#like you’re telling me there’s a storyline where he doesn’t go through a character arc???

[aostrayer]

sam is my favorite to draw right now he’s so silly

[bibibbon]

as one of the three mustard fans i feel obligated to yap about him to anyone who will listen.

in the grand scheme of things he’s not particularly important, but the few scenes he’s in definitely are.

he brings up something that many people forgot while watching the show.

that even in a world where people can turn their skin into steel or shoot acid from their hands, a bullet is a bullet.

that no matter how powerful your quirk is, if you get shot in the head you’re gonna fucking die 😭 i mean unless you have a regeneration quirk but those are pretty rare and if someone unloads a revolver into your skull i doubt your quirk would be able to keep up with the damage.

it shows people that a villain doesn’t need a powerful quirk to be dangerous. someone who’s competent with a gun or a knife can be just as dangerous as someone like dabi.

he’s also extremely intelligent. being able to tell where people are based on the movement of the gas isn’t something inherently related to his quirk, it’s a learned skill. he’s also very skilled with his gun, he was able to destroy tetsutetsu’s mask with one point blank shot. as well as being able to hit the same spot multiple times to break through tetsutetsu’s hardening.

when kendo says that mustard carries a gun around because he “can’t win a fight on his own merits” as much as i love her, she’s really stupid for that.

snipe’s whole thing is guns. his quirk has nothing to do with guns inherently, he just chose to use them. and support gear is a massive industry in this universe.

and no one talks about why this middle schooler has a gun and is hanging out with the LOV. that’s not exactly normal middle schooler behavior.

i have some theories so bear with me while i ramble about him.

so obviously he has a villainous quirk. his gas can kill people if they’re exposed to a concentrated amount of it for long enough. and he can’t control where the gas goes, only how much he releases.

(this is more of a headcannon but i like it too much to not share it. his father can create small amounts of purple mist around his body, and his mother sweats bleach. but one of his grandparents could create an ammonia based gas. and what happens when you mix ammonia and bleach? you get mustard gas. ik it’s kinda dumb but i like it.)

i believe that he had a hard time controlling his quirk as a child. with strong emotions causing him to activate his quirk.

in this universe there’s definitely schools/institutions for kids with dangerous quirks. so his parents probably shipped off to one of those institutions so they didn’t have to deal with him.

i feel like he resents the UA students because if an employer sees they went to UA, they have a way higher chance of getting the job.

but when they see that he went to an institution for kids with dangerous quirks, he could be rejected on the spot.

tl;dr i love mustard someone please sedate me

Since you posted this ask to me Iam assuming that Iam one of the three mustard fans and Iam honoured to be recognised as such.

As you know I have talked about mustard before and the potential his storyline has here.

Your whole rant makes me think that mustard in canon is basically the vision people have for fanon villain izuku and I love it.

Mustard brings up a good point which is that people rely on their quirks too much because someone with a uselss or a weak quirk can still be dangerous and powerful by honing in their other skills. Heroes who rely on their quirks primarily and nothing else are the ones that get injured and hurt the most because even if you have a powerful quirk it's not guaranteed to help you in every situation. Sometimes quirks cant always go up against technology as we see in the vigilante arc technology can very much overpower strong quirks whether you like it or not.

Oh I actually do like your headcanon. Personally I have always interpreted mustard as having an anaesthetic type quirk something similar to midnight. I wish the series delved into midnight and mustard interactions especially because mustard is too young to go to jail as people in Japan can only be punished for their crimes when they're above the age of 14.

Reputations and public image are very important things in MHA whether you're a hero or not. Mustard going to that type of institution is interesting although I don't think there are any in canon. I have interpreted it as mustard having something similar to toga where they both suffered from horrible quirk counselling and were told to control themselves not taught how and an incident happend and they ended up here. However everything that comes to mustard to me is 10 times more interesting simply because of how young he really is and how vague everything about him is

[autumnmobile12]

I’m hoping that as Nocturne continues, that there might be some eventual parallels between Alucard and Richter.

I’ve mentioned in another post I don’t really like Richter.  I’m not going to reiterate the entire thing, but the long and short of it is I found his character unnecessarily mean-spirited.  Some of his dialogue really rubbed me the wrong way and I didn’t find his lines all that funny.  But it’s this specific line to Tera that sealed the deal with me disliking him.

“And you just happened to stumble upon it one day while you were out picking flowers?”

Um, what the fuck?  She raised you, gave you a safe place to grow up, has been a surrogate mother to you, and has shown you nothing but kindness and support, and you’re going to talk to her like that?  What an asshole.

And this is the difference between Richter and Trevor’s characters.  Trevor is an asshole, but did he ever talk to Sypha or her grandfather this way?  No.  Did he talk to Alucard this way?  Well…yeah, but also observe Alucard also woke up snarky and began insulting him from minute one, so we can argue they are delightfully matching each other’s energy with a vengeance.

But I’m not gonna lie…for the first two seasons, I also didn’t like Alucard’s character all that much and for the same reasons.  I’m a little biased as I generally don't like protagonists who are just mean for no reason.  We all know someone like that in real life, whether they’re a relative or a co-worker or a boss, so why deal with it in fiction?  Okay yeah, I get that it’s often part of a character arc and symbolism for growth and finding maturity.  I understand why storylines like this are necessary, but I’m still gonna hate the little shits for the duration they’re assholes.

