#laura does(shes fascinated by the plot and characters)

[maxdibert]

And so far, you still haven't given a plausible reason for Bellatrix being a poorly written character, just your limited taste for Snape and the whole "but she's sooo mad" thing 😆

Your followers seem pretty fed up with you too.

Look, I wasn’t planning on doing this, but let’s play the game. You want us to talk about why Bellatrix is a flat character? Then let’s talk about why Bellatrix is a flat character:

1- Bellatrix is introduced as fully formed: she’s fanatically loyal to Voldemort, sadistic, and cruel. And that’s exactly how she ends her story. There’s no personal growth, no introspection, and no hint that her behavior comes from a place that evolves or shifts throughout the narrative. Her allegiance never falters, her motives are never questioned, and we never get a deeper exploration of what makes her tick beyond her madness and obsession.

2- Bellatrix functions more as a symbol than a person. She represents Voldemort’s inner circle and the absolute loyalty of a true fanatic. Her violence is over-the-top and theatrical, meant to shock rather than reveal anything meaningful about her as a character. Her only moment of potential complexity — the implication of her unrequited obsession with Voldemort — is treated more like a twisted joke than a layer of depth.

3- Unlike other female characters in the series, Bellatrix’s femininity is not nurtured, maternal, or intellectual: it’s chaotic, sexualized, and tied to destruction. She is essentially a caricature of “female madness.” Even her appearance is designed to contrast with the idea of traditional womanhood. She’s not given interiority; she’s a foil, especially when compared to maternal figures like Molly Weasley, who literally kills her in a showdown that equates good motherhood with moral superiority.

4- Bellatrix doesn’t drive the plot on her own, she’s an accessory to Voldemort. Her major scenes are never about her, they’re about what she does to others. Torturing Hermione, killing Sirius, dueling Molly… she’s a plot device in other characters’ emotional journeys, not the center of her own.

5- Bellatrix is, ultimately, a flat villain archetype. She’s written as mad, bad, and loyal to the end, without any meaningful exploration of why she is the way she is. She could have been fascinating —a privileged woman radicalized by blood supremacy, used and discarded by the very power she worships— but none of that is explored. She’s a theatrical evil woman, and that’s all the narrative allows her to be.

So no, she’s not a “well-written complex character.” She’s a recurring villain with barely any layers, whose function is to represent chaos, cruelty, and fanaticism. That’s it.

But now we’re also going to talk about why Bellatrix is not a feminist icon, nor a character who challenges traditional femininity, nor one who revolutionises the narrative by breaking the mould or the status quo. And while we’re at it, you’re getting a free feminism lesson, since you’ve been asking for it so much:

1- A caricature of Female Madness: Bellatrix is not a character with real agency or complex psychological depth: she is a flat, exaggerated figure, created to be feared, ridiculed, and punished. Her femininity is presented as deviant not as an autonomous force, but as a distortion of the traditional ideal: a hysterical, fanatical, cruel, and unhinged woman.

This archetype directly aligns with what Laura Mulvey identifies in her theory of the male gaze: many women in patriarchal fiction are not subjects with their own desires, but objects of male viewing and discursive control. Bellatrix exists as an extension of Voldemort, whom she worships with religious fervor and pathological devotion, interpreted as sexualized fixation, yet completely one-sided. At no point does she express personal desires that aren’t shaped by Voldemort’s dominance.

2- The “Madwoman”: Bellatrix embodies the classic stereotype of the “crazy woman,” a cultural construction long used to discipline and discredit women who deviate from the docile, maternal, and rational norms of femininity. Her wild hair, maniacal laughter, and chaotic aggression devoid of clear motivation all reinforce this trope.

This representation is heavily critiqued by theorists like Teresa de Lauretis, who explores how dominant narratives punish women who do not conform to the expected roles (mother, wife, caretaker). Bellatrix is childless, without a visible partner, devoid of maternal instinct, and emotionally fixated only on a male authoritarian figure: her narrative punishment is violent death, without nuance or redemption.

3- Patriarchal Fantasy: From a feminist perspective, breaking gender norms isn’t just about aesthetic or violent power. A woman isn’t automatically feminist just because she is strong or dangerous. Bellatrix does not subvert patriarchal power: she upholds it. Her loyalty is to the existing totalitarian and purist order, she becomes a tool of the regime, not a rebel against it.

What’s more problematic is that Rowling grants her no complexity. We’re told nothing of her interior life, ideological origins, or contradictions. She is a female character constructed purely from the male gaze: hypersexualized in her cinematic portrayal, fetishized as a “bad girl,” and turned into an object of spectacle, not a subject with voice or depth.

4- Narrative Punishment: Like other “strong” women in Rowling’s world who do not embrace caregiving roles (Bellatrix, Umbridge, Rita Skeeter), the narrative punishes her harshly. Only characters like McGonagall or Molly Weasley are rewarded—women who exercise authority while maintaining traditional roles.

In short, Bellatrix is neither a revolutionary character nor a challenge to hegemonic femininity. She is a narrative tool built to symbolize female hysteria, fanatical devotion, and irredeemable evil. Far from empowering, her depiction reinforces the message that powerful women who reject traditional roles must be destroyed.

I hope this has satisfied you. Honestly, Bellatrix has never been a character that interested me enough to analyze her, but since you’ve spent the last 24 hours harassing me about this and insisting that I do your meta homework for free. well, here you go. Now, sincerely, if you’re not going to say anything that requires more than half a brain cell, I invite you to leave.

And if you insist on staying on my blog because you’re clearly obsessed with me (which is basically what it looks like), then I’m just going to block you. Simple as that.

Or like we say in spanish: Te lo metes por el culo payasa.

[buckybarnesss]

Someone recently called Derek a "whiny edgelord" and I was like, wow, so you've seen two gifsets and not the actual show then.

Literally everybody else complains more than Derek. I think Derek complains one single time and it's when he points out that Allison and Lydia screwed him over and never apologised.

Dude is literally dying during season 4, and is like "well, i'm 23, it's clearly my time to go" and just naps.

derek has peak millennial energy but what's so funny to me is that one of derek's major character features is that he refuses to discuss his traumas with anyone. ever. at all. he would rather die. it's a huge plot point that no one knows that kate argent was the one who killed the hales. except derek.

like, laura goes back to beacon hills and begins looking into the fire. she does the footwork that peter later uses for his killing spree. they don't know it was kate. derek does.

the fire was never a mystery to derek but he didn't tell anyone because of the guilt he felt for the role kate forced him to play in what happened. he never told a soul what kate did to him.

only stiles and peter figure it out once they have enough of the puzzle. neither of them advertise the information.

derek doesn't even speak to kate all that much when she taunts him in the tell and later when she captures him.

the closest we ever get is in code breaker when he says to scott in the strongest case of projection beacon hills has ever seen:

"you want me to risk my life for your girlfriend? for your stupid little teenage crush that means absolutely nothing? you're not in love, scott! you're sixteen years old! you're a child!"

derek hale never talks about paige. other people talk about paige. not him. he never, ever says her name to anyone. jennifer and peter are the ones who co-opt the tragedy for their own purposes.

he doesn't talk very much about what's happening to him in season 4 and when this man is on his deathbed he tells stiles -- someone who means a lot to him and clearly is hesitating to leave him -- to go save scott.

derek hale don't talk about shit. sure he does get vocally angry about things and annoyed like you mention. he does with scott and stiles all the time and with lydia and allison in chaos rising:

this one [lydia], who used me to resurrect my psychotic uncle--thank you--and this one [allison], who shot about thirty arrows into me and my pack?

it's why his pants are so tight. they're holding in all his trauma. i mean what's he gonna do? talk about it? hell fucking no.

it's why stiles being derek's secret keeper is such a fascinating choice this show made. stiles learns all of derek's darkest secrets such as his involvement with kate and what happened to paige without derek having to explicitly tell him.

but derek knows stiles knows.

derek letting that lie and stiles not only never telling anyone else but never really confronting derek over these things is an act of trust.

anyway none of these characters were really whiny. not even jackson. they're just traumatized and that makes people uncomfortable.

[formerheroeswhoquittoolate]

fall of x is over and I have FINALLY figured out how to articulate what pissed me off so much about the whole talon/synch thing. because obviously it pissed me off a lot. and that's because it was Fucking Boring Romance when the other option was not boring.

now, granted, I am extremely aromantic and asexual, so this may in fact be a side effect of me not being able to relate to most romantic plots. so take everything I'm about to say with a grain of salt. anyway on to the post.

okay so. laura and synch and darwin spent a couple centuries in the vault. synch gets out and the others don't. laura and darwin get resurrected. we are all on the same page.

synch and laura fell in love in the vault. I don't think I like it character-wise but they bonded romantically and it happened so. sure. four hundred years is a long-ass time. and it's kind of interesting? laura hasn't really had a romantic relationship since teen!warren went back to his own time, and synch has been dead for fucking ever. *benoit blanc voice* it makes no damn sense. compels me though.

synch remembers it, laura doesn't, and they're on the x-men together. this would probably have been an interesting time for them to have some tension? synch probably knows way more about laura than anyone ever, and laura has literally no idea what or how much he knows. something about her has changed but it's impossible to tell what it is because she doesn't know what happened in the vault. duggan touched on this once and then just sort of ignored it. they could have had to reconcile this? synch, a lost love he will literally never experience anything like ever again. laura, a complete stranger who somehow knows everything about her. synch probably barely remembers this laura, anyway. laura can literally smell when people are attracted to her. this is, quite possibly, the most interesting ending to a rather bland "they were the only two people in the world" love story I could conceive of.

and instead. the problem is removed from the story. synch is no longer in love with a version of laura that doesn't exist, because she does exist now, actually, and talon takes laura's place on the team. off laura goes to x-force to be slotted into the role of daughter rather than unwilling object of romantic interest.

the problem doesn't get solved, it gets erased. and that's what pissed me off so much about it. it was a fascinating problem! it was reducing one of my favorite characters to a very unremarkable role but it was still an interesting problem. it had potential. (it even had potential to fix that reduction and actually address laura from a character perspective, but that's another ramble.) the route duggan took was, almost completely, the most boring possible route. at least laura had a conversation with talon. the problem is not solved. the problem is not solved! nothing is resolved! the answer to "what will laura and synch end up being to each other?" is "fucking nothing, actually, because talon is here now and everything is okay" and it's STUPID.

okay that's mean. it's not stupid but it is boring. bad answer. does nothing for laura or synch (or talon, either, but she's so aggressively apathetic about laura that it's really hard to say anything about her without accidentally starting a whole unrelated ramble.) the romance took priority over the relationship. and That's why I'm pissed about it. (well aside from my love of laura.) there was a more interesting, character-development-inducing, potentially emotionally fraught option and they chose a fairly bland romantic relationship. and again, maybe this is my aroace ass and general inability to find romantic relationships compelling. but this feels like the worse of the two options.

