#let's be honest he would do this shit

[golbrocklovely]

can't wait for elton to hear snc are going to the conjuring house for a week so that he can come out with a video titled "spending TWO WEEKS at the conjuring house" lol

[softiedingo]

fuck you FIA, honestly

[snekdood]

"if we make america worse and more of a dictatorship that will be even harder to unravel and make it the way we want the country to be, maybe then everyone will join our Glorious Revolution!" bb girl you cant even be in the same room with someone who thinks you should vote, how in tf do you think you're gonna unite people to fight in The Revolution with you? it's gonna be you and your 5 friends, i hate to break it to you.

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[tcfactory]

the obvious shenanigans that follow are well! if sj isnt going to socialise the poor beast then sy will! lqg staring like. "What is that." begging peak lord Liu's pardon, but this is a spiritual wolf that is meant to be under the care of peak lord shen. it requires socialising and i was informed you also possessed a spiritual wolf! the wolves, ofc, get on. sj wants to die when he finds out. he wont STOP them because that would make it worse but sToP WaGGinG YouR TaiL when liu-shidi comes over!!

Liu Qingge takes Shen Yuan at face value about the wolf - like, he knows Shen Qingqiu's daemon is a wolf, had seen its silhouette move in the shadows during night hunts, but this wolf is out in the open and is getting pets from Shen Yuan so he can't be Shen Qingqiu's Calamity (the wolf is actually called Harbor, like 'Safe harbor in a storm', but he would never admit to it so when people started making up names he just ran with the most menacing/powerful sounding one) - and during the next Peak Lord meeting he goes to confront Shen Qingqiu about neglecting a spirit beast in his care. How jealous does one have to be to hurt such a majestic wolf like that?! He can tell exactly what caused those scars and he will not stand for a fellow peak lord whipping innocent beasts!!

Shen Qingqiu can glare Yue Qingyuan into silence, but not quick enough to shut Shang Qinghua up before he can blurt out what's up. Liu Qingge demands that Shen Qingqiu prove himself by calling his daemon there. He's reluctant, but complies. Everyone is upset at the state of the wolf (did someone try to dock its tail to make it look a bit more like a dog?!?!!? yes, it was one of Qiu Jianluo's bright ideas to make them more obedient), most of them on Shen Qingqiu's behalf. Shen Qingqiu very much wants to strangle both Liu Qingge and Shang Qinghua, so Airplane reaches for the most convenient bombshell he has as distraction and blurts out what happened to Yue Qingyuan before he flees.

So now Shen Qingqiu has a regretful shidi (planning various nutritious and difficult to hunt monsters as apology gifts) a very regretful and kinda relieved shixiong (sporting one hell of a black eye) and a bunch of other mildly regretful and worried martial siblings and things are going to be fine. All thanks to one oblivious but very pretty hallmaster of his who he absolutely will not thank or fill in about what's up, no sir. (It's fine, it will take YQY and LQG maybe a day or two to get over their shock, realize what happened and start matchmaking, like the idiot sibling-types they are. Shen Qingqiu will have a supportive family whether he wants one or not, and we all know that he kinda really wants one actually.)

It's all going to be fine.

[sophiethewitch1]

You mentioned that all the Wayne's post thirst traps. And that Damian's are like Victorian women showing some racy ankle. What does he consider a thirst trap then.

Have you ever seen a man in a dark turtle neck sweater.

[beanghostprincess]

Law would love "House" and Sanji would love "The Bear" yes, but have you considered both of them watching Love Island together

[scrollonso]

this is pissing me off bc bez looks so good in this picture but ALL I CAN SEE IS MY EX BOYFRIEND.

its really just the hair but i actually am tweaking rn.

[mcybree]

Thoughts on 3rd life mirror birds. 3rd life big dogs. 3rd life property police. They fascinate me and I think you have thoughts on them but I might be wrong..either way

i do in fact have thoughts on them but i think if i talk about 3l!flower husbands publicly any more rn I’ll get so self conscious I’ll explode on the spot. this being said i have still yet to watch evo but its been on my list for forever bc of 3l!property police specifically… i really love martyns petty grudge against jimmy for those first two episodes he acts like he’s 12 and really pissed off on the playground. anyways i think that martyn going from being concerned for his friend to Just Fucking Lying to split up Scott and Jimmy, because he took personal offense to Jimmy being unwilling to drop everything to go live with him on the spot is the funniest thing in the world. Girl it’s not about you

[deva-arts]

You got isekai'd into SYSTEMA. What now.

Be amazed.

Remember I spawned into the "everything sucks" world.

Break down and cry.

Consider death as an escape.

Summon the global chaos by leaking insider secrets that could make about 200 new conspiracy theories.

Hope that Sera's conspirator ass tries to find me before one of the hits get me first.

Ending 1: I get sniped.

Ending 2: I get jumped.

Ending 3: I get kidnapped.

Ending 4:

Ending 200: It worked! Sera insults me. I cry from both the height she's holding me at and the insult respectively. She tells me to quit sobbing so I weep in incognito mode.

Make it into the Manumission. Wipe my face. Contemplate death again.

Get interrogated.

Get welcomed in! (I am still under close observation)

Quietly fangirl about my characters in 4k then feel incredibly weird about how much I know.

Get interrogated again.

I know that Nathaniel knows that I know but he doesn't know how much I know until I make it known that I know that he knows.

Consider death as- oh. He heard that too.

Literally everyone freaks me out for different reasons. I hang out with Sonia. She calls me fat. I still like you Sonia.

Live in the manumission under witness/informant protection and try not to die.

[martyrbat]

so many of you talk about the cruel adults in your childhood that negatively effected you and caused lifelong insecurity yet you're still perfectly fine with being that mean stranger to any kid that has the misfortune of existing around you and thats just really gross !!!

[idiosyncraticrednebula]

People on social media will get mad as hell and call you problematic if you enjoy a villain for being, well, a villain.

[sukugo]

jujutsu societal debate where people fight over whether it's problematic to fuck curses

[running-in-the-dark]

and I'm having thoughts again

so I've been watching that John Larroquette interview that I reblogged on repeat for half an hour now and I'm just. man I am so very....... okay I'm trying not to say that I'm stupid anymore but god what else is there to say. it's making me feel like my brain just turns off and all there is is static and [insert very high frequency screaming sound].

like I would love to be able to have actual thoughts about this shit but I am not. I just love love love people who think about shit and face their issues and work on getting better. and talk about it. like it's just a thing that happened. because it is. it's not 'oh you did bad shit in your past so you're fucked forever now'. it's 'bad shit happened, I did bad things, I confronted it, I made different choices' and that's it. I just. man I'm feeling really emotional and am probably gonna have a good long cry about this now.

[princekirijo]

Something I didn't really notice until replaying Royal but Ryuji really doesn't let the past hold him down? Like in the rank 2 scene he tells Akira that he doesn't want to focus on his past and he's more focused about the future.

I think that's kinda neat tbh he doesn't wanna let the stuff with Kamoshida or his dad drag him down, he just wants to keep going forward.

[lloydfrontera]

the webtoon may have left out a lot of things but they did yassify the orcs which is the funniest thing to me right now

*sigh* they did yassify the orcs <3

now i want to see what they'll do with the sirens and whether i should be excited or worried lmao