So Alucard…the way he treats Trevor in the first two seasons is also pretty crappy behavior.

“I imagine one sacrifices a chicken, and divines the location of the book you want from the intestines. Maybe Belmont has a crystal ball in here you could ask. ….  Your ancestors were apparently mentally ill hoarders.  I fully expect to find family cats mummified under some of these shelves.  Unless your family preferred to eat them.”

You’re gonna talk to your comrade like that…in his own home…where his entire family was brutally slaughtered by a mob....possibly right in front of him?  Yeah, real charming, Alucard.  And this is the tone for his character in the beginning.  There is the point where Sypha calls him out and tells him to stop testing Trevor, but I think there’s another element at play.  “…and he’s a drunk and he’s self-destructive and anyone trying to hold on to him may as well be dragged down with him.”  He isn’t just testing him, he’s judging him and he’s already decided he’s a useless drunk who got lucky and happened to win a few fights.

All right, now that I’ve dragged him through the mud, I’m going to pull back and assess the wider perspective of Alucard’s full character arc.  Alucard’s growth follows the line of the spoiled brat who experienced hardship and had to grow up because of it.  I think Alucard lived a very sheltered life before his mother died, and his actions and dialogue in the Belmont Hold are the strongest indicator to this.  We clearly see he’s disgusted by the trophies and the history of murder against the vampires, and he is not shy about voicing his contempt towards the family’s entire purpose.  He’s right, though.  With the presence of the infant skull in the display case, we do get the very subtle nod that the Belmonts, for all their claims of virtue and protecting humanity, have also committed atrocities.  He does have a right to his anger against Trevor and his family.

But what’s absent from Alucard’s character here is the fact he doesn’t seem to consider the atrocities the vampires have committed against his mother’s people.  To the vampires, humans are food, livestock, and a lesser species.  Godbrand brutally murders several humans in his flashback with no clear intent on actually eating them, so he kills for sport.  Cho torments the humans in her court by amusing herself with duels to the death that only she can win.  Not a humane way to treat the vampire equivalent of livestock.  And exactly how long does Erzsebet Báthory keep those girls chained up while she drains them of blood?

Why does Alucard condone what the vampires do to humans and at the same time condemns the Belmonts for hunting the vampires?

The answer:  I don’t think he did because I don’t think he was fully aware of these scenarios.  Think about it, he had no knowledge of Dracula’s Generals and the only thing he talked about regarding his father was the tragedy of his madness and how killing him would be destroying centuries of knowledge.  I think Dracula wanted him to have a peaceful life and fed him the more rosy-colored version of their history.  Maybe he intended to tell him one day, and that day kept being put off by the sentiment,  “He’s a boy.  Let him continue to be a boy.”

Alucard lives his peaceful childhood until it comes to a screeching halt when Lisa is killed, so I honestly think there is an innocence behind his upbringing that gave him a very clear bias against the Belmonts that was completely justified in some elements and not so much in others.  There’s also the point that he keeps referencing Trevor as a drunk, which is very much condescension.  It’s not until Season 3, after he’s experienced his traumas and has fallen into his own slump of grief that his attitude towards Trevor changes.   There��s still ribbing between the pair, but it’s not the same cutting remarks that we saw back in Season 2.  Alucard walked a mile in Trevor’s shoes, and that mile was bitter.

...

So where I stand with Nocturne:  Richter has started off in a way similar to Alucard.  He lost his mother at a young age, but aside from that, he grew up safe and loved in a stable home, has a good relationship with Tera and Maria, and has otherwise led a relatively peaceful life. Even in the midst of the French Revolution, they don't seem like suffering peasants.  Like Alucard before his world truly went to hell, Richter also didn’t have a full concept of what real hardship looks like.  This is apparent when he’s all confidence and bravado, going around and yelling he’s the ‘last of the Belmonts’ and he ‘kills vampires’ and “Who’s next?”  And then Olrox shows up and he cows him right back into the scared, little boy he’s pretending he’s not.

And so not only is there a parallel between Richter and Alucard, but there is also a big one between Trevor and Annette.  Both of them have suffered through their own individual hardships, both losing their loved ones in some of the most brutal ways imaginable, but those same hardships gave them their pride and their poignant maturity and cynicism in how they see the world.  Granted, the difference between Trevor and Annette is she never lost her purpose or her will to fight despite having been dealt the worse lot of having been born a slave, but still…Trevor never ran away from his nightmares like Richter did.  Even though Annette and Trevor have their moments when they are scared, both of them stood up and said,  “Fuck it, I have a bastard to kill and if I die killing them, so be it.”  They don’t give an absolute damn.  They took their pain and they wore it like armor.

“Killing you was the point.  Living was a luxury.”

“If I let my past terrify me, I’d never be free of it.”

…

Compared to them, Richter is a spoiled brat who has yet to grow up.

And I think Alucard’s going to be right there with him saying,  “Don’t worry.  I was like you once and we’ll get there together.”

