platter (there's already one in the story).

The problem actually comes from two places; the first one being that Horikoshi has gone on record admitting to liking other characters (the abformentioned Gary Stu) more than Izuku, his MAIN CHARACTER. The second one, I believe comes from a beautiful ask that @theloganator101 submitted to @doodlegirl1998 that said something along the lines of: "I have never seen an author portray their main character as such a loser as Izuku is portrayed in the narrative."

There's a difference between giving your character natural conflict to overcome (i.e. an ACTUAL underdog narrative) and making him a flatout buttmonkey and slapping the 'underdog' label on it. Other animes have done a much better job at this; such as Naruto gradually winning over Konoha with his perseverance and Luffy going from someone on a little row boat to captain of one of the most notorious pirate crews in the world.

The article says that there's seven steps to making an underdog narrative, and I will say that Horikoshi did do a good job at step one: make a character the audience will root for. Izuku is incredibly kind and selfless and also happened to be born Quirkless. He faced relentless bullying for +10 years due to this and wants to become a hero so no one else will suffer like he did growing up.

Step two: portraying the disempowerment, is where things fall apart.

I actually don't mind that Izuku was given One For All by All Might, but I do mind how his past Quirklessness is never properly addressed after this. We don't see him wondering if his new friends would actually be his friends if he were still Quirkless. We don't see him aknowledging that despite receiving a Quirk, the bullying he's gone through hasn't stopped. We don't even see him wondering if he still would have been bullied had he always had a Quirk. We don't see his low self-esteem and imposter syndrome properly addressed. We don't see him noticing that even the teachers at UA are letting him be bullied despite having a Quirk now.

This also leads into the opposite problem: we see TOO MUCH disempowerment.

Izuku is struggling to properly use One For All, as it maims him every time he tries to use it. Instead of receiving any proper help for him, he gets criticized for hurting himself, is singled out and has expulsion hanging over his head on the first day of school, and even has the threat of being barred from medical treatment unless he learns how to master One For All without hurting himself. Not once do ANY of these people try giving him any advice or comfort (the only one who does is criticized in narrative for this), but it takes him being on a week long internship to finally learn how to do it.

Does he get any form of acknowledgment for this by those who criticized him and supposedly have his best interests at heart? No. Do they continue to criticize him ever time he slips up? Yes.

The third step: showing the underlying strength of the character, is another one that Horikoshi does a good job at. It's a joke that Izuku's determination should be a Quirk in and itself, and he repeatedly goes the extra mile to make sure that those around him are safe. He tries saving Bakugou from the Sludge Villain. He saves Kota's life from Muscular, helps Ida and Todoroki protect Native from Stain, and makes sure that Eri has a memorable and fun experience at the School Festival.

However, this leads into the problem with how step two is portrayed: this effort is seldom ever praised and only criticized. The Pro-Heroes berate him for trying to save Bakugou (despite them sitting back and doing nothing). He gets in trouble with Hosu's police, despite the fact that Native and Ida would have died had he and Todoroki not intervened. He's threatened with explusion and called a problem child for going to save Bakugou despite the fact that a) the mission was a success and they didn't engage in combat, and b) the mission wasn't even Izuku's idea to begin with. He gets in trouble for fighting Gentle Criminal and La Brava, and his classmates criticize him for "causing trouble" when he abruptly runs off to get candy apple ingredients for Eri (the fourth light novel). No one ever properly sits him down and tells him "you don't have to go the extra mile at your expense. Your kindness is enough." In fact, the only character who praises him for this level of kindness is criticized in and out of universe for it. Any time this red-flag is brought up in universe, it's either ignored, played for laughs, or the blame is unfairly shoved onto someone (usually, the one person in Izuku's corner).

There really is no step four: design a series of challenges and try/fail cycles, because even when Izuku has a 'win', he still gets some sort of set back in order to keep him "humble". There's those I mentioned above, but there's also his Provisional Hero License exam. He passes, but gets suspended from school the VERY SAME DAY because of his fight with Bakugou.

I guess step five: the turning point, would be Izuku learning Full Cowling and Shoot Style, and it does lead him to pass his Provisional License Exam (as well as his attitude). Mastering Black Whip would also be another one.

Step six is the worst one of the bunch in my opinion: show the darkest moment. Izuku leaving UA to protect his classmates and loved ones from All For One and Shigaraki had the potential to be an amazing arc... but it all falls incredibly flat. It tries and fails to properly address Izuku's deteriorating mental and physical state as these Pro-Heroes let him try and draw out All For One and Shigaraki, only to go all Surprised Pikachu Face when he starts pushing himself too hard (All Might at least tried keeping him regularly fed and tried intervening when Izuku struck out away from them).

Class 1A vs Izuku is where this darkest moment makes no sense for me.

Izuku tells them that All For One and Shigaraki are targeting him due to his Quirk. He doesn't want to leave, but he has to for their own protection. All For One now has Ragdoll's Quirk, meaning that he has eyes on Izuku 24/7 now. What's their solution to this? Sending some other teacher or Pro-Hero to try and talk him down? Send his closest friends to try and convince him to come back?

Nope, the entire class rallies behind his bully and literally beats him into submission. They sit by as his bully accuses him of arrogantly trying to be an 'All Might wannabe' (that same bully also tries shoving the blame for Izuku's self sacrificing tendancies onto ALL MIGHT), try guilting him into coming back, and don't once take his point of view into consideration (Ida does have a nice moment with him). On top of all of this, Izuku is later proven RIGHT that they can't keep up with him in this fight. Bakugou's dead, Uraraka is seriously wounded, Tokoyami is seriously wounded, and Jirou has one of her ears cut off. Then everything is solved by an incredibly manipulative "apology" from his bully and a bath! For that matter, the "apology" doesn't even stick!

There's also many minor incidents as well that I couldn't really fit anywhere else: his Quirk Analysis notebooks and mumbling are seen as "creepy" in universe (Endeavor's the only one who takes it seriously), not having any sort of talent or other hobbies outside of being an All Might fanboy.

The story isn't finished, so step seven has yet to be seen, but TL;DR is that Izuku is way more of a punching bag than an underdog, and many of his fans are fed up. Izuku deserves so much more than what he's been given.

[la-pheacienne]

I am not a fanfiction reader typically but I have read some great fanfics in my life and I have deep respect for the fanfiction community and the fanfiction writers. However there is one minor but very annoying side-effect of fanfiction that is very obvious to me because I don't read fanfics, but might be less obvious to the majority of fans who do. What I've noticed in a lot of fandoms, especially if I'm new in a fandom, is that there is always a certain part of fanfiction that is mischaracterizing characters and themes, misinterpreting symbolism etc. It is inevitable. Sometimes these fanfics become very popular, and their misguided themes/characterizations/weird fanon gets confused with canon. This becomes a problem, (sometimes reinforced by BNF's equally questionable interpretations retellings of the source material). Both dynamics reinforce one another in an endless vicious circle but fanfic plays an important role. The part of the fanbase that still holds onto the source material and is fed up with the mischaracterization/misinterpretation as a result of reading these fanfics/metas for years and years, tries to overcorrect this by focusing on the parts of the source material that are erased in fanon/fanfics, while at the same time dismissing other parts of the source material that are being selectively appreciated by fanon/fanfics. This of course polarizes the discourse and in the end, a person like me, (someone who generally doesn't read fanfiction/may not be familiar with a big part of fanon) cannot find themselves in any side of the discourse. Like, just because you have read 9328923 fanfics that misinterpret a certain character as being, let's say, white (no relation to the skin color), you don't necessarily have to insist that they're black instead. Yes, they're not white and it's a mistake to present them as white, but they can be grey, or orange, or ochre for all I care. Doesn't mean they're black. If you present them as black to correct a mischaracterization, you're also mischaracterizing.

TL;DR being part of a fandom is extremely polarizing and sometimes I find it hard to find my place.

[sokkastyles]

So about that post we're both included in...the good thing about being at work when I saw that come through was that I wasn't able to respond. lol

I've decided not to respond but something they said that really irked me and wanted to get your thoughts on was this: In all that time between his return and Zuko's exile, there's no evidence that he (Iroh) ever tried to reach out to Azula

This comment and other's like it always irritate me because they always seem to leave out the idea that Azula has to be receptive to Iroh's help. They act like that all Iroh had to do was extend a hand to Azula and she wouldn't turned out the way she did. As if we haven't been shown that Azula has been dismissive of Iroh from a very young age. The idea that Iroh was ignoring her that whole time between when he moved back into the palace and leaving with Zuko, is just another way of blaming Iroh for not loving her enough. I highly doubt Azula was eager to spend time with Iroh around then and tried to avoid it as much as possible. Zuko was trapped on a boat. 😆 You cannot tell me that whatever short time they had together, that Iroh never left the door open for her. At some point, doesn't Azula need to reach out as well?

I'm not sure what I'm asking, I think I just wanted to vent instead of responding to that person. But if you have any thoughts on this, I would love to hear them.

P.S. Sorry for spamming your inbox while going through your old posts. 😁

No problem! Sorry that person reblogged your post to try and continue the argument with me.