[utilitycaster]

(this might be a silly question, and please take this in the best possible faith, i don't mean it to be any kind of a gotcha or a trap, okay now that that's out of the way) i'm a cr fan who hasn't started c3 yet (still trucking through c2 and loving it) but i've been a quiet observer to whatever tf has been happening in the tumblr tags for it and have enjoyed your takes/opinions. so, asking this as someone without context who's not trying to comment on any recent ship developments (don't worry about spoilers though, not trying to avoid any), are there parts of c3, either characters or plot or backstories or whatever, that you do really enjoy/find compelling? (you might have already answered this, i've only been following you for like. a week and a half.) thank you!

Hi anon!

Yes, there definitely are! I completely get where you're coming from for this question, too, but I appreciate the context because I have gotten questions before where I feel like someone is trying to corner me and say CAN'T YOU BE POSITIVE??? Anyway, more on that at the end because I want to get to the things I do like, because there are, in fact, a lot. Also, because you've been vaguely following stuff this is chock full of spoilers just FYI.

Ashton, Chetney, and Fearne are all great characters. There is a lot of thought put into all three by the cast members who play them, I find their backstories and their inner lives rich and interesting, I am actually pretty patient with the Hishari plotline because Ashton has so much else going on that while I'm curious, I don't feel deprived. Chetney is just a great concept (for real people need to play older adventurers more often) and Travis is perhaps an unparalleled generator of interesting plot hooks, and Fearne constantly surprises me with her emotional depth and mischief - after two campaigns of Ashley playing characters who were often more, if not subdued, restrained or thoughtful, it's wonderful watching her let loose and be chaotic and cause problems.

Imogen is tricky because she's a character archetype I love, but her closest relationship does nothing for me. I would really love to see Laura lean into the darkness and moral ambiguity more. With that said her relationships with most of the rest of the party are great and I'd like more of them, and her family dynamics are also fascinating. With Imogen...I do want payoff but there has consistently been enough to keep me going.

Orym and FCG are interesting cases because I always liked Orym well enough but he was extremely Just A Guy - he delivered consistently but never wowed me - and I could not stand FCG earlier on. However, Orym's current arc is phenomenal. Liam's style doesn't always work for me but when it does, it really does, and the past few episodes have been top-tier Orym content. Similarly, after FCG learned of their history and met Dancer, they have been on an upswing that has not ended. I have never before turned around on a character to this degree but I love what Sam is doing. So if you're early on and FCG pisses you off: valid, but he gets good around episode 31 and then keeps being good.

The party split arcs are great. I love Uthodurn, I love Molaesmyr, I love getting to see some of Issylra, there's some great combat, the guests are all fantastic, it's a standout Laudna arc (quite literally part of why I've been recently frustrated with Laudna is because it's like every scrap of character development vanishes when she's within 15 feet of Imogen, like the dumbest paladin aura, but episodes 59-63 Laudna you will always be famous.

Earlier on, everything while Dorian is there is a fun time. Eshteross is precisely up my alley as are the Green Seekers. I also love the Twilight Mirror Museum heist.

The Bassuras arc is rough because there's a lot of good stuff going on but the plot is all weird and slow and I did not enjoy the guest arc. That said: some great interpersonal conversations, and also the Deathwish Run is a fun time if, like me, you love combat.

Yios casino episode, also a good time. The best way I can put it for someone watching through is that like...episodes 1-23 are typical finding one's characters/figuring out what's going on early campaign stuff, enjoyable overall, and the flaws within them can be attributed to that. 24-38 have plenty of bright spots within them (some of which I talked about) but it's a real slog at times. 39-42 are great. 43-45 are nonstop lore dump time, which isn't to say they are bad - there's some good stuff in there - but after 24-38 being lore dump and weird setup city it's a bit exhausting. Once the party goes to the feywild in 46 things get good and stay good. Like, for all the current romance isn't doing anything for me it's also, at this point, literally 2 minutes in an episode that otherwise fucking rules.

So just to get back on the bit about positivity: I tend to talk a lot more about what isn't working than what is. Some of this is because I firmly believe complaining is an art and a skill and is more fun to write. Some if it is also because I think if I like something, I just...like it! I can probably figure out why I like it if I want, but there's something very enjoyable about, well, just enjoying something. But if I don't like something, it's important for me to try to tease out why. Sometimes it's just that it doesn't work for me. There have been past CR characters who, while I can talk through the things I find I don't like about them, in the end it really comes down to "I think this personality is annoying, and that's valid and also a personal opinion." But sometimes I can frame it in terms of lack of narrative weight or momentum, or mechanically suboptimal builds that don't fit in with the character, or what have you, and I think it's valuable to be able to say that instead of just "wow this sucks." Like, there's meta to be had in why I don't care for something, whereas, for example, Fearne's incredibly clutch moves in the most recent episode were things I called out in my liveblogging but I don't have much to say other than "Ashley made some baller combat choices."

[gallyg]

The Killer Inside: Amanda Young in Saw X

Amanda is a weird character. Her first act as a disciple of Jigsaw is to assist with the bathroom game of Saw I by kidnapping Adam Stanheight. The struggle to subdue Adam leaves Amanda a panicked mess, which she is visibly still calming down from when she delivers Adam to the bathroom. When the game is over, Amanda can't stand the thought of Adam slowly starving to death, alone in the dark. She violates John's command. She breaks the rules. She kills Adam. John sees all of this and says nothing.

The next time we see Amanda in the chronology of the classic films, she appears to be a fully-fledged Jigsaw killer. If you think about Saw II's plot twist and take it seriously, everyone in the nerve gas house was a bit player in the real game, Eric Matthew's game. Amanda calls Eric "[her] first test subject," which means that John was actually assisting Amanda on this particular Jigsaw operation by talking to Eric for two hours. What a cool, supportive dad. And Amanda seems so much more confident in this one! Saw II was one of the more elaborate schemes pulled against law enforcement in the franchise, and Amanda was the mastermind at the core of it.

For contrast, though, consider how legitimately scared and traumatized Amanda is by Xavier's rampage and Laura's death in the nerve gas house. Was that all an act? I don't know. Recall that five minutes after being locked in the bathroom, Eric Matthews beats the shit out of Amanda and calls her "nothing, bitch," sending her into a PTSD doom spiral that ends in her attempting her second off-book murder. Was that an act? I don't think so. Amanda in the Saw II era puts on a great show of being the next Jigsaw, but it is an illusion.

Saw X explores the path from Amanda's Saw I-era anxiety to her Saw II-era mask. The intermediary step proposed is an interesting one; what if Amanda simply expressed her misgivings to John, attempting to reason with him? "Perhaps," Amanda seems to think, probably subconsciously, "if I had simply asked John if I could free Adam, he would have let me. Nobody had to die." And so Amanda pleads to John that Gabriela isn't so bad that she needs to play a game, that her soul is not so thoroughly corrupted that this is the only option left. John does not hear these pleas.

This is extremely interesting to me for a few reasons. For one, it suggests a capacity for emotional intelligence Amanda has not previously demonstrated. The Saw movies don't explore Amanda's life before being arrested and framed by Eric Matthews, but DVD commentary for Saw III suggests that that film was made with unspoken assumption that Amanda holds a deep-seated anger within her, originating from her experiences growing up with an abusive father. This creates a picture in the mind of Amanda being someone who never had a chance at a normal life at all. But in Saw X, we see Amanda expressing her desires with expectation that they might be considered fairly. She learned that confidence, however small, from somewhere, however distant. Her life could have been different.

How tragic, then, for Amanda's concerns to be fully dismissed. She was an abused child, wrongfully convicted as a young adult, became a heroin addict in prison, and was then tortured by John Kramer. There's no way Amanda has a surplus of people in her life that she would feel comfortable opening up to, especially considering the few pre-Jigsaw relationships of hers we know of.

Beyond just rebuffing the plea to free Gabriela, John then goes on to belittle Amanda, asking her how she will ever handle anything if she can't handle this ("this" being, again, not torturing a young woman, possibly to death, for being a drug addict). Remember that Eric Matthews belittling Amanda is what drove her to attempted murder. This is a real pain point for her in the Saw II era, and we see the seed of that pain point here in Saw X. John Kramer is another abusive father figure.

The second reason I'm fascinated by this moment of Amanda requesting an alteration to John's plan is because of how this frames the arc of John and Amanda's relationship. First, in the Saw I era, Amanda's insecurities are unhidden yet undiscussed. Then, in the Saw X era, her insecurities are expressed but ignored. Finally, in the Saw II era, Amanda hides her insecurities behind a mask of confidence.