[maygrcnt]

do you think the Oliver stark interview hinted at bi feeling realizations at all (in general/outside of a romance), or do you think there is something else that is gonna happen on Buck’s journey of self discovery and fans are just reading into what they want? im personally so conflicted. Like I absolutely see it reading as sexuality realizations but overall it’s still vague enough it really could be anything. However, I am having a hard time thinking of what “anything” else could be unless they really are hiding a female LI (new or return) or revert back to the hamster wheel. I guess there is also job/career stuff as well but that looks like it might be going to Eddie/another character, though the “I can’t tell you how to feel about the job” and promo pics for the episode could all be misdirects to who they are geared towards (🤷‍♀️).

There’s so much of me that wants to say yes absolutely. but i try to keep myself grounded and not get too excited so like ill hit you with a strong maybe?? but here’s why i do think that a sexuality storyline is in store based on some of the points you brought up here:

you’re so right that he definitely kept it very vague which is where my skepticism comes in, but i’m rly similar to you in where i just can’t find anything else that makes sense.

if we go down the job security route, well first of all we’ve done that before, god have we done that before. the lawsuit storyline happened and if we have to revisit the idea of buck feeling like he’s not useful if he’s not a firefighter after that… idk i will probably lose faith in this shows writers. Within the professional sense there’s also the idea of insecurity in professional development which we did last season (we also got the most insanely buddie coded conversation that started couch theory through that storyline which i think is… of note). but then there’s just the fact that why in the fuck would he be envious of eddies relationships if it’s about work? like there’s the idea that eddie could go to a different place to work and he would be jealous that eddie is doing new things with his job and he isn’t but, idk there’s just not a lot of substance there to me.

the word envy was very purposefully used in my opinion and i think it’s def telling us that this is much more of an interpersonal issue than professional. that then brings us to the idea of female love interests and the hamster wheel. when you think about the storyline with lucy in place of tommy… things get more interesting. because if buck is instead envious of lucy and eddie getting closer together then there’s this idea of the fake out: buck had something romantic with lucy once so he doesn’t like that someone else he knows is getting close to her but SURPRISE he actually wants eddie. like in my mind that’s how the story was supposed to go if lucy was here, but with tommy they maybe had to tweak and twist it a bit.

i got off track there but i guess in short, yes i really do feel as though a sexuality arc is coming. because anything else would either just be boring or a rehash of old news. but we’ll see! thank you for the ask mwah

[wafflesetc]

The only rationalization I can make of what was done to Jay last episode, for the writers, he's no longer a character, he's just an object a means to an end, a way to get the story from point A to B. It's clear that Sean is obsessed with Hailey and they're going to have him getting under her skin until, I think they get to some showdown where he kidnaps her or something along those lines. The only way they found for that to happen, for Hailey to let herself get tangled in him again, is if she's still trying to avoid her personal life and looking for distractions. The excuse that she wasn't able to contact him was too weak and wouldn't last long, so they needed to make it worst, take away her hope (and ours) of this being a temporary thing and that he'd be back soon. That way, it'll make sense when she falls to Sean's tricks, even though she knows exactly who he is. She'll be spiraling over her crumbling marriage and an 'easy prey'. I don't like it one bit, but I think is what makes more sense with what we've seen so far

There’s a lot of truth in what you’re saying. I also feel it, deeply.  I am really at a loss for what to think or feel about this whole situation for a variety of different reasons. Mostly, I know what the show is capable of and I know the foundation that they have laid for each of the characters and the relationship, and what we are seeing with the season ten storyline doesn’t mirror or respect anything we have seen in previous seasons. 

They could have had him extend his time there with a one-sided phone call, like we saw Hailey have with the Army, where he tells her he needs more time, etc. It still would equate to a painful arc for Hailey, still leave him off our screens, and whatnot. However, hearing it from her husband rather than some Army person would have made a heck of a difference in how people feel about the situation. Would I have hated the scenario? Yes, but it would have felt more like them than what we saw this week. 

I said in a previous answer that I just don’t see this as it completely finished yet. I don’t know if they even fully know where they are taking it, but I do think they have an idea. 

There’s too much happening with Sean, the fact they are choosing to put Hailey through this continually through the season, I just think there is going to be more to all of this. The question becomes will we like the pay off or not. 

I’m not here to hate on the writer’s room... But I am okay with being critical. As I said above, they have enormous potential - both in the writers room and with the cast - we’ve seen it on our screens before. What we are currently seeing has been some very good acting, but I would argue the writing hasn’t been to the level that the writer’s could be writing for us. When we’ve seen the great pay off of things (in previous seasons) and then we get these storylines (in season ten) that don’t feel like the characters they have written in previous seasons, it really makes me scratch my head.

I’d love to have Gwen do an interview with someone who knows how to ask proper, analytical questions, rather than someone who asks things just for clout. And for that - I will add, Tracy was asked a question about “when” she may or may not take off her ring. What I will say to that is that reporter isn’t one of my favorites. For a number of reasons. Also, when that question was asked was back in December, as they were filming episode 12. The cast has said multiple times that they don’t always see scripts in advance and they more or less only focus on the one episode at a time. I genuinely think Tracy doesn’t/didn’t know long term what was happening there. 

Anyways, this is probably longer than you thought it would be so I apologize. I just can’t seem to shut up about all of this.

[matan4il]

Great Meta once again!!!! Thank you!

Such an interesting epsidoe. 2 themes struck me and would love your thoughts.