You are right that Azula has to be receptive to any attempts Iroh would make to try and reach her, and what we know from canon is that she wasn't. That's why these people always say the doll doesn't matter, because it's evidence of Iroh doing something kind for his niece and her violently rejecting it because she thinks her uncle is a weak fool and her father taught her that people like that deserve to be treated cruelly.

But secondly, lack of being shown him reaching out to her doesn't mean that it never happened. Especially considering Iroh's character and the way he is consistently portrayed, it would be bizarre to interpret him as uncaring towards his niece just because we are not shown it onscreen. The writers expect you to fill in the gaps based on what we are shown onscreen, and what we are shown onscreen is that Iroh, even before his redemption, cares about his family and gets his niece and nephew a gift. We are also shown onscreen that Azula, even as a young child, is cruel towards everyone who is not Ozai, including Iroh, and burns the gift he gives her. Since these characterizations are consistent - Iroh being kind to others, Azula being cruel to others - we can interpret that the reason Iroh and Azula do not have a good relationship is because of what we already know, and that Azula is the reason they do not have a good relationship, and that she would reject whatever attempts Iroh might make to reach out. If the writers wanted to establish that Iroh was uncaring to Azula, it would need to be shown onscreen, since it contradicts everything else we know about his character, and everything we know about Azula and Azula's relationship with Iroh.

It'd be like me trying to argue that Ursa hated Lu Ten, since we never see them interact or get an indication that Ursa feels anything about him one way or the other, except for seeming sad about his death. But that's enough, because we know through everything else we know about Ursa that she is a kind person who cares about her family. Just because we don't see Ursa talking about or interacting with Lu Ten is not evidence of a negative relationship.

I agree that from what we know of Azula as a child, she did not want to spend time with Iroh and probably avoided it. Given how she talks about his reaction to Lu Ten's death, I also think even if Iroh did reach out, he would find it both difficult and extremely painful to be around someone who gleefully made fun of his trauma over his son's death.

Not only does Azula have to be receptive of Iroh, but there is a certain point where Iroh does not need to submit himself to cruelty just because Azula is a child. Azula is also a child with fire powers who is the princess of her nation, and her cruelty towards Iroh is approved by Ozai, who is now the firelord. Can you imagine what it was like for Iroh coming back to that after his son's death, in a world where he was widely seen as a disgrace? How much power does he really have in that situation?

Also imagine that Iroh also has to protect Zuko, who has newly lost his mother, from both his father and his sister.

Imagine, if you will, him inviting both of the children to play pai sho with him one day shortly after his arrival home, aware that he needs to get his niece and nephew away from their father, who now is their only sole parental figure, but also the most powerful man in the country, while he, Iroh, has been reduced overnight to the kooky, disgraced uncle. Even if Azula had accepted that invitation, I imagine that she does not respond well if she were to lose a game to the uncle she thinks is not a real general or the brother she thinks is weak and deserves to be abused. Imagine Iroh trying to problem solve between Zuko and Azula while Azula is shouting at him that he's just a loser who cries all the time because his son died. Meanwhile, Azula is also trying to burn Zuko for taking her piece in the game, and eventually Iroh just has to seperate them both.

And that's sad. It's so sad. I imagine it breaks Iroh's heart to see what is happening to his niece, what his brother is turning her into, just as every cruel jab she aims at him tears open his wounds over the loss of his son, his regret that he might have done something to help her, just as he might have done something to help his brother as he saw Ozai grow into the kind of person he became. We know these are things that are built into Iroh's character, but we also know that he's also not going to allow an abusive person to continue to be enabled, and there's a certain point where what Azula stans seem to want from Iroh is exactly that. They hate him because Azula hates him, and need an excuse for it other than the truth, that Azula was learning to be hateful from her father. They also hate him because he committed the sin of trying to protect Zuko from her and not allowing her to continue the behavior Ozai enabled.

We're also shown this dynamic between Iroh and Azula in the show, from the moment Azula shows up to try and trap Zuko and Iroh immediately susses out her intent and she resents him for it, tries to prevent him from helping Zuko think about what she is saying, and identifies that she needs to seperare Iroh from Zuko. Abusive people are really good at picking out vulnerable people, and also are good at recognizing the people who are less vulnerable and alienating their chosen victims from anyone who is going to be an obstacle, like a protector or guardian. That also increases her hatred of Iroh, that he sees right through her and knows what she's trying to do, and won't allow it. She's not going to respond to an attempt from him to help her because she wouldn't see any benefit to it, because he isn't someone she can manipulate or exploit like Zuko. And she hates that. She hates that she can't control Iroh the way she is used to controlling people, the way she thought she had even her mother under control. Until she learns to let go of that need to control, she is not going to respond to Iroh. Further, he is an obstacle in her continuing to have access to and control Zuko, which increases her hatred of him.

[spiderdreamer-blog]

Tarzan (1999)

It's hard to define sometimes where the end of the Disney Renaissance period from the late 80s through the 90s is. After the release of The Lion King, the 2D animated features steadily made less money and critical acclaim became more mixed. There was a sea change occurring thanks to more competition from companies like DreamWorks and Warner Bros., as well as the advent of the computer. For me, the dividing line is 1999's Tarzan, mostly because it's after this point that we get to what I and others call the 2000-2004 "experimental" age with films like The Emperor's New Groove, Atlantis: The Lost Empire, Lilo & Stitch, and Treasure Planet. But Tarzan has much in common with those films, representing a step away from the Broadway musical traditions and into a new, intriguing arena of animation storytelling. It's genuinely one of my favorite Disney films to revisit, and I hope this review helps explain why.

The story takes Edgar Rice Burroughs' initial novel Tarzan of the Apes as a guideline more than an actual adaptation, namely ditching concerns about nobility wealth inheritance and unflattering black African caricatures (the spinoff TV series would deal with the latter in trying to be, uh, less problematic about such). We pick up with Ye Olde Dramatically Convenient Boat Wreckage in a truly commanding opening sequence set to Phil Collins' anthemic Two Worlds. Tarzan's unnamed parents land in Africa and are put in parallel to gorillas Kala (Glenn Close, at the time coming off a very different performance for Disney as live action Cruella De Vil) and Kerchak (Lance Henriksen). Tragedy strikes for both families, and where one loses his parents, another gains a son. But Tarzan (Alex D. Linz as a child, Tony Goldwyn as an adult) grows up knowing he is "different", desperate to prove himself as an ape and belong. He seems to find an equilibrium, becoming best friends with Terk (Rosie O'Donnell) and Tantor (Wayne Knight at his most nebbishy), and even managing to vanquish Sabor, but then strangers arrive. Strangers who look like him, in the form of British scientist Archimedes Porter (Nigel Hawthorne), his daughter Jane (Minnie Driver), and their guide Clayton (BRIAN BLESSED). Now things steadily grow more complicated as Tarzan wishes to learn all he can about these outsiders and himself, but what might it cost?

One of the first, most notable things about the film to me is its complexity in the writing and characterization. Looking back, the Renaissance can have a problem in terms of male leads being love interests who don't get as much focus or slightly bland focus-tested "likable". This isn't true for ALL of them; the Beast has many layers to his personality, while Simba and Quasimodo are great, imo, because they have more baggage tying them down and thus more to rise above for true heroism. Nor does it make most of them bad characters. But it was notable enough, as was the tendency for them to be overshadowed by the villains or sidekicks, for co-directors Kevin Lima/Chris Buck and writers Tab Murphy/Bob Tzudiker/Noni White to slightly...course-correct.

Ergo, Tarzan himself is very much the main focus here. There's only one major sequence that he's not really involved with, and even when he's not onscreen, the other characters are as intrigued by his contradictions as the audience. (Insert your own Poochie jokes here, though obviously it doesn't come CLOSE to that) We truly feel his anxiety about fitting in, and the lengths he goes to are intensely relatable even at their most self-damning.

The other characters, too, feel richer and more lived-in than many of the standard types. Kala is a mother figure, one who tries to make Tarzan feel like he belongs, but is deeply scared of losing him. Kerchak is possibly my favorite character in the film because of how much you have to read into his actions because he holds so much back emotionally until the very end. Even then, he comes off as a more realistic harsh father figure than a caricature, and we can always understand where he's coming from. Jane is one of the best Disney love interests, meanwhile, feeling like a modern romantic comedy heroine with a lot of drive and initiative, as well as being just genuinely nerdy, which you don't often see even today. Clayton manages a nice two-step of seeming like an obvious bad guy but playing things down the middle until he gets what he wants. Even the comic relief gets good moments, such as Professor Porter gently supporting the romance or Tantor standing up for himself at a critical juncture.