(Not to get ahead of myself, but this trajectory aligns well with Amanda in the Saw III era desperately clinging to this mask while her insecurities have only grown stronger. Compare how Amanda talks while expressing her doubts in Saw X vs Saw III. In Saw X, Amanda tells John that drug addictions are complicated in a timid tone that comes across as almost rehearsed. She's careful with her words. In Saw III, Amanda says "I can't do this" between sobs and later delivers the iconic "fix me, motherfucker" speech while literally trembling with rage. In Saw X, she is asking to be heard. In Saw III, she is no longer asking.)

The final reason I love Amanda in Saw X so much is that it gives a bit more depth to her philosophy as a Jigsaw killer. While Amanda would like to spare Gabriela, she thinks Cecilia should skip her test entirely and be put into an inescapable death trap. She doesn't phrase it quite so directly in the moment, but that is what she's telling John when she says that Ceclia "doesn't deserve anything."

Thinking about Amanda's list of victims and her reactions to their fates, this lines up perfectly. Amanda has no problem with Adam or his comparatively minor crimes, and it hurts her to see him suffer. Kerry is arguably an accomplice in Eric Matthews' crimes, and Amanda shows up to watch the angel of death trap go off in person. Amanda is stone-faced as she watches Obi burn to death, but sheds a tear for Laura as she succumbs to the nerve gas. With this framework, the ambiguity of whether these reactions were authentic is gone.

This all speaks to Amanda's motives being just as multifaceted as John's. The need for revenge, the need for release, and the need for approval were always there, but Amanda hasn't always felt all three as intensely. The emotions that led her to suffocate Adam were the same emotions that led her to shooting Lynn. Her cruelty is her mercy. Her love is her hate. In Saw III, she's the only one who's honest about it in the end. Saw X shows us the moment she learned to hide it.

As one final note, I also like that Amanda is a baby dyke in Saw X. I cried sapphic tears of joy when she pulled off that pig mask, and I never got tired of watching her stomp around in her combat boots. But I like the character development a little bit more, sorry.

[scavengerssuccotash]

This might get me in BIG trouble but I’m craving (possible) angst

Is there any form of Laura/farm fam in your headcanons?

Nah you’re good!

For my romantic Clintasha headcanon there IS a Laura Barton, though not in the way you might expect! (I’m also still operating under the assumption that Laura is not Mockingjay/Agent 19, nor a retired SHIELD agent. I found that reveal in Hawkeye series to be a rather lazy-hearted to import character development that was previously mishandled during the dreaded farm family introduction.)

Although I won’t spoil too much as it would interfere with future installments of my Sightline fic Universe. So all I can really say is that she is married to…Barney Barton! I have a backstory in mind for her and I’m really excited to explore her dynamic as it relates to Clint, Barney and Natasha.

(I have a very particular scene in mind in which Clint delivers his nephew/niece in the barn manger style with Natasha completely fascinated and disgusted at the birth, considering she herself is unable to have children. It spurs our lovebirds into conversations revolving around the idea of parenthood and Natasha lamenting her inability to provide that and Clint questioning if perhaps he does want a family someday. As of currently he emphatically does not, which ultimately caused the breakup between him and Barbara Morse/Mockingjay. So a nice bit of character development AND angst.)

As for the kiddos I’m transferring the parental ties from Clint to his brother Barney basically. It’s my way to have my cake and eat it too! I really have an entire backstory in mind for both Barney and Laura which will uncover dark secrets, a “from a certain perspective” Star Wars style plot twist involving Phil, and the introduction of Kate, and Kingpin. As of now, however, all I can reliably say is that this particular plot point is at least two installments from even getting started as I’m writing the Sightline Universe chronologically which covers Early SHIELD days/Pre-Avengers to Endgame.

(I’m fully aware that I’ll probably be in a nursing home ranting and raving about this fic universe until I’m dead 😭)

Once the Snap happens that dynamic and Laura’s role and relationship with Clint gets deliciously complicated, but alas I can’t say much. (Think telenovela level of drama, but the gist is that Natasha gets dusted, and Clint is all alone.)

Not a very satisfying answer to this ask in terms of romantically entangled Clintasha, so I apologize!

(If anyone knows of an MCU equivalent of this gif I’d be grateful! Lol)

[popentertainment-moviereviews]

PARADISE IS BURNING (PARADISET BRINNER) (2023)

Starring Bianca Delbravo, Dilvin Asaad, Safira Mossberg, Ida Engvoll, Marta Oldenburg, Mitja Siren and Alexander Ohrstrand.

Screenplay by Mika Gustafson and Alexander Ohrstrand.

Directed by Mika Gustafson.

Distributed by Room 8 Films. 108 minutes. Not Rated.

Swedish writer-director Mika Gustafson’s feature debut Paradise Is Burning doesn’t exactly have much of a plot, per se, although much of the action revolves around a very specific situation. However, the film has a loose and ambling randomness, much like the characters it is following around. Yet, at the same time, there is a real sense of gravity and tragedy lingering around the corners.

Feeling much like a documentary (Gustafson had previously worked on docs) the film (mostly) focuses on three sisters. The oldest is 16-year-old Laura (Bianca Delbravo) who has been watching over her, 12-year-old sister Mira (Dilvin Asaad) and seven-year-old Steffi (Safira Mossberg) while their mother is gone. Mom obviously takes off on a fairly regular basis for extended periods of time and so Laura is forced into the mother’s role.

They spend a lot of time with other girls from their neighborhood, breaking into homes to get food or use the pool or just for kicks. Laura is far from being a terrific role model and is quite confused about her own life, but she does love her sisters and does her best to get them from home to school, to cook for them, and shield them from harm.

Paradise is Burning takes a look at a few days in their lives, when Laura receives a call from Family Services that they need to do a wellness check on the girls and their mother the upcoming Monday. And while this eventuality does force a certain amount of focus on Laura – she has to either track down mom or find someone else to pretend to be the mother. And she does, on and off, throughout the film, but there is so much more going on here.

After all, lack of parental supervision can lead in many directions. Life can be hard, but it can also be freeing having no one ever telling you what to do. And these three sisters do not seem to be the only ones going through this, several other neighborhood girls seem to have nothing better to do than hang out and party. (There do not seem to be many boys in this town.)

Each of the sisters have a few plot threads, but the main ones show Laura getting into an odd friendship with an apparently emotionally bruised thirty-ish local housewife names Hanna (Ida Engvoll). Hanna catches Laura escaping from breaking into a neighbor’s house and becomes fascinated by her life. Laura agrees to show her what it is like to break into a home, but she never quite realizes that the older woman is not as involved in their relationship as Laura is.

Mira is growing up, dealing with her first period and is completely uninterested in school. However, she befriends a neighbor’s slightly sleazy older boyfriend and becomes obsessed with managing him as a contestant in a local karaoke contest.

The youngest, Steffi, in the meantime, is slowly but steadily growing angrier and angrier, both with the world in general and her oldest sister specifically. She spends much of her time hanging in an empty lot with a younger friend breaking most anything they can.

There are not pretty, sanitized answers in Paradise is Burning. We never find out what happens with the Family Services meeting. However, it shows us a fascinating, unvarnished view of family and aimlessness and it feels all the more real for its messiness.

Jay S. Jacobs

Copyright ©2024 PopEntertainment.com. All rights reserved. Posted: September 7, 2024.

[redjademilktea]

For the CR ask game questions: Dwarf, rogue, and barbarian! ☺️

HI HI thanks for the ask <3

dwarf: what is your favorite one-shot

It has the be the Elder Scrolls Online three parter they did before campaign 3 kicked off!! Does that count as a one-shot? I'm counting it as a one-shot. I already love the setting of Tamriel, but there was something so charming about the low-stakes "Hey, we're just trying to run a tavern here" vibe of the characters and plot. I still think about Sam reading off that incredibly long-winded order full of restaurant slang before rolling a natural 1 to finish off the episode xD

Oh, and Laura was playing a barbarian that was wonderful too!!

rogue: what was a moment that made you cry

You know this more than anyone, but Laudna dying was probably the most devastated over a fictional death in a long, long time. There was the inherent teseness of the emotional stakes in the moment (that Otohan fight, like the more recent one, was BRUTAL), of course. But, after the dust settled (both literally and figuratively), the tragedy of the situation regarding Laudna and her story really set in for me. That moment really clarified for me how much I love that spooky dead tree lady!!

barbarian: who is your favorite villain

Oh! Tough one!!! Can you count Liliana as a villain? I guess that's the really compelling part of her character because I can see the argument in all its facets. There's that tweet that always gets brought up about how Imogen has all the makings of a classic villain, motivations and all, but actively chooses to be good. And I think it's a wonderful story choice to have Liliana serve as that foil for her.

Liliana misses tending to the horses too. Liliana also dealt with the trauma, isolation, and loneliness brought upon her via her Ruidusborn nature. Liliana's only crime up until the point she joined the Ruby Vanguard was - much like Imogen - simply being born when a cursed moon housing an ancient god killer decided to flare.

It's these parallels that make Imogen's struggles with her mother so visceral. Imogen understands Liliana's motivations. She understands her struggles. But, most importantly, she simply can't understand the choices Liliana made regarding the Vanguard, working with Ludinus, etc. Why can't she just leave? Push back against the pull of Predathos? Why can't she see the harm she's causing, especially to someone she supposedly loves? Imogen can and has. What's so different about Liliana's situation? What is piece is Imogen missing from this puzzle?