I withheld my opinion on how long this storyline was in Bucks character Bible based on how long Conor stuck around. I'm more then convinced now that yeah it was probably always gonna lead here when they originally introduced him in 4. Bucks story arc has been consistent and now I'm just really fascinated to see how it will play out.

Also loving that they are leaning still into Hen and Buck because one they have always had a strong bond, but it really was those 2 together last season. It doesn't take away from Eddie and Chim at all. But again like above it sort of shows a continuation that the storyline was always gonna land here.

And just a bonus but JHC is the lack of Buddie talking is so blaring, its loud AF. This show knows it's bread and butter is Buddie. If they wanted to capitalize they would be using them like buddy cops or work husband tropes. However no, they are ratcheting up the tension so high and I can't wait for the explosion you know. They are due for a knock out drag out kiss and make up scenario lol

Hi lovely Nonnie! Awwwww, thank you so much, I’m so happy you liked my 607 meta, you’re so kind to let me know you did! ^u^

I honestly don’t know if when they introduced in 405 the (then still unnamed in the dialogue itself) Connor, they already planned to use him in s6. I tend to think TV shows usually plan repeated guest appearances for later in a season or for a following season. If it’s about a vital part from the initial background of a character, they might plan two (or more) seasons ahead, but my impression is that it’s not that common. From the little we know (and if we believe Tim), they didn’t plan on doing a Buck Begins, because they felt we already got that when we saw Bobby’s. So the Daniel reveal, it was presumably not a part of the character “bible” until right before s4. But TBH, I don’t expect too much consistency from the Begins eps, I think almost all of them ended up contradicting something else. When 405 aired, I believe I tried to calculate Buck’s timeline and came to the conclusion that it doesn’t add up (for example, that what we see in Buck Begins contradicts some of the stuff about the Navy SEALs he told Bobby in 102). But it doesn’t bother me that much, I choose to suspend my disbelief, if you will. ;) And I’m with you, I can’t wait to see how everything will unfold! :D

I also agree with you on Buck & Hen, I love their friendship ever since s1, and I kinda once made a lame edit (accompanied by a ficlet) to celebrate it. XD *hides under a chair*

Oh yeah, Buddie not speaking was loud enough in 604, where Eddie literally called Buck out on not talking to him about what Chris was going through, while we witness Buck suffering in silence without telling Eddie anything about his real secret, it’s even louder now that Buck’s secret was spilled. I do expect that we’ll see them talking soon enough, because yeah. This show has intentionally built Buddie up, brick by brick. They even made sure to include the lasagna scene in the s6 premiere to let us know they didn’t forget about this little family unit Buddie have with Chris. I can’t see how they can proceed with Buck’s storyline this season without letting him talk to Eddie about it. “kiss and make up” NGL, I wish the kiss were a literal one. XD

Have a great day, hon! And as always, here is my ask tag! xoxox

[bonefall]

So, with the Holly thing you had me thinking. You said you were considering having her be the tunnel friend haver instead of Lion but I'm wondering if you have something else in mind for Lion in Dark River to replace that. One of the things that made Dark River my fave of the Po3 books on my reread recently was the fact Holly and Lion's stories about leaving behind a friend from another Clan and being emboldened in their attitude that ThunderClan is all they ever would need were so symmetrical. So the thought that some of that may be lost by consolidating the Hollypaw and Willowpaw and the Heatherpaw and Lionpaw storylines only onto her character leave me wondering if you're deliberately leaving this theme parallelism on the choping block to make space for something else with him.

Hollyleaf

The way I’m approaching Po3 is that Hollyleaf is its protagonist, and Lionblaze and Jayfeather are secondary ones. Like I mentioned, Bonefall Po3 is a big slice-of-life breather story to draw out the world, and show the Clans settling at the lake.

So I think Hollyleaf is the one who tells this story the best. As apprentice of the deputy Brackenfur, she’s dealing a lot with the ideal of Clan Loyalty vs the reality that the Fire Alone ideology changed a lot about Clan Culture. She goes out with him on a lot of missions and learns to play politics with leaders and senior warriors who are sort of ‘fighting the tide.‘

She’s a LOT like Firestar and idolizes him, subscribes to his ideology, but is reckoning it with the fact it’s based on breaking the very flawed code. I don’t have a clear line to the end yet, but that’s my premise.

Lionblaze

So Lionblaze’s story is going to be a lot simpler in comparison. I actually want the journey to the Tribe to really be where his ‘finds his way‘, and it’s a much simpler arc. THAT’S the moment where he realizes what a Clan is really all about, about how important family is, and that the purpose of strength is for protecting what you love.

So basically; the Tribe Protection Arc is COMPLETELY his. He bonds with a lot of tribe cats, learns about the history of the Forest territories, and how to really appreciate his own culture through respecting others. He’s also drawn to a very interesting figure in Tribal folklore; Lion’s Roar.

Of course... he doesn’t become a perfect person here. He becomes VERY willing to apply force to every problem, eventually shoving his own children at problems they’re too small to handle in OotS.

But TL;DR You’re right that Lionblaze is getting consolidated in the rewrite, but I promise I’m giving him something good too.

(Plus, his role in OotS is massive where Hollyleaf is gone during it, so I want to make sure she gets love while she’s here.)