Of course, what helps here is that said characters have some of the most beautiful environments and animation backing them up in Disney history. The African jungle is depicting as a kind of painterly, hyper-real fantasy, with impossible tree shapes and vines that bloom in the sunlight. And the then-revolutionary Deep Canvas CGI process allows Tarzan to soar through them, the camera spinning and rotating with each movement. The design sensibility is "classical" Disney to a large degree, but with slightly longer faces or larger eyes to add expressiveness. The California, Parisian, and Florida animation teams all clearly busted their asses to make this come to life. And Glen Keane's work with the Paris studio on Tarzan might be the best of his legendary career in terms of the variety of movements and subtleties in expressions. So too goes the rest of the supervising animators: Ken Duncan makes Jane truly lovable and wholly distinct from the likes of his Meg or Amelia; Randy Haycock gives Clayton a macho swagger that feels entirely his own rather than feeling like a Gaston ripoff; Bruce Smith combines remarkable anatomy work and microexpressions with Kerchak; Russ Edmonds' Kala is warm and motherly while never letting you entirely forget she's a gorilla; Dave Burgess makes Porter funny with his slightly squat, short shapes; and Mike Surrey and Sergio Pablos make for an excellent duo on Terk and Tantor in terms of contrasting their size, as well as the latter giving nervous-nelly body language to such a huge character. That's harder than it looks.

The aural end is just as good. Much hay and memery has been made of Phil Collins going ridiculously hard on the storytelling songs, which I fully support. But it really is true that they add so much here and take the burden off the characters in terms of singing save for the improvisational scat number "Trashin' The Camp". I'm partial to "Strangers Like Me" in terms of the earnest yearning and connections that Tarzan makes over the course of it. And of course the various versions of "Two Worlds" are essentially the mission statement of the film, complete with absolutely bitchin' percussion. Mark Mancina's accompanying score is also excellent, sounding like a fusion between The Lion King (which he produced/arranged for both the film and Broadway show) and his action movie work on projects like Speed or Bad Boys. Particularly great is the cue that plays when Tarzan defeats Sabor and builds up to his classic yell, which milks the heroic triumph for all its worth.

The voice cast is also excellent top to bottom. Goldwyn has a deeper timbre than many Disney male leads, less of an ingenue, and this adds to the stormier emotions; we truly feel his pain on lines like "Why didn't you tell me there were creatures that look like me?" But he's not TOO grim, thankfully, and gets some good subtly funny moments such as sounding out monkey noises in a conversation that Jane only hears one half of. Close is properly maternal, of course, getting her best showings in emotional one-on-ones with both Linz and Goldwyn as they hash out their relationship. Henriksen, like the animation, wisely underplays Kerchak and lets the emotion come out through his gruff, gravel-pit voice rather than obviously signaling things. Driver is hilarious and winning as Jane, getting some of the best laughs and most sweetly tender bits of the proceedings. It's all the more impressive when you consider she played Lady Eboshi in the Princess Mononoke dub the same year, which is the utter opposite of this performance. BRIAN BLESSED doesn't do a lot of his patented BRIAN BLESSED yelling outside of some choice bits at the end, but he makes a meal of Clayton regardless as a charismatic asshole, and I like how he plays a climactic bit of manipulation in particular. Hawthorne gets a much better showing here than his previous Disney voice role as Fflewddur Flam in The Black Cauldron, daffily sweet and humorous in equal measure, while O'Donnell and Knight are familiar vocally but use that to inform their characterizations rather than distract.

I think what I like most about this movie is that it feels incredibly well-rounded. Some Disney movies from this period might have a great villain or sidekicks but a weaker protagonist in Hercules or strong protagonists/villains but a weaker supporting cast as in The Hunchback of Notre Dame. (Then you have Pocahontas, which sucks on ALL ends!) In Tarzan, everything feels of a piece, and nobody jars against the tone or mood. Combine that with the dizzying highs of the animation and truly excellent emotional beats, and you've got a real winner that stands the test of time in my eyes.

[popculturebuffet]

Scott Pilgrim Takes Off Review: That's How It Could've Happened, But How About This?

WARNING: SPOILERS FOR SCOTT PILGRIM TAKES OFF AHEAD. IF YOU HAVEN'T SEEN AT LEAST EPISODE ONE, TURN BACK. SERIOUSLY DUDE. DO IT NOW. IF YOUR COOL WITH SPOILING YOURSELF, ROCK ON.

Hello all you happy scottaholics. I"m back in the saddle again. For those just tuning in i'm Jake, I review stuff.. and a few years back I reviewed the entirety of Brian Lee O'Malley's masterpiece, and the movie as a chaser, having been a fan of Scott Pilgrim since my teens but only having just revisited it at the time I started my retrospective. It was a wonderful journey that made me appricate one of my favorite comics even more and gave me a ton of my best running gags. You can find links to each review HERE in one masterpost.

So naturally when the anime was announced last year, I was entirely on board: I loved this story in all three of it's major forms and was excited to see it again, maybe updated a tad. I was also curious if the story would get a setting update, what would change , and what subplots we'd FINALLY see on screen after the film had to trim a lot thanks to half the series not being finished yet and a tight two hour run time. I was cautiously optimistic when the cast was announced as while I was happy to see the massively talented breakout cast of the film return and get another shot at the characters, I was worried it'd just be the movie but animated.. which thankfully turned out not to be remotely true once trailers came out. Instead they'd simply get a shot at playing the characters again but this time with diffrent characterizations. I coudln't be more stoked.

As it turns out though.. O'Malley had zero intention of telling the same story again. In fact, he almost DIDN'T sign on despite getting the juciest of offer, with the anime's studio, Science Saru, wanting their next project after their breakout hit Devilman Crybaby to be Scott Pilgrim and coming to O'Malley Directly.

The problem wasn't the offer: O'Malley, unsuprisingly, was a fan of Science Saru, who in addition to Devilman had also made Space Dandy and the early pilot shorts for OK KO. The problem was O'Malley.. really didn't want to simply retell scott's story a fourth time. It was a story that was personal, deeply loved and made his career.. but after a movie that everyone knew and love and a video game that was so well loved it was many's holy grail for a rerelease for over a decade after it was delisted, he didn't know how to take the story in a new direction and didn't want to do the story again if it was simply going to be a rehash: people could read the book sometime or watch the movie if they wnated Scott fighting the exes.

Thankfully for us, Brian brought up the offer to his good friend BenDavid Grabinski, a tv and film writer. BenDavid was a huge fan of Scott Pilgrim and thus when the idea came up coudln't help spitballing ideas. And one stuck: What if Scott LOST that first fight. It was naturally just a joke.. but like when Superman died.. it's one that had some heft to it. If Scott were gone what would happen to everyone else? How would Ramona react to his loss? Was Scott really gone? how would his friends go on without him... and what would happen to the exes now they weren't guaranteed to die in a fist fight and the entire problem with Gideon's whole plan was laid bare?

These questions and more are answered as Ramona gets to the bottom of what REALLY happned to scott, who unsurprisingly is not dead and even more unsurprisingly the truth is all kinds of bananas. The story of a human tire fire learning to be a better person and not runa way from his problems... becomes the story of a much more composed tire fire learning she can't run away from her problems after she chases after what might have been, forced to get closure with most of her exes as she tries to hunt down the ex that never was. Along the way there's messy bisexual love triangles, movie rental melee's, Tony Hawk style antics done on swarms of paparazzi ninjas, the greatest musical of all time, the rise of Matthew patel, the fall and re-rise of Gordon Goose, explosions, cameos, and more as Ramona Flowers gets it together while Scott Pilgrim takes off, resulting in one of the best animated series of the 2020's and possibly the best of a very stacked 2023. So take off with me as we press start on a fresh new take on one of my favorite franchises under the cut.

Ramona Flowers Gets It Together

This one's going to be a LOT to unpack, and the best place to start is with our new lead: Ramona Flowers. Ramona has never been unimportant to this franchise: after all it's her exes that make up the fight of the week each volume and who give the franchise it's hook, and in the comics she develops alongside scott: As I said in my reviews, Ramona develops alongside him, having to learn to not keep people at arms length and to not run away, nearly running away from everything before coming back, realizing Scott's worth it. Through each other, they grow stronger.

So with Scott gone... Ramona is forced to grow all on her own. If she wants to date Scott, SHE has to fight this time, and she can't run like she tends to. In the comics, she had to scrap with Envy and Roxy, but all the weight to evolve as a person was put on Scott: Ramona had a stable job, was content in her life even if her friend group was basically "Whoever scott happened to be friends with", she was seemingly all together until the last three volumes slowly chip away at that and reveal she's just as bad at staying and improving instead of noping the fuck out of an intense situation as scott. She has to evolve.. but her getting better isn't the point till the climax of the story. It's a lesson in how while a relationship can HELP you grow, ultimately it's on you to: Scott grows because he stops running and embraces his evil self and thus the memories of all his fuckups, embraces that he could sometimes be shitty so he can learn past it. Ramona has to choose to stand and fight gideon and let go of hte hold he has on her, to let go of running and embrace what she has.

Here without Scott and only the vauge mystery of a guy she dated once, Ramona instead has to confront herself: many a character question her doing this. While it starts simple enough with just Julie questioning it, because Julie hates scott as much as I hate the comics version of her, we get harder questions from Kim, whose dated Scott and knows how insesntive he can be, and Lucas who KNOWS Ramona and knows her style is to run. That a happy ending isn't as easy as finding scott again andmaking out intensely. Ramona has to make her own happy ending.

As a result instead of being the sneaky deutratonist or a prop depending on the version (I Love the movie but man do they not do her well), Ramona has to confront her past on her own, and instead of just getting cathartic punchings, she has to actually.. TALK to her exes and resolve things like an adult. And you can imagine how much she likes the prospect of that.