It's no wonder why Imogen has those same feelings of abandonment trudged up every time Liliana - in Imogen's eyes - makes the choice to stay. Further, it's no wonder why Imogen can never fully let go of the prospect that her mother could be saved.

They are so similar after all. If Imogen could just figure out the right words to say. Find the right time to say them. If she just knew what thing she could do to hammer home the fact that the daughter she's so desperate to save is right there in front of her. A daughter that wants nothing more than for her mother to come home.

(Well, other than a dead lady who spookily animates random objects as a girlfriend, but she already has that).

I'm excited to see where the story goes regarding Liliana. Regardless of how it plays out, it's bound to lead Imogen to such fascinating places on a character level, and I can't wait!!

[isagrimorie]

[initial reactions] Critical Role: Bells Hells episode 49

That was such a good episode, I know that the characters were stressed being on board the sky ship, eating up time as the Apogee Solstice creeps ever forward but it was such a great moment for the characters to unwind a bit and talk. I always love their planning stuff despite how many people gripe about it on the chat and reddit, I love their thought process and the way they try to mitigate the damage they do.

I already love Laudna but IMO she was in fine form this episode, finally cracking Ashton open and getting that long awaited talk out of the way. I can see why the dynamic of Keyleth and Percy work so well in C1 and I wish its something they can show more in the animated series. *crossing fingers for season 3 of TLOVM!

It does feel like its a dynamic Taliesin and Marisha want to recreate in a different flavor with Ashton and Laudna, and they're doing so successfully. I love how Ashton and Laudna talk, and call each other's bullshit out but this episode especially, Laudna is showing off the wisdom she learned in 30 hard earned years she's lived.

Orym's also successfully reaching out to people with Dorian and I love how we're getting hints of things in EXU Prime that in their end, things are also very dicey. Opal getting dark???

I am so into that and Fearne's immediate concern is apparent. But also, Marisha knowing the details of the EXU Prime plot is so juicy!

The gang accomplished so much recruiting Ira, finally telling some more people in authority or approximate authority about how dire the situations are. Telling Pike, even though she can't do things, maybe? Possibly? Apparently, things on Tal'dorei are also very dicey, so Whitestone might have its own problems with the Ziggurat.

I'm going to heap more praise towards Laudna because of the interrogative sort of femme fatale honey pot play she did with Ira, getting Ira to talk more about it, tagged teamed with Fearne at the end.

Speaking of, Fearne is very much still ambivalent towards her parents, sure she's nice to them but as she told Nana Morri, her parents feel more like strangers than people related to her.

Also, Thank Goodness, the team's finally equipped but I need Dani to remind the cast that they still have residuum and the bracers of defense!

I feel like there's gonna be some Mad Max shenanigans that's going to happen on the Apogee Solstice, and its going to be heart pounding and epic and so great.

FCG also learned some things about himself, about how he is not alone and Devaxian also stressed how from this point on he is gifted with a chance to own his own future. A future of his own making. (A theme that will be repeated a lot!).

And then there's that moment when Imogen meets with Liliana again and, and, and I am VINDICATED!!! LILIANA IS A TRUE BELIEVER. She might even be Ludinus's real right hand and not Otohan which would be DELICIOUS.

I love that Liliana tried to get Imogen on her side and Imogen genuinely considered it because the vision she painted was tempting, for someone like Imogen who was tormented by her powers that's a siren call.

But of course, Fearne and Orym was around in the dream and they played it as silent observers instead of actively interacting with the dream space like how the others did it. It does feel like Fearne and Orym are still at heart, a unit. In a similar but different way to Laudna and Imogen. I love the talk they had about Imogen, about the possibility of Imogen turning because of her mother. Orym and Fearne will do what's necessary to stop things from happening and it's really fascinating how that will go.

Laura's face was interesting the whole time too.

And then, and then just when the group thinks its hopeless they get a possible help and distraction of the big army with Keyleth coming in, sounding exhausted and heart sick but still willing to help to put Ashari volunteers to help. I hope the group remembers to warn Keyleth about the antimagic that's going to happen.

I feel like Keyleth and the Air Ashari can act as distraction while the Bells Hells, as a strike team can go and take down the Malleus Key. Everyone in the cast looked happy at this development, except for Marisha who looked worried and had her Thinking Face on.

Near the end, Imogen talks to Orym and asked how he can go on after everyone he lost and they have a heartfelt talk. Orym tells Imogen that he believes in her but Imogen is not convinced but doesn't try to read his mind to know if this is true. Instead, at long last, after many episodes.

Imogen goes back to the room she shares with Laudna and finally talks to her. Whatever impetus it was: her fear, uncertainty, or the realization that she shares some similarities with her father and that's the reluctance to talk.

Laudna asks if Imogen is okay, and automatically, Imogen answers she is. Laudna gently tells Imogen she didn't need to lie to Laudna about 'being fine'. And so Imogen opens the conversation with admitting that she's been afraid of really talking to Laudna after she was resurrected, that she had something to tell Laudna.

Laudna asks Imogen what it is she wanted to say but Imogen hesitates and then says something about her fear and god I love how Laudna approached her talk with Imogen. I love that Laudna went about it with understanding because, of course, who more than Laudna hasn't thought what would have happened if life had been different.

Laudna had thirty years to think similar thoughts, to wish a different life than the one she had. She candidly told Ashton she made Patê so she won't lose her mind wandering alone.

But through everything Laudna lived through she is very cognizant too the reason she met Imogen and the other Bells Hells was because of who she is and became. And I think Marisha has her answer to Aabria's question from the 4 Sided Dive a long time ago -- there is a part of her that is a little grateful for Delilah or whatever patron that made her a Hollow One, that she has this powers now and ability to be spooky. Things she enjoys.

It's a little messed up and complicated.

I also love that while Laudna didn't hear Imogen's promise about how Laudna will always have a choice, Laudna unknowingly echoed back Imogen's words. Imogen has a choice. She will always have a choice and having the ability to choose is a power all its own. Its not something gods can take away.

Honestly, I love how Laudna is talking to Imogen from a place of understanding and I think more than anything, this helped Imogen solidify her grasp of why they're fighting. It's not just because its wrong and kill other people. All morally right reasons why they need to stop Ludinus and his group.

It's because every individual deserves a right to choose. And that love also means loving every part of a person, especially the weird parts of them.

Imogen might have lost her nerve to tell Laudna she loved her, loved her, romantic stylez and Laudna might slowly be waking into the part of herself that can access it. But its plain as day they love each other and I'm okay to wait on how long and slow this will cook, but also saying things like:

"I feel so comfortable and bonded with you. We transcend words in our relationship.

"You'll always have me."

"I'll always be there to support you whatever choice you make.

"You're my tether."

"That tether goes beyond this realm and this life."

C'MON. Those words are my ship Kryptonite! If I hadn't already shipped them, this would have definitely tip the scales! And I feel very well fed tonight!

God I love them. I love the Bells Hells.

[tomwambsmilk]

watching yellowjackets is a complicated and fascinating experience to me because the bones of something sooooooo good and cool and interesting are there, and truly I think the problem with the show is that the writers weren't quite skilled enough to execute their vision in a way that fully works and is thematically coherent. and that's not even a huge black mark against them because I think it would, in fact, take quite a bit of skill to successfully execute the premise of yellowjackets.

I think big-picture the main problems are: 1) there hasn't been enough thought to what they want to say about, idk, the experience of adolescence, or the socialization of women, or relationships between women, or how aggression manifests in those relationships, or any one of a number of topics that could have really grounded the show by connecting the wild and fantastical things that happen to people's real-life lived experiences. For example, I think Misty is a huge missed opportunity because there could have been a real "USS Callister" type plot with her where it's clear that she's socially shunned and it's also clear that she treats people horribly and selfishly, but it's not clear which came first. do they shun her because of how she behaves or does she behave this way because she's shunned? I would have loved to see an exploration of the really complicated ways in which kids who are socially ostracized can end up developing some really harmful personality traits which further ostracize them, and how this developed into her role as a nurse which gives her control over vulnerable people. instead they went more in the direction of "misty is fucking crazy isn't she" which is very fun for sure but feels somewhat shallow without that exploration. I think there's quite a few cases where a potentially nuanced or interesting plot or character development is jettisoned in favour of something that's "more fun"

2) they're bad at giving their characters, ESPECIALLY their secondary characters, any depth. most grating example to me is Laura Lee who is just the Girl Who Is Christian and has no personality beyond that. but she's just the most extreme version of a problem which I think plagues all the characters except possibly Shauna. every other character feels so much like a Type it's hard to care about them as people rather than as agents of a story. Jackie is Insecure Pretty Popular Girl In a Codependent Friendship, Natalie is the Druggie Burnout From A Bad Home, Misty is the Bullied Kid Who Turns Out to Be a Bad Apple, Taissa is the Bullheaded Strong Confident Independent Leader Who is Also Kind of Shitty and Doesn't Listen. I'm not sure why Shauna is the exception to the Types, but I think a lot of what the story does with adult Shauna (especially re: deceased Jackie representing everything Shauna wants to be and is not) is some of its best and most interesting stuff, and 80% of why I'm still watching, and I wish they could've brought some of that to at least the other main characters.