[the-girl-from-another-time]

The Issue with Multiverse of Madness: Wanda’s Characterization

I really wanted to like Doctor Strange In the Multiverse of Madness, but Wanda’s characterization kind of ruined it for me. Honestly, the writers seemingly erased all her character development from WandaVision. *spoilers ahead*

The whole point of Wanda’s arc in WV is that she went through all the stages of grief, and in the finale, she reached a point of acceptance. She got a sort of closure. She accepted the loss of her family and made peace with it, acknowledging that preserving her family was not worth the cost of innocent lives. So you’re telling me that it makes sense for her to then turn around and murder tons of innocent people so she can get her family back? When the exact opposite of that was literally the point of her character development? Honestly, I feel betrayed.

MoM reversed (or straight-up ignored) her arc. The WV finale made it seem like she was getting a fresh start, albeit a bittersweet one. This movie made it clear that isn’t happening. Even though she redeemed herself in the end by sacrificing herself, Wanda is an amazing character who deserved so much better than this! She deserved better than erased character development, becoming a mass murderer, and then getting killed off. I also resent how in the WV finale she finally came into herself and reached her true potential with this incredible moment of transformation, and then they turned her into a crazy, murderous villain. Yes, I know the Darkhold corrupts its readers, but still! That wasn’t shown. If the whole movie had been Wanda reading it more and slowly sliding into evil and obsession, that would have felt more believable. As it is, Wanda going from closure and acceptance straight to this level of “evil obsessive villain” felt wrong on so many levels.

Also, where the heck did the White Vision storyline go? In WV, Wanda’s Vision gives White Vision his memories and essentially his consciousness, and it was kind of implied that now White Vision embodies everything about the Vision we know and love in the MCU. So, theoretically, he could be with Wanda, and things wouldn’t have been much different. There was every opportunity for (and plenty of hints toward) a happier storyline for Wanda where she gets to continue on her journey of healing. She didn’t get that, and I don’t see any good reason why not.

Basically, just because you can go with a certain storyline or twist doesn’t mean you should.

[heartsgallery]

my heart’s far, far away…

random post about a random scene because it’s 2 am and i just remembered and i still get left breathless every time i just think about it. let’s talk about one of my absolutely favorites rina scenes on the show: my heart’s far, far away.

this might be, at least to me, the most heartbreaking on the show by a landslide. but it’s so beautifully tragic and so carefully crafted that it makes it so perfect.

the whole season leads to this moment, and specially ep 6: the moment gina lets ricky go. like i said, their s2 storyline slowly builds to this moment but in ep 6 before we even have seen the flashback scene the meaning and the tone of this scene gets marked: ashlyn asks gina “what is your heart telling you?”. gina, who’s been talking about non stop about how she doesn’t know where ricky stands, before even thinking of herself, looks at him and responds: “i don’t know”. with this set up, we now know one pivotal fact. ricky’s IS gina’s heart. he’s not in her heart, or has her heart. he is the whole heart. ricky, the outsider who had her back. ricky, the first boy she ever liked. ricky, the guy who finally made the girl who’s always on the move want to stay. it’s not a crazy idea to think that he became her heart and guide during the whole s1 and then she leaves and ricky gets back to nini, and everything in gina’s life suddenly gets messy (not to say gina’s whole life revolves around ricky but it is interesting to see how both characters arcs go through their personal hardest moments when they’re not together, not even friends). it’s such beautiful and heartbreaking concept in the context we’re standing that i could literally start crying right now

and then, with all the cards laying in the table, now we know about gina’s confession, she closes the door to ricky: “nini’s back and he’s so happy now. what there’s to talk about?”. that’s probably the moment gina gives up on ricky for good, or at least the first she tells it to herself. now we have to find a way to make ricky “”know”” about it. then here comes my favorite scene ever

now i can’t think of a song that could fit ricky and gina’s individual and relationship arc until s2 better. these are the lyrics that start to be sung when ricky enters the room and gina sees him:

- oh but yes then, as my life has been altered

- once it can change again

“so what changed?” “let me guess, just when you’re getting use to things changing, they change again” “i don’t know, something’s different” “everything was the same every day, nothing changed” and i could goooo on for days but i don’t need to explain myself and ricky and gina being two sides of the same coin when it comes to change, and twin flames, and a lot more, right now

- nothing lasts, nothing holds all of me

“there’s no point on calling me anymore is it?” “the disappearing gina act” “i’m a change-of-scene”

- my heart’s far, far away

AND RICKY IN THE BACKGROUND LITERALLY WALKS AWAY. LIKE LITERALLY. EXPLICITLY. and not only walks away from the room, but from this point of the season, he completely walks away from her life. this is their LAST moment of the season. you can put a finger on it and exactly say this was the moment gina let her heart go. what was her heart telling her? her heart was just far away. i literally don’t think i’m making any sense right now but when i tell you this scene makes me insane. i was so angry when we didn’t get more scenes after this but looking back, let me admit this was the perfect perfect closure for the arc they built for them in s2. and specially because it left the door open for so much more. because it never implies that ricky ever stopped being her heart, he just went far away from now. and now, the second that it get close again, it’s inevitable that every feeling comes back because they never disappeared. the show told us that.

i feel CRAZY right now but i just love this scene so much i started rambling nonsense at some point 😭

[musclesandhammering]

Every Single Issue I Have With S*lki (It’s Not Just The Selfcest)

Here goes. I threatened to post this a few days ago and never did, but I just saw a s*lki stan Twitter account claim that Loki caring about Sylvie more than the whole multiverse was a Good And Romantic thing and it pushed me over the fucking edge, so now you all have to read this. I’ve divided it into categories cause there’s just THAT much.