And this flip in how the story works.. is brilliant: It allows us to get to know Ramona: We're seeing things from her perspective instead of Scotts so we see her way more vunerable, genuinely shaken by Scott's "Death", obssesed with solving his kidnapping, and forced to confront her past. Granted like the books we also get to see the lighter side: Ramona is still the straight man to a lot of the cast especially her exes. She and Kim are the sanest one's here and Kim is often out of focus, leaving Ramona one of the few rational people in a sea of gloriously goofy nonsense. Yet we also see her own intrests: she's a columbo fan, turns out to be a natural for stunt work, and has a meticulous routine for her hair dye. We also find out she's a blonde which is only TECHNICALLY cannon to this version.. but fits too well as her hair color to work.

We get to see Ramona not as some ideal to chase slowly turned into a person but just.. a person. Funny, aloof, kind, easily baffled... this is easily my favorite verison of her. Granted it's not exactly ac ontest: The comic's version is great and this simply takes the best of that and fleshes her out, the video game is a 16 bit brawler, and the movie... well look I like the movie, but the film version is a nigh emotionless prop that barely gave Mary Elizabeth Winstead anything to work wtih forgetting ramona HAS emotions who instead of simply having her emotoins amplified is outright brainwashed. I used to think Kim got the shortest end of the stick but doing this review.. no it was Ramona. Ramona got screentime but had any personality stripped. Thankfully both Ramona and Mary Elizabeth get a second shot on the screen here.

Mary Elizabeth's performanc ecan't be overstated: she nicely ballances Ramona's stocisim, something key to her charcter as her main problem is distance, that she puts up and that she creates by running away, with the emotoin peeking up just underneath to say hello. IT's a truly great performance and I hope she'll consider doing more voice acting, she's an natural.

And this is great as Ramona's quest eventually leads her back to scott.. and to an ending that's both profound.. and pokes some holes in the series itself.

The Adventures of Scott and Scott

So turns out Scott was kindapped by of ALL characters, Robot 01, the Katanagi Twin's robot minion who shows up for one fight in the comics and video game and then explodes real good. Here he's their little robot son.. and how Scott got kidnapped.

But thankfully the culrprit isn't the Twins. I would've liked for them to get more to do, more on that later. THeir involved, having leant their robot boy to a friend since , as a robot who can't eat, Robot 01 has never had meat and has no human limits and thus is the strongest robot vegan who ever existed.

God I love this stupid reveal. Anyways, turns out Scott's kidnapper.. is SCOTT. Specifically a version of him who did the usual story, won, had a happy ten years with Ramona, then it fell apart after an argument which he assumed ended in divorce.

This is another twist that was brilliant.. I thought Scott's kidnapper was another scott, but I assumed a clone situation. I never thought FUTURE Scott but it's such a brilliant move. We see a Scott who won.. but who simply didn't let the lessons he learned stick. It's easy to learn something about you sucks, I have many a time.. it's harder to make the changes stick. I can't tell you how many ephnaiinies i've had only to end up back where I started. Some change has stuck with effort, but it's not easy. You have to constantly work at it, to grow. And it's easy enough to backslide.. and thus sadly easy to buy that this verison of Scott , when hit with his relationship not working, spiralied instead of working at it , not helped by Old Ramona, their words not mine, ghosting him.

He's a ghost of Scott future, every bad thing about the guy amplified: he's oblivious, thinking his newest band is going anywhere with his gloriously crappy music video, and refusing to accept it was his fault, throwing a tantrum when Young Scott states the obvious solution: just tell his younger self some of his fuckups and hopefully that'll right the relationship. Instead Future Scott goes for the solution that's easiest and laziest: use time travel to undo his relationship. And naturally this being Scott he got this stupid idea from taking a joke Wallace told him seriously. I love Wallace's "Buddy I was kidding".

I also love the performance here. Rather than use Michael Cera , Future Scott is voiced by voice acting, comedy and beard legend Will Forte. Forte's goofy nature, penchant for playing man children blind to their own flaws, and deadpan deliveries make Future Scott work. He's deeplys ad, but also deeply hilarious, sharing some of Scott's weird intricates like assuming because Future Wallace's husband works for nintendo he gets all the video games for free and making a virtual boy scrapbook of his relationship.

He's still throughly Scott.. just one who can't get past himself, requiring Scott and Future Wallace to go to Future Ramona for help. Shockingly.. she's more than willing too: While she still has Ramona's own problem of running away at the first sign of trouble, she does still LOVE this idiot, she just dosen't know how to fix it and knows she can't talk him out of this, so she sends scott back to be with his ramona... well rides him back leading to some awkward selfies.

But naturally for this tale, Scott coming back.. dosen't fix things. And not just because his older self put anti kissing nanites in him.

Scott has grown some from seeing what he could be: He apologizes to Knives, in a scene that I truly love.. mostly for this line "Apparently a 23 year old dating a high schooler is frowned upon by society".

And I have to stop for a minute to give ALL the props to Michael Cera. He already had done plenty awesome this year as the boy of the year

He didn't need to go for two but he did. Cera wasn't at all bad as Scott the first go round: the character was different, a bit less goofy but still awkward as hell and oblivious to his own flaws: the core was there. Here .. Cera is playing the character as on page, if slightly amped up: Goofy, excitable, trying to ignore his painful past and flaws, charming.. all the good and bad of scott is bubbling around this guy. And the line deliveries my god: we have instant classics like "I'm using the world wide web" "The place where they make the video games", the instantly memetic sonic scene (Which would be me trying to flirt with a girl, ngl), and the above frowned upon line. Cera just bubbles in this roll, sliding into who scott is: Loveable but a total mess who needs to get his shit together and has made some grave mistakes.

Granted they also take steps to make sure Scott's relationship with Knives as judging from interviews, O'Malley is kinda tried of the take that scott pilgrim is a bastard man. I mean he is, but it's less that Scott has some shit to work out and need to be better and more that everyone acts like this is a new discovery. As the author himself said it's there on the first page and a good chunk of chapter one is the people who know him best asking what the hell is wrong with him.

Granted this is mixed with Stephen hooting and hollering as much as he can with his stoic personality, Neil being in awe and asking if they'd "done it yet" and Wallace being tempted with the idea of a high schooler himself, though I get the impression he never seriously considered it. So it is muddled slightly.. but not NEARLY enough.

I do get it with the movie: the movie.. outright portrays Knives as a legit love interest, and while it ages Scott down, it's not enough to make that not blehhhh and the game has Knives end up with Kim, which younger me didn't get was still pedophilia. So I do get it as while the comics make it clear this is messed up, it got muddled.. but it's also still a pretty weak gotcha when the source material has always said "This is wrong" They even bring up trainspotting for fucks sake, which I haven't seen but is a pretty good indication O'Malley knew what he was doing.

So here they make it clearer that while Scott's still stringing this poor baby girl angel baby along, he dosen't really consider it a relationship, or just dosen't want to and after seeing what he easily could be even with Ramona, apologizes way sooner. So they did make strides to make things a bit clearer here if only so another version didn't miss the point.

So one rant later while Scott and Ramona think things are wrapped up.. it's just not that easy. You can get closure, we'll get into the exes more shortly, but it dosen't mean your done or done growing... or that the past is done with you. Or future in this case. Like I said, Old Scott/Future Scott put nanintes in scott and after figuring out the exes aren't involved, the two get kidnapped along with the exes , knives, pretty much anyone who can throw a punch.

The kidnapper is naturally Old Scott.. EVEN OLDER SCOTT.

I love his look: he still has his old jacket, his iconic x-men one, but laso looks like Ryu from Street Fighter 5, just with a giant beard and crazy eyes, being a mix of that ryu and devil ryu.. and nega scott. Old Scott wasn't a great person but still had the potetial to turn it around if he got his finger out of his ass. Even Older Scott is every horrible thing Scott Could've been.. and this is something the comics foreshadowed was possible.

And the thing is while Ramona was being dickish in her own right there, not getting that while Scott cheated on Knives with Ramona he had changed since then, she's not WRONG. Scott was VERY close to giving up on change entirely if Kim hadn't turned him away. Hell had Ramona not come along Scott might've become Old Scott sooner just by dating a teenager. The potential to, like the exes, sink into his resintment and worst self was always there... this is just a Scott that did. A Scott who when faced with the fact change is hard would rather hull up, get buff and plan to kill everyone he cares about just to avoid changing. This is the Scott he almost became.. and sadly at least one scott did become.

He's also horrifying for more than just the implications of seeing this guy who while a dickhead, CAN be better if he puts in the effort and does change and grow in both main versions as his worst self. It's sad to see that.. but we also quickly see just how dangerous an evil ex scott would be: After all Scott beats all the evil exes... I mean original timeline scott beat Lucas and Todd via Indigo League style technicalities, but still. While Scott was still beatable, it took multiple rounds, a feint, and ramona's help to put down the last four exes, he was still fairly strong.. so give him 24 years more of experince with ten of those spent JUST training and specifically preparing to counter the exes , ramona and his past self.. and you have an unstoppable monster that NOTHING can stop and everyone else is very lucky they get sent back. They all put in a good offense.. but the league is out of their league.

