#is incandescent rage

[extasiswings]

I’m just—they did do some great storytelling over the last few years even with the fact that they were going in circles (understandably), but the arcs we could have seen if Buck and Eddie had been together or explicitly working towards getting together…

[aseuki]

YOURE this comets defense system? What makes you so important. You look like just another Astral to me. - Dawn

The comet awaits. A challenge has been issued. Beware the star's eternal...

@kirbyoctournament

[brinnanza]

hello beloveds show me your pets or your projects or tell me something nice that happened to you or something you're looking forward to tell me something you're loving lately I simply need to remember that most people are kind most people are compassionate most people are mostly good

[watcher0033]

Imagine being 14 years old suddenly grieving the lost of an uncle, one of the two people who raised you, and discovering he was a spy and murdered by a billionaire tech company your government blackmailed you to infiltrate with only eleven days of spy training but NO weapons training because they will sacrifice a child’s life for the Greater Good, going through vivid near-death experiences, sleep in the same bed their uncle slept on before dying, watch several people die grotesquely but god forbid they let a kid use a gun.

Then all you earn is a lackluster backhanded compliment and a doctor’s note to excuse all your absences. Be told to get back to school and wait for a possible next mission while acutely aware MI6 holds your house, entire inheritance, your nanny’s visa, and your choice of ever saying no.

[existence-is-a-liminal-space]

rant time

This is so disappointing, and the worst part is I have no one to blame but myself. I've always sorta seen the writing on the wall. Hori has always had a really weird track record with his writing; dropping plot points, being purposefully cagy and noncommittal to certain themes etc. However I do think there is a difference between something being an objectively poorly written story and just a story that, while well done, might no be something I personally enjoy (or even a overall fine story with a few flaws). For awhile I thought, like many people that mha was going to be a scathing critique on hero society and Deku & Co. would have to reccon with their places in it: how the hero-villain dichotomy does not help anyone, scapegoats those deemed undesirable, allows heroes to get aways with murder, and perpetuates the complicity of the masses leading them bring about some sort of systemic change with the help of the antagonists . When I realized it wouldn't be that I thought "OK" then it is a story about saving the have-nots and proving why they are going about things the wrong way and offering another solutions while working within society–a bit sanctimonious but sure–they become the greatest heroes because of their compassion and willingness to save. And then when the villains bring up their issues with society their continuously told to shut up or that their wrong with no further elaboration, better yet that they just dealt with what happened to them the wrong way as if was somehow their fault for reacting badly to being treated badly and given no real recourse. And then the All For One reveal happened. And god. the last minute reveal (right before he's 'killed') that all of Shigaraki's family issues and quirk were the direct result of AFO? It's a really nice way to further invalidate all the criticisms he's ever made now that nearly everything bad that's ever happened in his life was because of some really bad guy, doubling down on making everything an individual problem rather then a social one–because that way you don't have to challenge your characters core ideologies right? or think of actual solutions? And that's where I feel like MHA crosses into being an objectively poorly written story overall; to establish all these issues and themes and back out on them at the last minute for a simple solution.

I have to ask: What the fuck is going to change? Stories set in a fantastical world usually have something to actually fucking comment on in that world. We are shown explicit issues in the world of mha What has been deconstructed about the world of MHA? After all of this, what have any of these so called greatest heroes done to make an actual, tangible difference in the world they live in? The end of MHA is shaping up to be just a continuation of the same cycle it the begins with, all of it's issues going unaddressed or swept under the rug. People want to say that MHA doesn't need to address those things, that it's just a story about hope and redemption, where is the hope and redemption in killing off the people shown to be the most victimized by society? If it is a story about true heroism being intrinsically linked to saving then what does it say that some people just can't be saved, that are 'too far gone' that have to be fucking mercy killed.

In conclusion, the LOV deserved to be in a story which actually lived up to what it promised.

[novelconcepts]

There’s just something about stories that allow teenage girls to feel their anger without prettying it up. Rachel from Animorphs. KJ from Paper Girls (honestly, ALL the Paper Girls in different ways). Ellie from The Last of Us. So often, narratives find ways to sand the edges off a teen girl’s fury, make her sweet or overly verbal instead of violent. Stories that allow young girls to be angry, to be bloody, to bite back at the world with sharpened teeth—those are always my jam.

[thistaleisabloodyone]

THE RAMPAGE from EXILE TRIBE in CyberHelix - Black Outfits

[amplexadversary]

(text source)

[argyropoetics]

These are my current Hazbin Thoughts.