3) the lack of subtext. the amount of dialogue where I cringe because it's someone bluntly stating something which I think would have felt more convincing and would have hit harder if it was instead communicated through subtext. the worst example of this imo is when Jeff and Shauna visit Jackie's parents for the birthday lunch, but it's everywhere.

so watching it is continually frustrating in a way mediocre shows usually aren't because it could have been good!!! it could have been so good!!!! and in a weird way that circles back to part of the appeal for me because I'm so enthralled with the premise that I'm constantly thinking about what I would have done with it as a writer, which is a fun exercise. I'm not quite finished season 1 yet but I am going to keep watching for sure if only for that and that alone

[manuscripts-dontburn]

The Heroines

Author: Laura Shepperson

First published: 2023

Rating: ★☆☆☆☆

Somebody else said this felt more like a fanfiction rather than a serious literary retelling and I have to agree, while I also add this particular fanfiction was super sub-par and messy. There is a plethora of characters who all sound exactly the same. ALL the men are awful. ALL the women are abused EVERY night by ALL these men. And ALL the characters are absolutely unbelievable within the context of the myth. These are yet again, 20th-century people. Furthermore, I was bothered by the usage of expressions like "madam", "land ahoy" and "ex-husband" in what is supposed to be an ancient Greek myth. And the Viking culture, from one of the minor characters, is supposed to come..... did not exist at the same time as the Ancient Athens. So bad.

The Pearl: A True Tale of Forbidden Love in Catherine the Great's Russia

Author: Douglas Smith

First published: 2008

Rating: ★★★★☆

There are very few books in English that focus on Russian nobility (while there are plenty on the tsars). Douglas Smith wrote Former People: The Final Days of the Russian Aristocracy in which he showed how that nobility was systematically wiped out after 1917, however in The Pearl he plunges right into what was probably the most spectacular time for that same privileged class. The unusual story of a nobleman and a serf getting married serves the narrative as a sort of Ariadne´s yarn, as the book provides quite a detailed and fascinating description of the phenomenon that was the serf-theater. The author does not paint the affair as a romantic fairytale, acknowledging facts like Praskovia being figuratively her lover´s property, the age difference (which, back then, was not really seen as an issue), and the power dynamics. I found the subject very interesting and the writing clear and infused with enough poetry of language not to be dry and academic.

Matilda

Author: Mary Shelley

First published: 1959

Rating: ★★★★★

In spite of the lack of action and being very, very wordy indeed, this book held me completely captive thanks to the beautiful language and especially the psychological depth. This ladies and gentlemen, would be a stunning candidate for a re-telling in a proper novel form.

The Fair Botanists

Author: Sara Sheridan

First published: 2021

Rating: ★★★☆☆

The greatest enjoyment I had from this book was walking the Edinburgh streets in my mind because I had visited the city last year and fell in love with it. However, even though the writing is very good, the storyline failed to capture my attention and seemed, indeed, rather boring.

The Tres Riches Heures of Jean, Duke of Berry

Author: Jean Longnon, Raymond Cazelles

First published: 1440

Rating: ★★★★★

Stunning presentation of a remarkable book. Besides beautifully drawn biblical stories some of the plates show life in medieval times, almost like a time capsule.

House of the Spirits

Author: Isabel Allende

First published: 1982

Rating: ★★★★☆

If I should compare this book to something, it would be to a lovechild of Practical Magic by Alice Hoffman and books by Vaddey Rattner (though the pain in the latter´s books is inflicted by the exact opposite side than the one in this). While Isabel Allende´s style is not exactly to my taste, the family saga she wove in this book is fantastic from beginning to end, with its weird, unique, and, yes, even downright awful people. However, the sexual musings of the men were uncomfortable and unnecessary.

The Agency for Scandal

Author: Laura Wood

First published: 2023

Rating: ★★★☆☆

This is a great book when you just want something sweet and to relax. Full of tropes (including there was only one bed), and a little basic when it comes to the plot (the idea of a Victorian secret society of undercover lady agents made me want much more than what was delivered), but charming in the way it is uncomplicated.

Stalin: The Court of the Red Tsar

Author: Simon Sebag Montefiore

First published: 2003

Rating: ★★★★☆

Very impressive biography of a terrible person. I have not read much on Stalin (though I have researched the lives of ordinary people of Russia under his regime) so I have little to compare this to in terms of accuracy. However, the author, as always, never fails to present everything as the golden truth - including the mental aerobics of maniacs. Perhaps some skepticism and doubt would suit his over-confident narrative.

A Gathering of Shadows

Author: V.E. Schwab

First published: 2016

Rating: ★★☆☆☆

This felt as long as a 30-year war. The first 300 pages are a painfully slow set-up, that is actually so elaborate (and full of passages that just did not need to exist, because they were extremely repetitive) that when something actually does happen near the very end, there is no surprise or twist at all. I mightily disliked most of the main characters (Lila is insufferable) and the villains had the actual best motivation out of everybody. Also, I felt that considering that the whole book kept talking about the Elemental Games, the games themselves had very little to do with the actual plot and left no impact whatsoever. I need to think on whether I even want to read the third book - but knowing myself I probably will, because I am a completionist.

Divine Rivals

Author: Rebecca Ross

First published: 2023

Rating: ★★★★☆

If you loved Lovely War, you will love this one. The romance is impossibly sweet and well-paced, and by the end of the book, you feel that the happiness or tragedy of your two protagonists is really your personal business. I loved the medium of letters and found the atmosphere of war slowly but surely marching on to you believable and realistic. I really, really liked this - and was bummed out to realize this is not a stand-alone! I want the second book now, please!

[asterekmess]

honestly, my fury at the lack of werewolf culture/history/worldbuilding is worthy of its own post. Let me know if by some ungodly chance, you actually wanna hear my thoughts on it // Yes, yes, yes, yes, yes, yes, yes!

ohmygod yes, pls, enable me.

SO.

I think I mentioned b4 that Teen Wolf hates werewolves.