Even Older Scott is a brick wall.. and one that smacks straight into Scott and Ramona trying to run from their problems. Scott is forced to face the fact that even getting better might not last even if he dosen't become this guy and Ramona's forced to face the hide this guy is right. Our heroes are up against the wall, their relationship almost over...

Enter Even Older Ramona. Turns out Even Older Scott just.. ghosted her. But her presence finally gives present Ramona the wakeup call she needs as finding our her older self just.. ran away each time her and scott had issues.. gives her a needed ephinay the same way Older Scott being a dumpster fire on cocaine gave this Scott one and Scott in the comics got one from seeing a dark mirror in gideon: Ramona Flowers.. always run. Lucas outright said as much and with the series fleshing out the exes more, almost there just give me a minute, we find out she just.. bounced on each relationship. Matt isn't a suprise, his backstory is the same as it ever was, and in some cases she was ENTIRELY justified in her assholery: Todd was an obnoxious prick she left another, far better guy for, the Twins were recontexculazed as serial predators who preyed on new freshman with Ramona dating them both being a way to get even on both of them, so while she still did a bad it was on legitly bad people, and Gideon.. is still Gideon. He may get more development here and have his own backstory.. but the series makes it VERY clear he was every bit as shitty to ramona as previous versions, he just hadn't got to using the glow or mind control chips levels of creep yet.

But as i'll get into more in a bit... she legitly hurt everyone else: While Matt didn't get into supervilanny till high school, it's hard not to think that being used as a weapon to keep other boys away didn't lead him down the tryhard path he now walks, Lucas was left devistated and became a xerox of a xerox of the kind of guy Ramona left him for, and Roxy was left genuinely devistated thinking she was nothing. All Ramona has done is run and deny people closure and the series reckons with that.. and like the comics forces Ramona to stand and fight, recognizing that her relationship with Scott could end badly.. but it's worth having.

It's a neat metaphor: our heroes see exactly how badly things could end... and that's how relationships can be. You worry about how badly things are going to go or how you'll fuck up. But the only way it can go forward.. is if you try. Risk the hurt for the good. present/past/whatever Scott made a valid point when trying to talk to his Older Self before seeing that was a lost cause: There had to be good times too? While Old Scott and even Older Scott bury them in self pity, a relationship, even if it fails.. has something to add. Something to help you grow. And given Brian himself had been through a divorce after a ten year marriage it's hard not to see the subtext, to see that idea of "would you talk yourself out of a relationship if you knew it'd end". And the answer he and Ramona have.. is no. It's worth the risk, worth the pain, and worth the possiblity that someone else can do it better.

Granted this being scott pilgrim doing it better involves the ramona's fusing and Even Older Ramona, while done with Scott (He ate up his second chance a LONG TIME AGO) gives both Scott's another chance. As she puts it "This one's just an idiot kid... and this one's a real mess" (When told to kick his ass) "It's never too late to clean up a mess.. " Despite it all.. part of her loves him.. and gives him another chance. Not with her, Oh lord no, but to be better. That .. we can always be better, no matter if your 23 or 47, you can become better. As Super Ramona says "What you've done in the past dosen't define you, hell me keep remembering that". It's a beautiful message: you can screw up, there is no happily ever after.. but you can always be better even if you stumble. And as our heroes face a new future together once again.. it feels a bit brighter this time, like these two kids will make it you know?

Not That Evil

One big pull of doing the story this way for Brian and BenDavid was the exes. Brian admitted in interviews he wrote the books by the seat of his pants and as a naive 20 something who didn't know how skaters or musicians worked except via magazines. Moving to LA among other stuff gave him more perspective, and he wanted to add that to the story, flesh the Exes out as people and use the bits he didn't have time for in the original.

As such 5/7 go from sometimes one dimension, sometimes wholly evil bastards for Scott to punch.. and Lucas, to 5 very flawed , very intresting people we get to see way more of and who all get something resembling a happy ending. Also Kyle and Ken are there. Getting them out of the way once again the adaptation barely uses them, as their more a plot device/backup so we can hear Will Forte sing the theme to Bubblegum Crisis. You know when Brian hinted at that scene in interviews pre show I expected to here Kirean Culkin, Bree Larson, maybe even Micheal Cera. I didn't expect Will Freakin Forte and god bless Brian for that.

So yeah the Twins are.. fine here and I love the anti climax: they don't get closure with ramona.. but are cool with Scott since they'll be buddies eventually. I also like that out of ALL the exes for Scott to befriend after they respawned it's these two guys.

Thankfully everyone else gets way more and no where is that more apparent than with MATTHEW PATEL, the first evil ex.. and the one who naturally gets the most to work with, going from the biggest jobber who ever jobbed, to the guy who killed scott pilgrim

Satya Bhabha gets to have a fucking feast here and I hope this leads to more rolls, voice acting or otherwise. While he was already one of the highlights of the film, easily, taking what was implied to be a music number and making it into this glorious thing.

The series takes it to new heights.. mostly by giving Matt his best life. Granted.. this life naturally dosen't include Ramona who walks out pissed off and Matt is befuddled "Wait we DON'T get her automatically if we win?"

So he does what you'd expect from an egocentric theater kid who realizes he was just played and this whole evil exes setup is a sham... call a meeting in GIDEON"S OWN LAIR to dramatically reveal it all. And punch the head off a good soft robot boy because he's a prick and a half. A loveable prick and a half but still.

It's something I just.. never thought about with the league. I assumed it was simply a "If I can't have you" situation as that was GIdeon's whole goal.. and to put her in his girlfriend freezer which i'm sure Matt released. Gideon and Roxy seemed like the only ones who wanted her back. But given the weird logic of this unvierse even if some of them DIDN'T want her, I like the idea they'd still like to keep that option open by unaliving someone. It's fucked up as it is sensical for a group that all gathered to keep their ex from moving the fuck on.

It makes equal sense that this was all a ponzi scheme, Gideon , being an entiled dick, just.. assumed he got her if anyone won. That the exes wouldn't object or, more likely, they simply woudln't make it far enough. They were just patsies so he could swoop in and score her on the rebound, also not getting that would never work and sh'ed just hammer his nuts so far in they'd be impacted.

What threw me after this.. was Matt's Challenge to gideon. Not him challenging Gideon, I expected that easily: Matt gets all of Gideon's empire if he wins, Matt dies if he looses. I figured Gideon would kill Matt, again, and would do some sort of cordinated strike. But as before Scott Pilgrim Takes off Decides

Instead we get an absolutely gorgeous, awesome fight scenes. one of the best i've seen in animation and one of the best of the year, which given Invincible came back, is saying something. Gideon, while not having his pixel or glow powers, fights well with swords, a harness and pure skill while Matt is consistently forced to push his powers in new and creative ways. While we get the ones he got to show off against scott, fireballs and demon hipster chicks, we also get to see a lot of cool new shit as he manifests arms ala the Hindu god shiva, with all his powers seeming to tie into Hindu mythology instead of "magic stuff I guess" like the originals. It's a tense fight I assumed would end one way.. but instead... Matthew Patel FUCKING WINS and wins Gideon's emppire, only leaving him alive as a brag

Yeah I assumed from this when first watching that this was some sort of Buffy "Superstar" situation, that Matt had altereted reality to make it better for him. Instead.. nope. This just happened organically. Turns out Matt is badass as fuck, Scott simply had the power of friendship and punches. No power scaling here bitches.

As a result... the League falls apart. Matt is TECHNICALLY leader.. but in practice the exes all go off to do whatever, with Ramona instead encountering them organically. Matt spends the season as a highly paid CEO, mostly showing up once in a while to shut down a whole movie production because it makes him look bad, pathetically hit on ramona.. then get scared when he finds out Scott is alive. My faviorite bit of that is his very timid "Is he mad at me?" like he's a second grader and Ramona's understandably irritated "I dont' know dude" as a response.

Granted this dosen't stop his dreams as Knives and Stephen are able to pitch him a Scott Pilgrim Musical, one of the most gloriously batshit subplots in the history of this franchise. Which really can be said for.. most of this fucking show, but I digress. Despite seemingly hvaing no talent, the prospect of finally getting his broadway dreams back after his dad crushed them is enough for him to level up again, do a performance everyone loves and become a broadway icon. I assume the last part. Hamilton move over, your new compettiion's in town.

(Sidebar to that refrence, I think Hidgens and Matt would be besties. THeir both weirdly violent and obessed with musical theater).

Hell Matt.. dosen't even get upstaged by Gideon. When Gideon tries a looney tunes plan to bomb the theater, the Demon Hipster Chicks just.. disarm it and Matt.. gives Gideon his company back. Turns out being a CEO is hard yo. He's already lost billions. So Matt has his career, his musical, the only thing he didn't want to give up and Gideon could care less about anyway, and a new evil bestie. Life is good.

And naturally it sucks to be Gideon Graves as a result, or rather Gordon Goose. I liked giving Gideon a backstory, aging him down to be julie's old peer who used to wear no fear shirts every day and got shot down hard. Huh I never knew the guy I knew in high school who gave every girl he knew an invitation asking them out in high school became a super villian.