OOC Bullshit

• First and foremost, no amount of mental gymnastics you do will ever make me believe that this specific Loki- the one that just invaded New York, that just came off a year of Thanos Torture, that just got done being influenced by the sceptre, that was literally in the middle of a crisis already, and then on top of that went through all the trauma of Ep 1- would even be worried about a romantic relationship. That would be the furthest thing from his mind. Go back and watch how he acted in Avengers- you think that guy would abandon his previous mission to become a snivelling simp for a girl he’d just met 3 days prior? Yeah, there’s no universe in which that makes sense.

• “It’s very in character for Loki to fall in love with himself lololol-“ NO, it’s literally not. Out of all the characters in the mcu, I don’t think I can think of anyone that genuinely hates themselves more than Loki. He even referred to all his other male variants as “monsters” and said meeting them was “a nightmare” in this series. He’s got so much self-loathing, plus the fact that he genuinely thinks himself to be an evil backstabbing scourge- so there’s no evidence at all suggesting that he would ever develop a fondness for, or even be inclined to trust, another version of himself, after only knowing them for 3 days.

• Building on that, the whole concept of Loki falling in love with a version of himself just feeds into the annoying ass misconception that he’s a narcissist. No matter which way you stack it, he’s not. If you’re referring to NPD, he doesn’t fit the criteria, and if you’re saying “narcissist” just as a slang term meaning “selfish and arrogant”, that still doesn’t accurately describe him. But when creators like Waldron and Herron do things like having him fall in love with himself, it makes it so much easier for casual viewers to think that he is.

Shitty LGBT Rep

• It’s kinda sus that Loki’s are allegedly genderfluid and yet the only female-presenting variant we see (and apparently the only female-presenting variant there is, cause the male Loki’s all seemed unfamiliar with the concept) is treated as some kind of mind-bogglingly special paradox. Also very sus that, out of all the Loki variants, the one our Loki falls in love with just so happens to be the only female one. What a coincidence.

• The fact that the creators of the show went around bragging about Loki’s bisexuality and Marvel purposefully (lbr) allowed stories about Loki possibly having a male love interest to circulate, specifically enticing queer viewers to watch the show (you know, the definition of queerbaiting), and then instead of having a male love interest (Loki was the first queer main character, so it was the perfect opportunity) they gave us *gestures to this dumpster fire* this… it’s just a middle finger to LGBT fans. The fact that they would rather have this relationship with all its myriad of problems than have a gay relationship is just……. Very telling.

• While him being with a woman obviously doesn’t refute his bisexuality, the fact that they showed/talked about him being interested in 3 different women (flight attendant, Sylvie, Sif) and never even hinted at him being attracted to a man, definitely makes it seem like they were trying to cover up his bisexuality to smooth things over with the more homophobic viewers. You know? It’s like “I know you’re pissed that we sorta confirmed Loki as bi, so we promise we’ll never mention it again! Or even hint at it! As a matter of fact, we’ll give him lots of female lovies and make him seem as straight as possible! That’ll take your mind off of that horrible crumb of queer rep, right? Please please please keep giving us your money!!!”

• Aside from all the other issues, at its core, the biggest reason why I think I’m so irritated with s*lki is that it took one of the most interesting, complex, and diverse characters in cinema atm and squished him into a tired ass unnecessary heteronormative subplot…. Like literally every. single. other. protagonist. ever. Loki is such a unique character, and it’s so so so incredibly disappointing that they stuck him into that same boring cookie cutter romance that happens to every other character in every other movie I’ve ever seen. It’s a disservice, and it’s honestly just not compelling or entertaining at all.

Thematic Issues Galore

• His arc didn’t need a romance. With anyone. It was unnecessary and it didn’t make sense plot-wise. In fact, one of the reasons he was my fav prior to this was because he was the only big-name mcu character whose story wasn’t muddied-up by a romance that didn’t need to be there. So much for that.

• He wasn’t emotionally ready for a romantic relationship with anyone. Hell, just a genuine friendship would’ve been pushing it for him at this point. He was in such a bad state that any relationship he got into would’ve been toxic and unhealthy for both him and the other person, and it doesn’t make sense why the writers would want to put him in one when there were so many cons and essentially no pros (other than “Uwu aren’t they cute together”).

• Sylvie’s character in general was unnecessary and Loki’s character was robbed just by her being there. The whole show became about her post-Ep 2. They spent most of the time giving her backstory, building her up, telling us how awesome she is, trying to convince us to like her, etc when what they really needed to be doing was building Loki up- cause I gotta say, if I had to describe TVA!Loki in a few words, they would be Flat, Boring, and Weak.