This is a show about werewolves like, yeah, sure, they do other plots and stuff. But the main character is a werewolf. The vast majority of the cast are werewolves (at least in the first half of the show). But think about it. What do we actually know about werewolves? They uhh, they shift on the full moon. But like, what about the full moon? Cus’ Scott gets handcuffed to a radiator and he doesn’t shift and break out until the moon comes out from behind the clouds and he screams like it’s excruciatingly painful for him. But then Derek and his Betas are underground during their full moon, and they shift like it’s all fine and dandy (they’re furious, but there’s no pain) and it doesn’t matter whether they can see the moon or not. They, uhh, they’re allergic to wolfsbane/it’s poisonous to them (btw it’s poisonous to literally everyone, just the scent of it is enough to cause seizures and hallucinations in humans. It’s a whole other frustration that they won’t make up their fucking minds abt it. It’s one thing to say that this is some parallel universe where wolfsbane doesn’t poison humans (bc lydia makes them hallucinate with the punch but injesting that much wolfsbane should kill you, and Stiles straight pulls a plant out of the ground; should’ve caused itching, burning, a cough, nausea, fever, headache and More hallucinations) and yet Jackson has to see a doctor and gets told he’s got Aconite Poisoning. So WHAT IS THE TRUTH?) but apparently not enough for Derek not to be able to plant a wolfsbane plant and massive cord of roots (which he would’ve had to tie together himself) in a revenge spiral around Laura’s body. But just being around it causes wolves to lose control. But also there’s supposed to be different strains that do different things? And also sometimes you burn the wolfsbane and it becomes the cure, or you have to burn it out of them or you just cut it out of them? Make UP Your MIND or at least ACKNOWLEDGE that different strains do different things. They get stronger on a full moon. But does that mean they get infinitely stronger with every full moon they experience? Does that mean they get weaker during new moons? They’re stronger in packs. Okay, but they never establish what the fuck a pack is. Is it an agreement? Is it a magical bond? Scott just sort of says people are in his pack. Does that mean they are? Do the humans he knows make him stronger? Just how strong is this bond? Derek makes a claim that “You have your own pack now” so is that a joke, was he mocking scott? Or is he saying that there’s no need for an Alpha and just being a beta with some friends counts as a pack? Apparently they have some kind of...animal magnetism or mind control? Derek uses a funny voice and a guy wakes up from a near coma to look at him with seemingly no control. Peter can force Scott to shift up. Derek forces Isaac to shift down. Derek has an insane amount of control over dogs and makes one lose its fucking mind from like a hundred feet away? Scott makes one calm down, but derek sends attack dogs running with their tails between their legs. Is it actual control or is it just a persuasion? Is it just intimidation? I haven’t even gotten to culture. You’re telling me that we get an entire episode of Allison discovering the entire story behind the Argent clan’s origins as werewolf hunters, why they started, how her name means Silver and apparently that’s where the entire myth of silver hurting werewolves comes from, but we don’t get to know anything about the first werewolves? Where they come from? If they’re a form of evolution or just straight magic or if it’s a curse or a gift from the gods? There’s an entire hidden werewolf population with packs all over the world, but somehow there’s literally no wolf culture? No moon worship? No specific terminology (Alpha, Beta, and Omega are terms used by a really fucking stupid biologist who studied frantic wolves in captivity and cast aspersions on the entire species. He’s been disproven a Thousand Times. NONE of that Alpha, Beta, Omega shit is right. Packs aren’t Hierarchies of Dominance. They’re families. They’re led by two wolves, yes, an “alpha pair” that’s literally JUST THE PARENTS. THE ‘BETAS’ ARE THEIR KIDS. This terminology makes sense if used by HUNTERS who consider werewolves to be mindless dumb animals. WHY THE FUCK would werewolves use it to DESCRIBE THEMSELVES?) besides the absolute minimum of ‘I caught a scent?’ Are you serious? Then there’s werewolf ages. Oh my god that was so fucking lazy. Saying that werewolves don’t age like humans, but that Cora is seventeen “by human standards” WHAT DOES THAT MEAN? I’ve seen theories that go so many different ways. The idea that Werewolves live really long lives because of the superhealing. The idea that they live really short lives because their healing just burns through their body really quickly. The idea that their lifespan is directly correlated to the amount of damage they take because they can only heal so much, so wolves who get hurt a lot age faster than wolves who don’t. There’s NO explanation! You’d think it might be an interesting point for Scott to find out that he’s gonna live to fucking 200 years old. (How old is Satomi again?) That sounds like something a Teenager would be daunted by. We see them make fun of Stiles a few times because he believes werewolf myths about silver, and then because he believes Peter when Peter tells him he lives in a series of underground caves. But like...why not? THESE ARE WEREWOLVES why did you just make them humans with extra facial hair? Where are the traditional mating rituals (or even the concept of a mate/life partner, can you imagine how interesting that would’ve been? If Scott found out Allison was his mate? Or if he suddenly had all these weird urges around her, like rubbing their foreheads together or cuddling her way too much or wanting to bring her food? That would’ve been fascinating and hilarious as subplots for their romance!) where are the full moon runs or pack get-togethers? Where are the aversions to perfumes or cologne? Where are literally any animal behaviors besides AGGRESSION? Where is the den-making? Can werewolves eat fast food or does the grease bug them? Talia was a famous Alpha bc she could full shift. Does anyone know why she could do that? “Evolution” is a bullshit answer, let’s be real. It’s shitty writing and it put Derek through so much more than he deserved. THEY ACCIDENTALLY ESTABLISHED that ALL HALES can full-shift! IT’s NOT EVOLUTION. It’s BIRTHRIGHT. Talia fullshifted. Peter full-shifted (though his was distorted into the monster thingy. That wasn’t anything like Deucalion’s shift. It was a FULL SHIFT) Laura could full shift bc she did it after she died. No other werewolves on the show turned into full wolves after death, even if they died with wolfsbane in their system? MALIA could full-shift into a coyote. LITERALLY EVERY HALE except Cora and that’s bc she got booted back to South America COuld FULL SHIFT (and it never happened after they lost all of their wolf powers, that coud’ve been an interesting plot if they didn’t FUCK IT UP.) But still there’s no explanation, or even just acknowledgement? You don’t have to spell it out for us, but at least SAY “Hey, so the Hale family is really powerful and all of us can full-shift. Not sure why, but it’s neat.) I’m still stuck on rituals. Routines. Werewolf mores. Social cues. Are there certain smells they’re supposed to ignore? Is it polite to pretend you don’t hear someone coming up to your house until they knock? Do they have rules about waiting until the Alpha eats before they start eating (much like how lots of traditional households wait for the father to dig in, or whoever is head of household)? Is it tradition to homeschool werewolves for the first few years until they learn control? Are there seriously no rules about biting humans? You don’t have to talk to their parents or have a specific conversation with them? And if werewolves are so dominance/hierarchy based, then you’re telling me there’s no “second-in-command” or respectful greetings that are supposed to be used for an Alpha? There’s absolutely no form of werewolf government or ancient laws or anything except a big spiral that is universally recognized as a sign you’re gonna kill people? What was the wolfsbane around Laura’s body for? Why make the spiral out of that instead of just drawing in the dirt or something? We make a lot of jokes about Derek being bad with his words, but so is Peter and so is Cora. And they’re the only born wolves we interact with (except Satomi who ALSO isn’t a chatterbox) What if that’s not just because they’re all traumatized and cranky? What if they’re just speaking on a different level? Scents and body language are integral to wolf interaction. Like how we say that Peter has that conversation with Derek’s eyebrows? What if Derek’s so fucking pissed all the time because he hates talking to Scott because SCott ISN”T LISTENING to his body language and scent and chemosignals? He tells Scott to use all his senses, and Scott does it fucking once to say that Peter felt “Angry” and never again. What if Derek is Talking PLENTY (with his body and movements and reactions) but Scott just isn’t paying attention? Isaac seems to understand Derek just fine. Erica and Boyd never complain that Derek is lying to them or ‘keeping something’ from them? What if the reason Scott always thinks Derek’s hiding something is because he isn’t reading the rest of Derek’s conversation and he assumes that the empty feeling is Derek lying. Even STILES seems to understand Derek. He’s human, but he goes totally wolfy. He already uses body language a lot and while he gets mad at Derek he never has to ask what the fuck derek is saying or what he’s holding back. I digress. I wanna know why no other packs came to help Derek and Laura after their family died. I wanna know why Emissaries and Druids are so incredibly important to the supernatural/werewolf world but Derek barely knew they existed (Especially when it’s established that he know tons of lore about other species.) and even though every single pack should have an emissary, they never handle who is the emissary for Derek’s pack or for Scott’s pack (Once again, is an emissary bound to their pack somehow or is it just an agreement?). I wanna know why Derek knew Satomi and trusted her but for some reason never felt like he could ask her for help? Centuries of hiding and living amongst humans with almost no wolf behavior to their name, but none of these packs interact? There’s Druid Vets and Hunter cops and Emissary counselors. But no werewolf doctors? No werewolf teachers? Absolutely no werewolf society? If Derek was worried about Paige not accepting that he was a werewolf unless she became one, what does that say about his experience with humans? He says “there were people in my family that were perfectly ordinary in that house” who died in the fire. But wouldn’t he talk to a human pack member about his worries, if he had one? Or even a bitten pack member? He admits he doesn’t know how to train a Bitten wolf. He’s never been called out by a human pack member for using phrases like ‘caught a scent’ or for reacting to things he shouldn’t. Does this mean Derek’s family was entirely werewolves? No humans in the know? No bitten wolves? He has a huge thing about keeping the secret and never letting anyone in on it unless they get dragged into it. Did Derek’s pack have some kind of prejudice against humans? Was Derek raised to believe humans were weak or cowardly or something, that he thought this beautiful girl would automatically hate him and expose him if she were to discover the supernatural without being forced into silence by self-preservation.

Lots of times, it’s easy to forget in this fandom that so much is missing, because we’ve been filling in the gaps for so long that some stuff is practically canon. It’s generally assumed that the Hales were homeschooled before high school. It’s generally assumed that there’s some kind of bond that marks people as pack. We instinctively add in mentions of Scent and the use of the shift (growling, claws, a hint of fang, flashing eyes) as part of the casual communication between characters. We add in scent-marking and territory boundaries and specific roles in the pack. We do all of that and never think twice because it’s already in all the fic. But we did that. The show gave us nothing. It spent an entire season talking about the nogitsune and the oni and how they’re summoned and what kitsune fox tails are for, but we never got to find out why wolves can do the pain-drain (or even if it dissipates the pain or just transfers it to the wolf doing the draining) or if Derek Hale EVEN HAS A DAD.

[rialynne]

Little Women Review

I’m feeling incredibly motivated to do this so here we go. To set it up, yes I read little women as a kid and I saw the 1994 version years ago prior to my first viewing. I watched the 1933 and 1949 versions and the 1994 version again before the second viewing. 

TLDR: Go watch this Movie I love it, imma buy this blu ray. To me despite structural changes this is the definitive movie adaptation of Little Women.

So initial personal reasons why I’ve always enjoyed this story is that it takes place in Mass; my cousins live in Concord, I grew up in New England and they definitely filmed in New England cause certain scenes. We still have old style buildings around like they have in the film and the landscape, especially for scenes in the fall were absolutely beautiful. Marmee even name drops my home state at one point so shout out there. 

Greta Gerwig did an absolutely fantastic job with the adapted screenplay of this movie and I am quite the fan of her decision to split up the structure of the novel and create more flash back sequences to emphasize different events that took place and how that impacted characters. I think the decision to film with a yellow warm tone in the past compared with a blue, cool tone in the adulthood scenes was a smart move as a visual way to explicitly indicate which timeline we are in. The fashion of the ladies and the hairstyles definitely did help with the timeline as well. I also love how they designed the girls hair style and clothing when they were younger to have a piece of Marmee’s style with them to signify a piece of Marmee is in each of her daughters. I also really loved the way that scenes played out, how they were shot, how when a bunch of them where showing conversations that could happen in real life. The dynamics of the march sisters remind me of my own family and there are a few scenes where there was like multiple conversations going on at once and I loved that. Also I love the sound track its on par with the 2005 Pride & Prejudice soundtrack.

For the more minor roles:

Meryl Streep did her thing as Aunt March and was quite hilarious, I loved how she was like no kisses plz and her whole you need to marry wealthy and I didn’t get married cause I’m rich bit. Mr. Lawrence has a beautiful character arc especially with Beth. He did so well with that small role and he really made you feel for the loss of his daughter. John Brook was the sweet respectful man for his wife. Friedrich Bhaer was good as well. Not as many scenes of him as I was previously expecting but I bought the connection he and Jo had and he definitely proved to be an intellectual match for him. 

Laura Dern was an excellent Marmee. She really brought the presence that she was the giving, calming presence for all her daughters, especially for Jo. I absolutely love the conversations she had with Jo about her always being angry and for talking to Jo about her not really being in love with Laurie. I felt like that conversation is a really important lesson for everyone to determine if they want to marry someone, to make sure they do marry some one cause they do truly love them and not cause they want to be loved. Mr. Dashwood, the new york city publisher was also a great addition to this story in terms of representing the way publishers were back in the day. 

I loved how connected they made all the March sisters feel. They really did make them all feel like one unit in their younger years, that it hurt much more when they are older when their apart. I really Loved watching Jo especially interact with all her sisters and seeing how the dynamics changed over the years. With Meg she relates to her being the oldest siblings and the scene where they talk about their different goals in life right before Meg gets married. Its a lovely scene indicating not one’s goals in life are better than another persons goals. I Love how she cares so much for Beth and looks out for her. The dynamics of Jo and Amy’s relationship was fascinating to watch cause it reminded me a lot of me and my sister and how we bickered a lot, but still deeply care for one another, and eventually were able to respect one another. 