[scribefindegil]

weeping and wailing and clutching my chest every time I see a picture of Donna Noble

[lilaccatholic]

Physically I'm here but mentally I'm clawing the eyes out of everyone who talks crap about their children on the internet and posts them in their most vulnerable moments for clout

[tsukimefuku]

Yes we hate Owen Hunt in this account

[nientedal]

Disclaimer: I'm speaking as a person who's only been in the Megamind fandom for almost 8 years, so I'm not, like, an OG 2010-2011 fan. HOWEVER... I find it interesting that from what I've been seeing, the people loudly complaining about the sequel content are mostly newer fans. People who've been fans for at least 6+ years are hyping this UP and being optimistic despite the flaws. I'm just like "u haven't been here that long, can we stop shitting all over it before it's even PREMIERED?? GOD"

It really is funny that the vast majority of people who are screaming like Dreamworks shot their dog are, yeah, people whose names I've never heard. Not on Tumblr, not on Twitter, not in AO3 or ffnet comments. Don't get me wrong, I've seen a couple of the old Livejournal crew who are unhappy, but even they haven't been spewing vitriol (that I've seen). For the most part, those of us who are actually active in this fandom are ecstatic! And it's not a length of time thing, either - there's new folks kicking around who are just as excited as the rest of us!

I'd say I hate to say it, but I'd be lying - the people who are the angriest about Megamind Rules are the people who wouldn't care if it existed or not in the first place. They're people who watched Megamind and enjoyed it, but didn't enjoy it enough to be excited for more unless it meets their personal standards. They didn't enjoy it enough to look for fanworks, they didn't enjoy it enough to say anything. I'll buy that they do care...but they don't care enough to try to see any joy in this.

They don't care enough to look anything up before sneering at the Doom Syndicate for being a "retcon" despite the massive amount of material out there supporting both the Doom Syndicate's existence and this plot (big "thank you" to some chucklefuck YouTuber in particular for that one). They don't care enough to stop and consider if there might be budget concerns for an IP Dreamworks was totally radio silence on for more than a decade. They don't care about who's writing it, or who's on the production or voice acting teams. They only care about jumping on the hate train, and I am FURIOUS about it, because I am scared to death that Dreamworks is gonna shitcan this before it even gets released. If that happens, I will be a level of angry that defies description. Because the people who did not fucking care one way or the other will have killed it, and the people who loved this story enough to be excited to see more will have nothing. Again. Newer people in this fandom who are bitching might not have the background to realize this, but if this is killed right out of the gate, THERE WILL BE. NOTHING. ELSE. When I say "radio silence" I mean Dreamworks all but refused to even LOOK at Megamind, for more than a decade.

That's not even getting into how much of a slap in the face it would be to the team who worked so hard on this. If anything could gut me hard enough to kill my desire to write anymore, it'd be that; I can't even imagine how the writers and voice actors and animators might feel in that event. I hope we never find out.

But yeah, uh, tldr: can we not fucking shit on something that literally has not even premiered, seriously. Can these joyless shitbirds PLEASE do something that sparks joy for them instead of shitting on something that sparks joy for others, goddamn. The animation looks fine, y'all are just mean.

[tennessoui]

I am imagining Vos talking to Qui-Gon or the Council and finding out that 'Anakin Skywalker's ongoing obsession with Obi-Wan Kenobi" is, like, a quarterly status update on the Council's agenda. Trouble with the Hutts, Senate complaining about the budget, Anakin's shouting fit when Qui-Gon didn't get Obi-Wan every single optional vaccination before taking him off-world, yes, yes.

the council: well turns out it wasn’t quite possible to root out skywalker’s attachment to obi-wan kenobi just by telling him no to training him so somehow kenobi now has one (1) laid back master and one (1) part-time but very involved master who insists on going to all of Kenobi’s pta meetings even though he isn’t his master and everyone else was looking forward to qui-gon’s brownies but don’t worry we have this situation under control and are monitoring it closely

obi-wan: in the halls of healing

Anakin: beheaded a sith

The council: we are going to take a moment to reassess

[procrastinatorproject]

Fuck it, I'm gonna start posting my own shouty thoughts on season 3 of Picard rather than just commenting on other people's stuff.

I'll keep taggin everything "#picard spoilers" (assume I'm talking about everything up to the most recent ep, I'll warn seperately for leaked/promo stuff about ep 10) and "#picard saltiness" so you know what to blacklist (or look for, I'm not telling you how to internet 😋).

I'm sorry/get ready.

Here's the thing. I would like to watch season 3 of Picard and think "Oh well, this wasn't made for me, the same way season 1 wasn't made for the type of TNG fan who is in heaven right now. And I'm sad my favourite characters and main reasons I liked the show in the first place got written off, but I'm glad these other fans are having the time of their lives. Good on them, I'll just mentally file this away as a season/new show that I don't connect with as much as I'd hoped." I really, really want to be able to think that and approach season 3 this way.

But the writers won't let me.

At every turn, and I mean every turn, the writers have gone out of their way to not just pretend the previous two seasons didn't happen, but to remind us they happened and they were stupid and you're stupid to ever have enjoyed them.

It's not just that Picard, in the middle of his disillusioned identity crisis, when he has been holed up on his vinyard for over a decade, talking to nobody, and feeling deeply disappointed by Starfleet, gives an impassioned speech to a bunch of young people about how Starfleet is the only family you'll ever need.