• The romance overtakes the plot. They spend time portraying their supposed connection that could’ve been spent adding depth and complexity to literally any of the characters. They make the big Nexus Event them giving each other googly eyes on Lamentis when it could’ve been so many other way more profound things that speak to the fundamental nature of Loki’s. They have the climax of the finale be “oh no she betrayed him to kill He Who Remains” when it could’ve been something way more compelling (Loki having a moral crisis over whether or not to kill HWR, Loki contemplating the state of the multiverse and weighing the pros and cons of freedom vs order, Loki looking into some What If situations and getting emotional about what could’ve been regarding his family, Loki realising the gravity of HWR’s offer and finally coming to terms with how important he is to the universal cycle, etc etc). The entire plot suffered in favour of a romance that half of us didn’t even want.

• It essentially reduced all of Loki’s potential character growth down to “He did it for his crush.” He seemed to at least have some motivations of his own in Ep 1-2 (feeble as they were) but after Sylvie showed up in Ep 3, literally every action he took was just him being a simp for her. Why did he lie in the interrogation? To try to protect Sylvie. Why did he fight the minutemen and Timekeepers? To survive kinda, but mostly cause it was important to Sylvie. Why did he get pruned? Cause he got distracted trying to confess his crush to Sylvie. Why did he try to get out of The Void? Cause he thought Sylvie needed him. Why did he stay in The Void? Cause Sylvie was staying. Why did he try to enchant Alioth? Cause Sylvie told him to. Why did the multiverse get cracked open, leading to an infinite number of Kangs waging war on all of existence? Cause Loki didn’t wanna hurt Sylvie in their fight at the Citadel and then get distracted by her kissing him. It’s uninteresting and honestly pretty embarrassing.

• Throughout their “relationship arc” the writers do their absolute damndest to convince us that we should like Sylvie more than Loki. And you know what? It’s the most hypocritical shit I’ve ever seen. They preach and preach about how Sylvie’s life has been so difficult/we should feel bad for her/she had it so bad/poor poor sylvie/she had it SO much worse than pampered prince Loki…. But then they never even touch on any of Loki’s trauma of hardships (the ones that have been ignored for literally 3 movies now). They frame Sylvie as a good person and a Freedom Fighter after she spent literal decades/centuries mass-murdering brainwashed TVA agents and showing exactly zero remorse for it….. but then they make it their mission to constantly remind us that Loki is a terrible person and constantly put him in situations where he’s forced to acknowledge his wrongdoings/show remorse/admit to how “evil” he is for being a mass murderer for like 2 years. They show him on-screen having a wider range of powers than her, and perpetuate his whole shtick of being a “master manipulator” or whatever….. But then they make Sylvie “the brawn” more competent, intelligent, and physically capable than him. Tell me how it’s a good thing for a ship to be so narratively biased toward one character.

Missed Opportunities

• If they absolutely had to have a romance subplot, then they could’ve paired Loki with one of the characters that have already been established OR one of the characters that were a big part of the whole TVA storyline anyway. It would’ve been so interesting if they’d revealed that Loki had a history with some of the players from previous films (Sif and Fandral both come to mind). It also would’ve been really interesting if they’d given Loki a love interest that actually had some allegiance to the TVA as a whole (Mobius maybe, but not necessarily. It also could’ve been Renslayer or B-15). Hell, imo it would’ve been cool if they’d followed through with that “See you again someday” line that he said to the flight attendant in Ep 1. ALL of these characters have way more chemistry with him than Sylvie, and they were also already relevant to the plot without wasting half the show to give background info on them.

• If they absolutely had to have a hetero-presenting love story involving an enchantress-type figure, then there’s a whole Enchantress (Amora) that was actually Loki’s love interest in the comics. Plus, fans have been screaming for Amora to appear in the mcu for years. Plus, Tom literally pitched an Amora/Loki storyline way back in 2012-13. Also, Lorelei (another enchantress) is also one of Loki’s love interests in the comics, and she already exists in the mcu (she was on Agents of SHIELD). There were several different established characters for them to choose from. Creating a whole knew amalgamation of a character and going with the “she’s a Loki variant” storyline was just completely unnecessary and made no sense.

• They completely robbed us of a Chaos Twins dynamic. Had they handled Sylvie better and not forced her and Loki to smooch, the two of them could’ve had a really really complex and interesting sibling relationship. Loki could’ve stepped into Thor’s shoes and sort of used that new role to gain some self importance, and Sylvie could’ve finally had somebody to look out for her/teach her magic/be there for her. It would’ve been very aesthetically pleasing, the vibes would’ve been out of this world, it would’ve been way more profound than this bs, and frankly it would’ve been much more entertaining to watch.

• Loki’s relationship (read: obsession) with Sylvie completely overshadows all Loki’s other relationships in the show. Loki and Mobius were literally the focal point of the series in Ep 1-2, but after Sylvie showed up in Ep 3, they barely had any interactions with each other, and Mobius pretty much faded to the background entirely. Loki had the beginnings of a pretty interesting antagonistic relationship with Renslayer (with her wanting him pruned, then arguing with Mobius that he couldn’t be trusted), but after Sylvie showed up the dynamic shifted to focus on the history between her and Ravonna. Loki and B-15 started off very badly and openly disliked each other throughout Ep 1-2, and then in the end of Ep 2, Loki showed a little bit of concern for her when she was possessed, hinting that they might be inching toward a reconciliation- especially considering how obvious it was that Loki was gonna uncover the TVA’s sins eventually. There was so much potential for him to be the one to give her her memories back and convince her to change sides, but no, of course that honor went to Sylvie. In fact, after Sylvie showed up, Loki and B-15 never even spoke to each other again.