I knew going into this movie that Saoirse Ronan was going to kill it as Jo, and she flipping delivered. I love her portrayal as Jo where she is not as too much as the 1933 and 1949 portrayals and yet was very ambitious and likable, very similar to the 1994 portrayal from Winona Ryder. I loved her speech with Marmee about how great women are and how she doesn’t have a life goal to get married but how she is very lonely. That hit hard. Her negotiating for her royalties to her book was a great addition to the end of the story. I feel as if she plays a certain type of character in her movies, but she does it sooo well and in a way that no one else can do justice for it. The relationship between Jo and Amy and Jo and Laurie were great to watch. Amy and Jo are so similar besides a few key differences, and those differences help make their tension believable and turns them into remarkable characters.        

I love the take on Beth in this adaptation. They still play her as a sweet and caring individual, one that ultimately leads to her getting sick and dying, but they give her a little more quirky traits and have her say some funny one liners. She has a lot of subtle moments with Jo and Amy especially that makes their reactions to her death feel so real. Emma Watson did a much better job than i expected and gave a surprising amount of depth to Meg. I did really enjoy the sub plot of her buying that fabric for a dress. $50 back then was like close to $1000, and really does show her struggle with wanting to have nice things once in a while. Her speech to Jo about her desires to be a wife and a mother is beautiful. Meg I feel is a difficult role to play due to her calm presence and lack of a super extroverted like personality and Emma made it her own.

Timothee Chalamet is a fantastic Laurie. He did well in balancing Laurie’s immature and lazy side to him while making him endearing. Seeing his love for the March family grow over time was beautiful. His relationship with Jo and Amy were awesome. With Jo, they are a great example of a platonic friendship, especially from when this book was published. I really loved the rejected proposal on the hill. You can see Jo still resisting adulthood still from her sister’s wedding, even when Laurie proposes I think she sees that as the end of childhood for her. Along with that she never had an interest to get married and expresses that she doesn’t love him like that and why they wouldn’t make a good match. The argument doesn’t feel like unrequited love but more like two best friends having a disagreement. His scenes with Amy also highlight his path to adulthood and him learning about love in the process. 

AMY MARCH FINALLY GOT HER DUE! About damn time she did. Amy is my favorite character from this adaptation and is the one that surprised me the most. Lord FLORENCE PUGH needs to get a damn nomination because she was fucking amazing. For me she was able to convincingly play a young and adult Amy so well. Amy is a woman who knows what she wants in life and is very determined to get them and work within the current societal circumstances she is in. She is able to push her ego aside to get what she wants. She is so cheeky and energetic when she is younger but becomes more refined and tactful when older. Her burning Jo’s book did indicate her jealousy of her sister and the immaturity of her emotions that over time she has a grip on more as an adult. Her relationship with Aunt March indicates the idea and pressure she has to take care of the rest of her family. When she has her economic proposition speech, you really see how this is adding so much pressure on her, pressure that does influence her choices and behavior later on. 

But, my absolute favorite part about Amy’s development over the movie was her relationship with Laurie. I’m so happy Greta really took the time to flush out this relationship. I really love these two together. They are both a really great example of love that evolves over time. The little tid bits in the past with the small moments of Amy and her small crush over Laurie: THE FOOT MOLD, the way young Amy looks at Laurie, her drawing of him at the beach while flirting with Fred Vaughn, talking about how hot he is as a half Italian. All of that was perfection. Everything in Paris with these too was also sooo fantastic. I love it that prim and proper 20 year old lady Amy turns into a kid again when she sees Laurie and just jumping and hugging him, and then Laurie is all like you’re beautiful. when she invites him to the ball and he kisses Aunt March. Her being all like “its Laurie!” and looking back at him with that damn smile, the things that make my heart melt. With Amy and Laurie knowing each other for so long, Amy is able to be real with him and call him out throughout their time in Paris, mainly at the ball when his drunken fuckboi ass waltz in. Also The PAINTING ROOM, lawrd. Amy still shitting on Laurie for his behavior, their conversation about love, Amy’s speech on economic proposition, THE UNBUTTONING OF THE PAINTING SMOCK (that absolutely rivals the Pride & Prejudice 2005 hand touch in terms of sexual tension), Amy being able to be her true self around Laurie, Laurie telling Amy “You look beautiful...you are beautiful” (SWOOON). Then when they at the park: Amy scolding him for being lazy and not taking charge and being responsible, Amy drawing him again and showing him the older picture, Laurie telling Amy not to marry Fred “don’t marry him. Why? you know why.”, Amy realizing what hes implying and being all like Naw don’t you dare fam I’ve always been second to Jo “I won’t do it. Not when I have spent my entire life loving you.”. Laurie finally grew a pair and went off to London to make something of himself and Amy turning down Fred’s proposal realizing she wants to marry for love. Them reuniting in Paris after Beth dies, and being alike i wont let you travel alone even if you despise me, which Amy says she doesn’t despise him. And she states she aint marrying Fred and then rambles on and LAURIE KISSES HER GOD BLESS HE DO LOVE HER. and wow. Their love story is one of the most satisfying love story arcs I’ve seen in a long time. 

Any ways that’s my long ass Review of Little Women 2019.  GO watch it in theaters if you can. I will buy it and stream it when it comes out of theaters. This is the definitive adaptation for me and I think it will hold up well as an amazing period drama for years to come. 

[scrapyardboyfriends]

Does this Kerry SL make any sense to you. I feel like I’ve missed a load of eps (l haven’t). Because it just feels like they forgot Laura was coming back and pulled this out of thin air.

I mean I only half watched that episode cause I was technically on work meeting but yeah it really doesn't. I'm super over it already. And in general, I feel like stories that begin with a whole bunch of vague and cryptic nonsense are just really hard to invest in. Especially when the main characters are characters I don't really care about. Do I care about Chloe? No. Do I care about her 5 minute romance with Noah? No. Do I care about Kerry? Not really. Do I have any investment in this mystery evil man with the low rent gangster lackeys? No. Because why would I?

So much of it so far has just been weird Chloe stuff that made everyone think she was just trying to get close to Sarah for sinister reasons. And then they introduced the Kerry part and it just got weirder because there's no good reason why Kerry got involved with these people off screen other than for the sake of a return plot. And now it's just all this vague threatening stuff about Damon the supposed human trafficker and it's like? What is the point in any of this? What is this brining to the show? Nothing but confusion and boredom. I don't get what their fascination is with the random gangster type plots. They're never good.

[eponymous-rose]

Talks Machina Highlights - Critical Role C2E95 (February 18, 2020)

Tonight’s guests are Matt Mercer and... Matt Mercer!

Announcements: Cinderbrush: A Monsterhearts Story, the Valentine’s Day one-shot, is available on the YT channel! A new episode of All Work No Play aired today with a ghost-hunting episode featuring Laura Bailey---Twitch VOD available now, up on YT on Thursday! There are still some tickets available for autographs and pictures at C2E2!

Episode 95: Blessing in Disguise

Stats for this week’s episode: Guidance has been cast 100 times, and Polymorph has now been cast 50 times. Matt is 63 NPCs away from 1,000 in campaign 2.

Matt wasn’t sure what to expect of the group’s offerings for the hag. “I didn’t expect the scale of some of the things that were being offered. I was kind of surprised by Nott’s immediate considering of furthering the war.” He notes that it makes sense with her character. “Knowing where Beau’s arc has gone, it was really interesting to have her be willing to give up the things that were important to her.” Given how much would have had to be sacrificed, Matt honestly thought it was going to end in blows.

Matt’s thought process on Jester’s whole exchange with the hag: Matt notes that even if Jester had tried to regrow her hands, it wouldn’t have worked due to the curse, so he was mentally working through the possible ways she could resolve this, and he was thinking about how to make sure she’ll still be able to have fun with the game. He couldn’t read whether she was genuine about the self-sacrifice or was gearing up for a fight. In Matt’s mind, taking the cupcake was the last thing the hag needed to win Jester over and lock the deal in, so it made sense that she’d be easily persuaded. He was definitely suspicious but wasn’t sure if she was just going to call in her friends or attack or what. The specific way Jester worded the Modify Memory wasn’t too dramatically opposed to the hag’s nature, so she was just confused. “Ended up just being really proud. You didn’t only trick the NPC, you tricked me, which I relish.”

Matt was considering Artagan as feeling a little overwhelmed. “Jester definitely represents his most important confidant.” He was planning for him to reveal it either at or just before Travelercon, but that show of cleverness with the hag was something that Artagan would take as “okay, maybe she can help me beyond what I’ve already asked of her.” Matt loves getting to play a character with such an inherently chaotic nature who’s looking at the world as his personal playground.

Matt enjoyed all the correct guesses about Artagan. “It makes me excited that people are following along so closely and are picking up the threads that I’m dropping. It means that I’m not doing a terrible job about laying down the tracks. Sometimes the surprise isn’t the joy of telling a good story, sometimes it’s about rewarding people for following along and figuring it out.” He also notes that you can still add additional twists along the way.

Matt enjoyed getting to play Artagan off a different set of characters’ perspectives. He also liked that it hit home to the players that the decisions they make in one campaign can impact what happens later.

Cosplay of the Week: Vex in the snow! (Casualty_Cosplay on Instagram, photo by Emma_Metcalf10 on Instagram)

Matt’s push against using C1 connections in the group’s C2 characters was more about avoiding direct connections to C1 that would make it feel like C2 was just a continuation instead of its own story. Artagan felt distant enough and only situationally involved with the first campaign---Vox Machina were his origin story, but he didn’t bring Vox Machina into C2′s narrative. The timing of the Artagan reveal was dependent on Jester’s interactions with him: how many questions she asked, how often he was or wasn’t absent. Matt planned Travelercon to be probably the latest possible moment for the reveal.