So Gideon spends most of the series in a depressed daze secretly plotting revenge and watching anime. Why is every guy I knew in high school compressed into one sad canadian?

Where he's crashing though was a nice twist: Julie. For those who read my reviews of the comics, you'll recall I didn't exactly like Julie very much. And for good reason: she's the worst. Here she still is.. but Brian found the secret to having a character whose human garbage around without making the audience pull their hair out. You have to make them entertaing. Julie is still a high school alpha bitch all grown up here, but instead of just constantly talking about how Scott sucks, she gets to be funny. She swears constantly, taking a great gag from the film and escalating it, slacks off at her job, and snarks to Ramona about her taste in men.

She also.. gets redeeming qualities. Something I never thought any verison of Julie could possibly have, but here we are. Instead of just seeming to know Ramona and only claming to be her friend because Julie Powers is a starfucker, she's GENUINELY a good friend to Ramona, giving her the info she needs and being contrite when Ramona catches her with Gideon. Julie here feels more like a person and less like a blob of all the worlds sins congealed into that bitch.

And yes she ends up with Gideon, a ship I never thought of in my darkest day but somehow works perfectly. Their both awful in a way that's made for each other and Julie taking in Gordon at his lowest is genuinely sweet.

We get to see Gideon not as G-Man.. but as a nerd whose lost everything.. and gets the greatest and most wholesome montage ever with Lucas Lee. Seriously Lucas and Gideon fucking around Julie's house like two teenage boys is one of the greatest thigns ever put to film, even greater knowing it was somehow only 90 fucking minutes. It's fucking adorable.

What helps though is that while Gideon is a touch more sympathetic and pathetic... he's still not let off the hook for how he treated Ramona. He's not putting the glow in her and stuff, but he was still the same controlling manipulative asshat. I mean he still made the league just to win her back. It's just without the league or the trappings of power... he's a less charming scott, something the books largely hinted at. Ramona DOES get him to be a better partner to Julie, calling him out for leaning on her hard and taking advantage of her, and as a result instead of leeching off her they become equal partners in villianny with vauge never to be elaborated on plans at the end. And it's honestly.. sweet. It's nice their evil together. Sure they'll probably be meancing our heroes with a super mario bros 3 airship eventually, i'm sure, but at least their better. And matt freed his frozen kidnapped wives so we're good.

So moving right along fun and fancy free we have Gordon's best bro, Lucas. Lucas Lee takes more after the film, something Brian admitted was unavoidable for some things: after the movie made some versions of the characters more iconic he really coudlnt' go back. It's why getting the movie cast was so important: While this was going to be it's own thing, having them added a layer and frankly he didn't think anyone else could do it as well. I do think someone could've, there's tones of great voice actors, but i'm still glad he got the all star cast back as their just.. giving it their fucking best. God bless Michael Cera for reviving that email chains.

And you can feel the enthusiasm in most performances, but especially Chris Evans, who responded back within 20 minutes of being asked and hams it up. This Lucas is a bro whose on the verge of being cancelled and who is delightfully try hard, saying let's party as every other line in his films, throwing parties, and generally being axe bodyspray made into a person. He also tony hawks a lot, and you can tell BenDavid loves skater culture.

Lucas is fun to watch, being arrogant and an asshole, but one whose hilarious epsecially squeezed into Scott's t-shirt playing him in young neil's movie. It's a great visual. And his downfall being dating a 30 year old who happens to LOOK like a high schooler is both a brilliant meta joke on ellen wong, and just.. fucking great.

The show also, like all the exes, fleshes him out: It takes what we knew ,that Ramona cheated on him in high school, and fleshes it out: Ramona was his everything, helping a skinny skater kid get by, fixing his boards and generally being sweet.. then aburbtly left him for a fuck boy, with Lucas deciding to become the KING of all fuck boys in revenge.

Lucas isn't super deep, but I love that he's not just the dudebro party massacre we see on the surface: he does actually read the script, has genuine insight into ramona pointing out how unlikely the regular ending of the story is .. simply because she always runs. He also willingly skates into a cloud of ninja paparazzi to cover for her.

And the skating scene.. is one of my favorites in the show. Granted I like me some tony hawk even if I suck eggs at it, so that helps, but the animation is gorgeous. Granted this whole damn cartoon is gorgeous: Science Saru put their heart and soul into every frame and everything looks stunning, having a very early 2000's look with it's frayed edges on the characters, and capturing Brian's style perfectly.

The Skating Segment shows this off, with fluid motion, some great set pieces and some impressive jokes like the alien. It's fucking great.

So Lucas ends up not even able to afford a first class ticket back home.. but finds happiness as a barita. and Stacey finds happiness starring at his ass. Everyone wins. I kinda low key ship those two.. I mean Stacey's a bit younger, yes, but it's not knives level of age gap, and Lucas could use someone with their head mostly on their shoulders. They do try teasing him and kim.. but she'd eat him alive. It'd be fun but she would. So speaking of Kim and the evil exes, let's roll on to my faviorite, Roxie. Roxie is a fucking delight this time, with Mae Whitman, unsuprisingly, bringing her best. It's fun to get to see her cut loose and just play a horny lesbian ninja gremlin like she deserves, with Roxy hamming it up. She spends the evil Ex meeting dunking on everyone else ("Act like you've been here todd!"), and already being the best. She comes off as a combo of her two versions: she has the manic gremlin energy of her film counterpart, being as bi-furious as ever, but has the snarky energy of her book counterpart, being willing to take shots at people and question them... it's just spread to all of the exes since Scott isn't around to be the sole obstacle in her way of ramona.

She's then the first ex Ramona has to deal with herself on her investigation, and it perfectly fits her character: In the film she tried to jump the line, but got a cup of accidental boob punch instead, and while she did wait for Todd to get headbutted out of existence in the books, she also started her attack with some ninja poster clones of Canadian hillary duff in the excellent Free Scott Pilgrim one shot (The very comic that got me into the series), and tried the same sneak attack that ended up in boob punch city. No matter the version Roxy is an impatient little cave goblin and of course the second she realized Ramona was free and the others had stopped giving a shit she'd be the one to show up at her door.

She's also the only one Ramona has to fight instead of just having an adult conversation. And while Takes Off changes a lot by design.. it dosen't deny giving us another excellent Roxie vs Ramona fight, something that I didn't realize was a tradition till this one. Still they saved the best for possibly last as the two's video store dustup is one of the best fights of the series, only topped by the final battle with Even Older Scott and even THEN it's a very close call.

Starting with a furious one on one in No Account Video, one of my faviorite settings from the books i'm glad to see get fully fleshed out and used here, even if it gets wrecked and then shut down as a result, with sprinkler's going off, discount tapes being bodied and Hollie deciding fuck this i'm clocking out, we then get a fun take on an old trope as a stack of tapes fall on them, leading to the two getting stuck in video land. We get westerns, film noir, samurai flicks, Hollie griping about them ruining her faviorite movie but watching anyway, it's a gorgeous fight and the video tape grain just adds to it.

We also get at least one fun bit using the medium as when Ramona gets sucker punched, Kim simply rewinds to help her new bestie out.. and Roxie takes it like a champ and... exits the tape JUST to stomp the remote. Fucking amazing.

The best part though, like a lot of SPTO, isn't the punching, though it's glorious but the payoff. With both exhausted, Roxie lashs out in a brutally painful way, blood down her cheek. It wasn't just that Ramona left, it's that she left.. without saying anything: we get an actual sense of their relationship this time and rather than be the "phase" Ramona cruelly brushed it off as the last two times, we see the two slowly fall in love, a really cute shot of ramona throwing a blanket over the two of them.. and then Ramona moving out, almost saying something but not wanting to, leaving Roxie devistated. It's easy to see WHY she has this bubbling anger at Ramona: every time they've fought, she's made her feel like nothing, something she vocalizes here. It takes what was an extremley dated bit that made Ramona come off like a giant asshole in the previous versions, it's fine if she realized she's not bisexual (which any scene with her and kim in both the comic and this very anime proves is just.. factually false), but it's a face punching way to put it, and puts it in the context of really hurting someone. Ramona realizes she done fucked up, genuinely apologizes and the two.. just collapse. Their friends now.

I also love Roxie hitting on Kim. I could honestly see those two working out.. I mean yes there were no sparks but Kim was kinda put on the spot there and Roxie was on the rebound. Give em some time. Plus I think Kim would work well with a feral gremlin she has to reign in. She's done it before. Roxie also asking about hollie right after before cheerfully leaving.. it's the best. Mae Whitman's the best and I could see her headlining a spinoff easily. Give me more of my feral cave gremlin daughter comma you cowards.

Finally we have Todd. Unlike the others, Todd.. isn't really fleshed out more and is given an entreily new personality from the comics swaggering egotistical rockstar jackass (Since Lucas very much had that niche filled), and the film's errrr...