That's a type of discontinuity/soft retcon I don't particularly enjoy, but if it were just that, I wouldn't be writing this way too long screed.

It's not even just the implicit "we will do it right this time" on display e.g. when Picard "flies" the Titan out of the labouring nebula. In that scene, Picard walks up to the captain's chair to take the conn, the TNG theme swells, he sits down, the music becomes bombastic, and he gets to be the Heroic Captain We All Remember. That scene is, in my opinion, something of a parallel to the season 1 scene where Picard tries to hijack La Sirena to take Soji to her people. In the season 1 scene, he sits in the captain's chair, the TNG-inspired music swells, he is about to be the Heroic Captain We All Remember -- except then the music fizzles out and the moment deflates because Picard has been retired for a decade and a half and has no idea what he's doing (and is certainly not the most qualified to do it on an unfamiliar ship).

That parallel in season 3 rubbed me the wrong way, because it felt too close to a refutation of season 1. Too close to "See? This is how that scene should have played out!" But that is a me problem. If the writers were remotely aware of the parallel (and I honestly doubt it, because I'm not sure they know season 1 well enough), it's just as likely they wrote it as a tongue-in-cheek reference, more than a rebuttal. Assuming the worst would have been on me and my unwillingness to give this season a fair shake. And if that sort of scene were the worst of it, I wouldn't be happy about it, but I wouldn't make it everybody else's problem.

Except the writers didn't stop there.

I would (eventually) be okay with it if the writers had just quietly abandoned, ignored, or even outright retconned some characters, history, themes, and plots from season 1 and 2 they disliked. But instead, they repeatedly acknowledge the existence of these elements only to then dismiss them in frankly viscious ways.

It's not enough to ignore the Jurati-Borg in all their Eggness glory and how they would be incredibly relevant to this story season 3 is trying to tell. It's not enough to pretend that storyline never happened and move on. Instead, the writers acknowledge the existence of the new collective, but the only sentence where it's mentioned is a character talking about "That weird shit on the Stargazer."

Yes, Shaw is a dick, yes it fits his character, yes Watsonian reasons. But it was still an active choice by the writers to only bring up one of the major plot developments of season 2 in the most derisive way possible.

Another example: The writers apparently felt that the Troi-Rikers didn't belong on Nepenthe. But it's not enough to have them move somewhere else between seasons, or even to let them have a discussion about how Nepenthe is steeped in loss and grief and they want to move somewhere else and start over.

Instead, the writers have to take time out of their already shoddily paced season to have these two characters extensively shit-talk one of the brightest momenst of season 1 (figuratively and literally). It's not just "they don't like it on Nepenthe anymore", it's "they never liked it, everything about it is terrible, everything season 1 showed you about their life there is a lie, and it has always been shitty and cringey and stupid, and you were stupid to like it!"

It's not just "we dumped our diverse characters, challenging themes, and relatively fresh view on the Trek universe from outside Starfleet for starship porn, great (white) men, and more Starfleet nostalgia than you can even comprehend". It's not just "we're going to ignore the existence of season 1 (and to a degree season 2), because it's not doing the things we want to do." It's not just "we're making this show, knowing (and not caring) that it will alienate a large chunk of the people who enjoyed season 1".

It's "we see what previous seasons were trying to do, and we need you to understand, really understand, how much contempt we have for these seasons and the people who enjoyed them."

I know some people felt this way about season 1 and the way it deconstructed Picard's image as the Great Heroic Captain and laid open his flaws and the flaws of the Federation. And I now empathize with them more than I ever thought I would. But I think there is a big qualitative difference in there.

In season 1, Picard gets put in his place. He has women people telling him when he's wrong, where he has failed, where he should have stepped up and needed to do better. But the show is still deeply sympathetic towards him. By the end of the season, Elnor has forgiven him, Raffi has forgiven him (without ever getting an apology), and he gets to save the day [whether the end to this particular arc is well done (it's not) is a rant for another day].

The failures Picard is being reproached for in season 1 pretty much exclusively happen between TNG and PIC. They tie in to patterns and tendencies the character has always had and attempt to deconstruct some of them. But there's no direct evisceration of specific things that happened on TNG.

At no point does Picard get out his Ressikan flute to make a glib comment about what a useless trinket it is, and how he should have thrown it out years ago. At no point does he turn to Riker and say: "Man, do you remember that Darmok and Jalad shit? What a waste of time! I wish we'd blown up that ship when we encountered it."

Season 1 is critical of Picard's character, yes, and it might feel crass or unfair at times (not least because we're still not used to seeing Great (White) Heroic Men Of Our Childhood get deconstructed that way). But any reproach the season 1 writers levelled at Picard pales in comparison to the petty contempt the season 3 writers regularly display towards the show they've ostensibly taken stewardship of.

Season 1 might have been a bit glib or inconsiderate of the legacy they inherited. Season 3 is viscious. And I am so, so tired of it.

[frodo-baggins]

making horror films based upon long beloved children’s stories is so fucked up. children truly can’t have anything without adults tainting and spoiling it huh