Matt consciously keeps the world and the NPCs’ plots going regardless of what the players are doing. He can’t plan too much because he doesn’t want to push the players too much, but he tries to think of a few “possible loose assumptions” and plan around those to avoid being completely blindsided (or at least attempt to avoid it). 

Who stands out as Matt’s most-loved/identify-with-the-most NPCs so far in this campaign? “I mean, Allura, but that’s both campaigns, that’s not fair. I would say, early in, probably Watchmaster Bryce.” Also Yeza, who’s becoming more like Matt as he gets more development. “Elements of Essek. Essek’s a delightfully complicated character.” He got much more involved in the story than Matt was expecting.

Matt’s poker face dropped during the discussion of Thoreau’s exchange with the hag being living in dread: he was so pleased that he’d set that up well enough for the players to figure it out.

“As an entity that comes from the Feywild and has existed in a space that is a similar sphere as Melora, the Wildmother, but does not necessarily subscribe to the idea that this one entity should represent all elements of nature, and, in a sense, his existence is a mockery of religious faith, he could sense that in [Fjord and Cad] and felt uncomfortably close to his zone of faith and influence. It was less that he was bothered by them, but more that they stood out because they represented things in similar spheres that he didn’t necessarily agree with.”

On dealing with the morality of a purely chaotic character. “I’ve known people like that.” While he doesn’t personally feel a kinship with that notion of chaos, he can see the appeal. “I definitely don’t agree with it, but it’s a fascinating place to mentally live within a character. And then taking a character who’s always lived that way and giving them responsibility.”

Fan Art of the Week: Jester and Artagan! (by ChryseusWitch on Twitter)

Artagan’s willingness to show his face was partly because he didn’t give a shit about the rest of the Nein aside from how they’re important to Jester, but also because of Jester’s supportive stance. “Right now, he’s more invested in them as utility, and he pretty much said that."

On repeatedly messing with Taliesin’s characters’ families: “Look. I work with what I’m given. When your party of characters hands you largely tragic backstories revolving around their parents, I’m not going to deny that. I just have to find a creative way to bring it into the narrative that hasn’t been explored in the story thus far.” He had to come up with a narrative reason for why they never returned but was more complicated than just “they died”. He hadn’t even thought of the Stone family connection until he’d planned the rest of it out.

Matt hadn’t made the connection between CR’s dramatic rise and Artagan’s panic over sudden additional responsibilities. “Maybe subconsciously? It’s all so weird. I can see definitely the threads between them, that seems similar.” He and the rest of the crew are willing to try to take on the weight of that responsibility, whereas Artagan is in a panic and trying to escape it.

[benisasoftboi]

Unorganised thoughts on Trails of Cold Steel II:

they still haven’t told me why it’s Class VII

So I liked this WAY more than CS1, thumbs up

I am annoyed that the only new location was Ymir (WHAT A COINCIDENCE that all the important places in the war were specifically ones Rean had been to already)

I just really wanna go to Parm idk

Bless Anton for showing up right at the end and giving me just enough AP to make A0

(fav Anton and Ricky subplot yet, god I love those guys)

I LOVED how tactile all the reunions were! I love it when fictional characters hug it makes me happy

I found it extremely funny that the final boss straight up tells the characters ‘hey, there’s literally no point to fighting me, you’ll gain nothing except closure I guess’ like that’s VERY on the nose and meta for a final boss

The game does have some real ending fatigue though, I don’t think we needed the epilogue

I did like the final boss though - up until that point, I had become so good at using my Dream Team of Rean, Elliot, Machias and Jusis (or Nuke-sis, as I call him, for his insane levels of arts damage output) that everything had got kinda dull for me. But final boss was actually a challenge, I had to think rather than just using the strategy that had worked on everything else

Which was Rean delays, Elliot heals/deals arts damage, Jusis drops arts nukes, and Machias does miscellaneous support/uses his link ability to keep Jusis’s EP topped up

Oh yeah I had them linked through pretty much the whole game and they hated it and it was super funny

So OH MAN, in their linked victory battle ending screen thing, Jusis goes ‘not bad, you actually held your own for once’

And it’s a little muffled, so the first time I heard it I swear I thought Machias responded with ‘you know what you can hold? Your damn top!’ and I dropped my controller. Had to go out of my way to win another battle with a link attack because no, no way-

He

Um

He said ‘tongue’

Anyway, characters!

Rean: Immediately upon starting up the game I found Ride Along Estelle in my DLC inventory and equipped it in the hopes that it would inspire Rean to be a better protagonist. It... kinda worked? I don’t hate him anymore, and I was pretty hyped to learn he was Osbourne’s son

And then Lloyd showed up immediately afterwards and I was like ‘oh wait here’s a protagonist I actually LOVE, nvm bye Rean lol’

Alisa: I literally never use Alisa unless the game makes me lol she was there and I don’t hate her but also I cannot remember a single interesting thing she did. Even during her one bit of plot relevance she was overshadowed by Angelica it’s hilarious that the marketing makes her out to be the deteuragonist 

Elliot: A GOOD BOY who served me incredibly well with his off the charts healing crafts, I can’t believe I started CS1 not liking him much and thinking him useless. I love the little dance he does in his idle animation

Laura: I still like Laura, I wish she was more plot relevant. I don’t feel strongly about her, but she’s always a welcome addition to any scene

Machias: Unpopular opinion probably but I really like him, even if his outfit in this game was awful. So are his alt outfits. Fashion disaster. I bought him contact lenses from a shady highway business man because he looks better without glasses. I made him ludicrously bulky, if he’d just had some kind of taunt craft to protect Jusis (squishy mage) with he’d be a perfect tank

I’m a fan of him in a ‘this is my trash son’ kind of way lol

Emma: Uhhh kinda boring which is impressive since she’s actually important and pseudo-related to Vita and all. Btw I guessed she was a witch in chapter goddamn three of CS1 after reading the folklore book, and I find it extremely wild that it’s either a dragged out, foregone conclusion if you have read the book, OR witches even existing is completely out of nowhere if you haven’t

Jusis: My favourite, because I’m basic. But like, he’s seriously the most interesting of the guys, and I made him Rean’s best friend (only one I got to rank 7 with lol). And his bonding event in Bareahard was so gooood!

I find it incredibly funny that he insists he and Machias aren’t friends because 1. Yes you are and 2. Do you even have any other non-Rean friends, guy? You literally never hang out with anyone else unless it’s plot related

Still low key ship it. Enjoy that Rean does too, apparently. Still reeling over their Trial Chest’s quote

His second S-Craft is ridiculous looking

Fie: Most interesting girl, love how she just doesn’t get flustered ever, funniest character, best girl in the game, what the HELL was that outfit

Gaius: I keep forgetting Gaius exists lol. I don’t dislike him, but he’s not very interesting to me. He’s Zin, or Noel

Millium: Man do I want to know more about Millium. Her whole thing about learning to cry... so sad and SO fascinating. What is the deal with her and Altina?!?

Sara: I hated Sara at the start of CS1. Now I adore her. God she’s just the best. Please let her interact with Schera please please please Falcom

Towa: Cutest! She’s so cute and I still love her and I did her final event even though she is TOO GOOD for Rean! She got to be a captain! I love her!

As for more minor characters - still think Angie’s great, just wish she wasn’t kinda creepy about her love of girls, deeply dislike that the game ship teases her and GEORGE, who I still otherwise find inoffensive but also, you know, male, Alfin is great, Toval is great too and I still can’t get over him being Toby, stop teasing Claire with Rean let there be one woman who isn’t into him please, oh good Sharon’s here and they don’t do that with her and she’s awesome also can’t believe I used to not like her, more Olivier always please, same with Mueller, Celine is Morgana from P5 except better in every conceivable way, Crow :(, all the Ouroboros lot are great as always, and Elise is easily my least favourite character in this franchise and can get in the sun for all I care 

I read a transcript of the drama CD and hey Rean’s dad can also get in the sun for saying that his adopted son isn’t good enough to marry his biological daughter like where do you even start-

I love that I’ve gone from reacting to Ouroboros appearances like ‘oh shit oh no’ to going ‘oh shit it’s these fucking clowns (affectionate) again’

Still love Beryl. Also love Lambert

When they mentioned ‘Mueller’s friend’ I thought it would be Julia and I was so excited and then so disappointed that it was Neithardt who I still don’t like

Elliot’s dad looks ridiculous riding on top of that tank

I loved riding the bike around SO MUCH, even if it took me a while to get a hang of the controls  

Aurelia Le Guin is just Edelgard Fire Emblem, right? And Bardias is Claude? Except I guess this game came first, so like, other way around

Man I loved flying around on the Courageous. Also I FINALLY got a map, all I wanted in CS1 was to see a map of the country 

However, Act 1 was definitely my favourite part - the sequence where the kids have to sneak through the railway lines under the bridge to get to Garrelia is one of my favourite parts of this entire series. I kind of wanted the whole game to just be this group of teenagers trying to lay low and survive a civil war while also travelling and helping out from place to place

I uh... I want JRPG Life is Strange 2

Why is there a snowboarding minigame. I mean, I loved it, but... why is it there?

I still really miss the old battle orbment designs from Sky. The ARCUSs just aren’t as cool :(

I watched the secret Black Records scene on YouTube and I am so happy to finally have an explanation for Rosine, it was really bothering me that she seemed so out of place at a military academy

I’m very very hype to play CS3 based on the spoilers I have for who will be making appearances...

:D

Seriously why is everything in these games azure though just say blue-