Brandon Routh done good with the cleaning lady bit, but he wasn't given much to work with. Here... he makes Todd into a gloriously dumb and horny slab of moron. The guy can't go ONE SCENE without nearly fucking envy, which is one of the funniest bits in the show, capped off with the glorious wolf whistling, then fucks Wallace about ten diffrent times that we see over three days, then gets an adorable wallace sailor tatoo.

Todd.. really isn't changed. He was a fucklord in high school and he's a horny cheating mess now. He's an excus efor an already rediculous show to take it up to 11.

So let's unpack the show's sense of humor since I hadn't got to yet: Scott Pilgrim Takes Off takes an already ridiculous franchise with psychic vegans, bollywood hindu sorcerers and literal one ups, and decides to take it to the next level with film fights, lucas lee pro paparazi ninja skater 3, future renditions of Konya Wa No Hurricane by will forte, the montage from stepbrothers: Canadian edition, stunt double fights, and Matthew Patel: The Main Character. This is a series that takes it's emotinal consequences seriously and not much else. And I love it: I love weird shit, I Love balls to the wall humor, and the humor still feels very much scott pilgrim just taken up a notch.

And episode 5 is where it hits it's what the fuck is this peak as Ramona infiltrates the set of the Scott Pilgrim movie. The episode feels like one long shit post and i'm entirely in favor of it. We have Wallace fucking todd and casually dumping him, Envy and Wallace siccing their stunt doubles on each other, an Edgar Wright stand in voiced by Kevin Mcdonald for some reason and Young Neil, who in this series is entirely shit post and i'm here for it. IT's glorious chaos and only the ending is really at all emotional on some level. I mean I feel for Todd, even if he was a cheating bastard, but it's hard to take his grief or envy's seriously when Envy is a carcature of herself in this series and Todd's depression is eating a KFC bucket of poutine and sadly recounting every place he and Wallace made out. Todd isn't given extra depth.. but even as a villian he never really had depth to begin with. He had a disapproving dad and a massive ego. It's fine if he's a giant goofy blushy man who's soul wallace destroys. Brendon Routh does a phenomenal job with that.

Overall the expansion of the exes is part of what makes this adaptation so fantastic. With the exception of the twins they all get to live their best lives, and we get to see more of them. It's fun to see them implicitly join scot'ts friend group, and i've already written little chats about that, as it's fun as hell now their full characters in the world instead of respawning back probably not having learned much except not to punch scott in the face.

And the Rest

So with everything upside down, how do the rest of the people in Scott's Precious Little Life fare when the main character their built to support is gone? It's another hook of this series: if scott's gone, even just temporarily, what happens to everyone else.

Sex Bomb-Omb naturally gets impacted the most, and the versions here are superb.

The standout of course is Knives who deals with Scott's death by discovering a new love: playing music. While Knives had always been a huge fangirl in past versions, it was in the way more teens find music: by glomming on to the first band or two that makes them feel something and guarding that new faviorite thing like a cat with a ski chalet

See? Despite letting these characters live rent free in my head for the past decade, I never once thought of this idea, letting Neil join shatterband, sex bomb omb's followup as it crumbles to dust in the comics, instead.

In hindsight this idea is the most obvious thing: Knives loves music, it's an easy excuse for her parents that eases them into the fact her friends are all 20 year olds, so she can stay with the group easier, and as for why Stephen and Kim would let it happen... both have always liked her. Kim's annoyance is more worrying about Scott scarring her for life, and Stephen an dher get really close towards the end of the series, with him becoming a big brother towards her. The two becoming big siblings to her and letting her join makes sense.

It's especially nice to see with Kim. Kim interacted with Knives a BIT in the books, being the only one on Team Sex Bomb-Omb (The band plus knives and young neil), to take scott to task for the Knives thing to his face, at worst getting annoyed Knives is copying her. Granted like most of the Team, Kim still fucks up with her, most notably.. this

Which at the time I, and apparently the devleopers of the game, saw as a shippable moment but nowadays I see as NOPE PLEASE STOP, PLEASE STOP.. PLEASE NEVER AGAIN. AGE GAP'S STILL AS WEIRD AS WITH SCOTT. PLEASE DONT' TRAUMTIZE THIS CHILD MORE. Kim gets more of a pass than her band mates and neil because she was drunk at the time and clearly regrets it, but it's still something entirely fucked up I wish hadn't happened and feel bad for all involved. This is not how you should find out your bisexual.

The series wisely avoids this as they've realized "This is also statutory". and instead nicely has Kim take up the big sis roll to Knives, being the only one to really look after her after her boyfriend allgedly exploded and was found to have been cheating on her.

Hence we get one of the the best scenes in the series, the drum session. Which I know some did interpret romantically but first off...

And secondly.. really dosen't given the context: Kim sees the band needs a bassist.. but more importantly sees Knives is trying really hard to learn and is clearly spiraling after Scott's death. So she invites her to play since Neil is busy with his screenplay and Stephen, as usual is handeling this sudden loss with all the grace and dignity he's known for

IT's a beautiful scene as two people simply bond as they jam, and both heal a bit from what they've lost. And we find out Knives is a musical progidy who mastered the Bass in only four hours, and masters a keyboard later in less.

This gives Knives her first real plot in the series that isn't tethered to Scott in some way, something that was jarring to realize, but easy to see why: the books are centered around Scott's life, his friends, his love intrest, etc. Their there as needed for his story. Knives has one of the most detailed and intresting character arcs of the main cast.. but it's still thorughly tethered to Scott: his dumping her sends her on a journey of spiraling depression and growth, eventually going from someone who puts scott on such a pedestal that she attacks his new girlfriend instead of seeing the obvious, to accepting Scott wasn't perfect, he cheated and that while he opend her world up, they were really bad together and it was never an equal paring. Even the fun subplot with her dad as the mystery swordsman in book 4.. is because he thought she was still dating Scott and thus attacked him for dating his daugther. The movie makes this worse by trying to make the relationhsip seem legit missing the point entirely. While Knives has a friend in Tamara an da passle of high school drama she gleefully tells scott about, neither are important to the narrative. We only meet her parents because her mom was there when Knives met Scott and her dad tries to run him through.

Here while Scott certainly is part of her story, why she met sex bomb-omb and why she wears his jacket for most of the series, and his death certainly had an impact, she moves on quickly here not because she forgot Scott like it seems a chunk of the cast do or she's TRYING to avoid thinking about him like Kim and Wallace seem to be, she just found a healthy creative outlet, something to put her pain into in a healthy way instead of getting highlights and trying to murder Ramona or dating a guy who looks close enough to Scott. Knives moves on faster here, taking what's implied to be maybe a month at most to move on versus a year.. because she's not isolated in her pain. Scott's friends dont' dump her because it's awkward now and then awkwardly let her stay around post neil because they feel bad. Kim invites her in and after hearing she can wail, Stephen warmly welcomes her into the band, and the two become besties. So we have to talk about Stephen really quick as his plot dovetails into Knives, with the two being a duo for half the series. Stephen is based more on his movie self.

Yeahhh while I love the books on re-read, Book Stephen sucks. He just.. sucks. If your wondering some of the lowlights i'm glad you asked, here's an expertly crafted montage.

And that's just what I could fit into a montage: he also cheats on Julie for most of volume 4, focuses on his affair with joseph to the point he refuses gigs when it's clear playing live is something Kim LIKES doing and helps her relax, and never even informs Scott the band's broken up. The last one's .. iffy because Scott was in a waking depression coma after loosing Ramona, so he coudl've told him and forgot, but out of Scott's friend group he's the most consistently dickish, with Kim's grumpy nature mostly being a wall. It's partly the writing as , again given this is scott centric, we dont' peel back the layers on him the way we do with say Ramona, Knives or Kim. We don't see why he thought it was easier to cheat like we do with Scott and Knives, which wouldnt' make it okay but would make him less punchable. we don't know WHY he stays with Julie. Stephen is just an enigma and as such comes off immesnely annoying when most of his major endevors screw up everyone elses life in some way. And as one final coda to this rant, i'm not saying telling knives about Scott's two timing is bad... i'm saying he's the wrong person to tell her as not only did HE cheat on his partner, and as the last panel shows, KNOWS it's wrong Ramona clearly dosen't know half a year into the relationship, but won't tell her anyway for a friendship he REALLY dosen't seem to remotely care about.

So yeah a hammy constantly anxious relatable stephen was better, and Mark Webber was a delight by contrast. We didn't get to know movie Stephen.. but I didn't want to punch him either. So having Anime Stephen be more like the one who isn't punchable was smart: He's still panicky, crying more over the fact Scott leaves them baseless than over the fact his friend's dead (Which is mildly douchey but as we learned with Julie, if it's for a joke it's fine), and still obessed with making music his career while his band mates are like "Yeah fine whatever", so he's not really changed hard from the core of the character, but he is a delight and him and Knives becoming best friends in a far less hypocritical sense is adorable.

I also REALLY love their pet project: After Young Neil's movie falls through, more on him shortly, they make Scott Pilgrim, the original timeline, into a MUSICAL, complete with a bread makes you fat music number. I do like the ocasional nod here and there: O'Malley and Grabinski conciously didn't want to just.. repeat a gag because it was expected, but threw a few of the more iconic bits in as long as they could remix the joke. It's why the pee bar and the shoe tying making cameos, as their in new contexts, while there just wasn't room for the l-word or scott going out a window.

This whole subplot is gold from Stephens aying "as a creative to another creative" a hundred times, something I relate to since i say as a critic way more than I probably should, to it paying off.

And this is where Knives asceneds. By the end she not only gets closure with scott, admitting she's glad he's back but is glad he died, as the relationship wasn't healthy and she could grow into a hit songwriter, but she has a huge career with an award winning (Probably) musical, a new best friend and mentor, and writing songs for her fav envy.

And most nicely for me.. .I get a reality where Sex Bomb Omb dosen't fall to pieces in some way or form. Yeah without Stephen's drama or callousness depending on the version and with Knives creative vision the band not only stays together, but has a real shot at being something, giving everyone in it a bright future. Knives Chau really got to take off.

Kim is as usual the meaning in my life and the inspriation, with Allison Pill getting to do more with the character since she's not shunted to the background to say one or two lines. I mean she's still IN the background sadly: She gets a major roll in episode 3 and then just shows up when Sex Bomb Omb's together, not even getting that involved in the musical. I really wished after the film Kim got a big beefy roll. She could've been Ramona's sidekick or something like that, the two been clue buddies together. But I suppose the raw sexual tension would've left Scott out. Still she plays of Ramona well and it woudl've been nice ot have Kim around to response to the madness of episodess 4 and 5 with ramona. Still she gets a better shake than the movie: Episode 3 highlights how this version is actually over him, but encourages Ramona's attraction to him, simply warning her of what he's like, is a good friend to Rammy, and gets that moment with Roxie. I love how sh'es just like "I'm not... oh alright". And I think given another chance there would be sparks. Kim is sadly not given MUCH but it's still more kim pine, and i'm always in favor of that.

Finally we have my newly adopted son Young Neil. Unlike with Stephen, they didn't really take from the previous neil, whose super excited, and goofy and better than the graphic novel version whose alright. They go back to the Graphic Novel's glass eyed, barely emotive werido.. yet STILL make him something new rather than just adapt that version.

The result is a neil whose spacey, barely emotive.. but also REALLY dumb and really weird. Naturally I love him and relate immensely. Neil is somehow CRITICAL to the plot this time and entirely unaware of what is going on. He's season 1 todd chavez and it's wonderful.

This Neil gets most of the best bits, with Johnny Simmons having perfect timing. A good chunk of this series weird shit comes form Neil, who takes Scott's death as as sign he should persue his passion for screenwriting and get's his big break when in a half assed wel lmeaning plan, ramona adapts his book into a screenplay and sends it to him. Neil sees a mysteriously cloaked future ramona writing the script.. then assumes it's his sleep paralysis demon and he's a scripting genius.

We then get two glorious episodes of Neil at a movie set not remotely qulaified to be there as he assumes Americans and then the japanese call golf carts mario karts, gets a perscription but somehow winds up with sunglasses, and barely registers Matthew shutting his expesnive nightmare of a film down becuase he can't drive golf carts anymore. It even takes a lengthy and fucking glorious scene with sex bomb omb for him to realize "oh maybe my sleep paralysis demon didn't write this". Just the casual way he says it while everyone else is baffled, and how Kim and Knives have to slowly explain reality to him is great. Neil is comic relief incarnate and I love him, easily the best version. I'm also happy that like most of the cast, he gets a happy ending, as he apparently got a job at the studio after Gideon reopened it driving his cart around. Nick Frost is right, Young Neil really is off the chain.

So onto the one charcter who over FOUR DIFFRENT MEDIUMS has never really talked to anyone I just talked about but knives, we have Wallace. First off: yes i'm still disapointed he never really talked to Sex Bomb Omb. I got it vibe wise: everyone has friends who just.. don't know each other, but the intro got my hopes up they'd actually.. hang out at some point. But just like everything else, the intro isn't remotely indicative of what happened in the anime. The comics sure. And it's a true banger.

Seriously the colors are vibrant, the song is vibrant and fits scott perfectly, with Necry Talkie really nailing him down, and it's a perfect intro. Even if it ends up being nothing like the series , I still love it. One of my faviorite anime intros of all time. Love that cute falling shot of scott and ramona and the bit showcasing the exes. So good.

What was I on about? Oh yeah Wallace. Wallace here is a mixed bag. As with the film Kirean Culkin is perfect as Wallace: he gets the dry tone down, his drunken antics down and the whole sarcastic vibes perfectly. He was the best performance of the film, and while the compettition's too steep here for him to win again, he's still amazing.

That said Wallace.. is a bit more of a dick here. He comes off more.. tolerating scott instead of having a genuine friendship with him, and the only hint we get of him mourning his best friend is just how plastered he is.. and even then he threatens to change the locks. If Ramona reminded him to. I get the two weren't going to be as focused on, but it's still sad.

I also wish his friendship with Ramona stayed. While it makes sense they don't bond, Scott isn't around to link them, it was one of the funnest parts of the books.

Really this Wallace shows why he needs Scott and what he might be like when his bestie isn't around: Just because Wallace is more put together.. dosen't make him not an asshole. While I admi the's more dickish here with reflection.. I have to say it's not out of character. He's still giving us killer bits from wanting to see a notriously straight actor play him, to his smug acceptance of becoming an actor, to his deadpan acceptance that todd's in love with him, he's still the wallace we love... it's just we're seeing the side of him that dosent look better with a dumpster fire constantly ned tot him.

The biggest douchery is of course stealing Todd from Envy.. but besides it taking two to cheat, Wallace stealing someone's boyfriend.. isn't new behavoir. I laughed at how out of left field the PARING was.. but Wallace is Jimmy's bi or gay or pan, whatever he is, awkaneing in the book and film, and Stacey's reaction in both makes it clear he steals her boyfriends CONSTANTLY. So him stealing Todd and then explaining it was just a fling to him.. is entirely in the realm of Wallac'es douchebagery. He's not a terrible person.. but like everyone else in the cast he's a mess. HIs abuse of his stunt doubles was a bit over the line, but is so over the top it works. And this wallace also sings us complicated. So while I wish we got to see more of the Wallace we don't in the books... what we do get is still great.

Envy.. gets the shortest end of the stick here next to the twins, as she at least had a fairly comepelling arc in the book, being the focus of volume 3 and a major part of volume 6. Here while Brie Larson is once again great there really.. isn't much for Envy here. Even the film, which basically squoozer her in at the last second, still gave us an awesome version of the phone call she gives scott and the iconic black sheep sequence. Here while Envy gets another all timer scene in her funeral concert, the second most obnoxiously awesome crashing of a funeral behind flintheart glomgold

Envy DID at least get to dance on his casket. Or a stage above his casket. still counts.

Envy.. is left at the face value we meet her at the start of volume 3: queen biatch, queen of all the chaos, queen of all you love and adore. She's still a lot of fun from the above horny antics with todd to her yanking Ramona out of a talking head interview to fight her battles for her, but there's .. nothing really to her and it stand sout in a series that gives everyone else but the twins something new.

Okay ALMOST everyone as Stacey is once again out of focus like the comics. The movie gave her a bit more, but here she's scott's sister who calls people. That's it. It makes sense, Ramona has no real reason to talk to her, but it's a waste of your Anna Kendrick to not find more antics for her, especially since they found wallace and Neil great subplots. That said she does live her best life at the end starring at lucas' butt.

I also want to note the presence of Hollie, kim's roomate, best friend and co-worker. She does little, Shannon Woodward does a fine job, but I like that she's in here at all: Hollie was a character I liked in the comics.. who went on to steal kim's boyfriend for plot convience. So having a verison of her that dosen't do that shit and is just Kim's snarky foil and friend again works for me.

Finally we have a bunch of cameos, the bulk of them legendary. We get Simon Pegg and Nick Frost as security guards, Weird Al as the intro narator for the doc on the failed Scott Pilgrim film, comedy and voice acting legend MIcheal Mcdonald as Edgar Wrong, Bowen Yang as a tv gossip, kal Pen as matt's lawyers and Kirby HOwell Baptiste as Lucas Lee's agent. All fun one or two off bits, all fantastic.

Finishing off the character stuff we have a missed opportunity too: Joseph and Lisa get to cameo.. but are once again left out, to my annoyance. I get not being able to fit them in and Lisa has less of a point without Scott around.. but it'd still be nice to get a scene or something, especially since I was far from the only person asking for Lisa Miller to get a proper apperance.

So with that we close the book on Scott Pilgrim Takes Off.. and it was phenominal. While I would've loved a new adaptation, this.. is even better: a spirtual sequel that expands the characters, is not afraid to go full nonsense, let's a lot of the cast from the film fully shine, and has a bitching soundtrack once again. Not a ton of original songs sadly, but I Feel Fine and Orange Shirt are bangers, and we get Will Forte singing an anime theme song. If the last part dosen't appeal to you, I don't know how you got this far in the review. Takes Off is one of the best entries in this franchise and leaves me hopeful we'll return to this world again. Maybe not on screen but hey, even with the mountain of work it took to get this cast together again, tthis adaptatoin has proven anything is posisble.

Thanks for reading.