Various S*lki Fails

• If they were trying to convince us that this affection was mutual, they completely failed. There’s nothing I’ve seen that even hints at Sylvie feeling the same way about Loki that he does about her. At most, I’d say she has a slight endearment to him. She finds him likeable and she’s grudgingly fond of him, but she definitely isn’t in love with the guy. Maybe she thinks he’s cute and hopes that he gets out of this mess alright, but her mission obviously comes before him- whereas, it’s been confirmed multiple times that Loki cares about her above anything else. She doesn’t trust him, she looks at him like he’s an incompetent fool half the time, she shows little to no reaction during most of his confession moments, and she kissed him as a means to distract him so that she could get him out of her way. Look, all I’m saying is, when you get into a relationship where one of you is way more invested than the other, it never ends well.

• This goes without saying for a lot of us, but the selfcest is just straight up odd and cringey. If you’re cool with that sort of thing, fine! People can ship what they want! But don’t pretend it’s not at least a little bit uncomfortable. Yes, I know they’re not technically siblings so it’s not technically incest, and they’re also not technically the exact same person, but they’re similar enough that it makes things weird. And yes I know selfcest can’t happen in real life, so there’s no way to judge it morally, but neither can most of the other stuff that happens in these shows/movies (the Snap, Loki destroying jotunheim, superhero with powers being held accountable, mind control) and yet we still find ways to judge their morality, because they all mirror real-world events. (The snap= genocide; Loki destroying Jotunheim= bombing other countries; superhero accountability= weapons accountability; mind control= grooming and coercion). And lbr the closest real-world mirror to two versions of the same person (who may or may not share DNA, family, backgrounds, physical and emotion characteristics) being romantically involved with one another is incest. And you can be ok with that if you want- that’s your prerogative- but don’t get pissy just cause a lot of us are squicked out by it.

• The whole mirror metaphor (learning self love via each other) thing just fell completely flat. First of all, having Loki learn to love himself by looking at someone who mirrors him did not, in any way shape or form, require them to be romantically involved. But they were. Of course. Secondly, the creators have contradicted themselves so many times on whether Loki and Sylvie are the same or not, that it doesn’t even really register to the viewer that the mirroring thing was what they were going for. Finally, Loki and Sylvie are shown to have so little in common- and to have only the most bare minimum of similarities personality-wise- that it doesn’t even make sense that Loki would “learn to love himself through loving her”. Like? They’re nothing alike. So how would he make the connection that he himself is actually pretty cool, based on her alone? There’s virtually nothing in her that reflects him.

• I know the objective of the entire show was to convince us of how awesome and unique Sylvie is, but honestly her relationship with Loki just did the opposite. A hallmark of a Mary Sue is having her constantly upstage the male lead, and then having him instantly fall madly in love with her anyway. And that’s.. exactly what happened here. Everything they’re doing to try to force her character to be more stan-able is really just forcing her to look more like their self-insert OC. Which is exactly what she is. It would’ve been so much more satisfying if she didn’t have to try so hard to look cool, if they didn’t have to try so hard to make her backstory tear-inducing, if they didn’t have to turn our protagonist into a snivelling simp just to prove how incredible she supposedly is. Very much #GirlBoss energy and we all know how performative and cheap that is.

• The entire thing was too rushed, there was too little build-up, and it was nowhere near believable. As stated above, it’s ridiculously unlikely that Loki would canonically even be interested in Sylvie, and this show did nothing to explain why he was. He just suddenly was. There was nothing they showed us as viewers that would justify a guy as closed-off and preoccupied as Loki falling head-over-heels for a girl he just met. Their was no explanation, no big revelation, no reasoning, it just… kinda happened. And I’m also severely skeptical of any love story that has the characters go in this deep after only 3 45-minute episodes of exposition.

I’m sure there’s other stuff, so if anyone thinks of anything, let me know and I’ll be more than happy to add it. Tagging @janetsnakehole02 @raifenlf @natures-marvel and @brightredsunset800 for expressing interest. This is all your faults.

[mishasminions]

The Last Time I’ll Write a Long Post About Supernatural (15x18-15x20)

15 YEARS OF WATCHING THIS SHOW. 11 YEARS OF RUNNING A BLOG ABOUT IT. IT’S BEEN QUITE A RIDE.

[15x20 Speculation + evidence at the bottom]

First off, I just wanna come clean and say, after all these years, I still think they should’ve ended at Season 5.

If you’re going to come at me with “Then why’d you stick around to watch it if you didn’t like it?”, your question is immature, and the answer is simple: I just want to know what happens next (I also love the main characters and their actors too). You can watch a show and still think it’s shit.

Call me a clown, but despite all the disappointment and trust issues that this show has given me, I would still look forward to the day where it might just turn itself around and bring back the quality it once had, or realize the potential of each story it was trying to tell, or at the very least, do justice by my favorite ship.

Never happened.

They’ve had a few good episodes here and there. I can’t imagine the SPN Universe without The Man Who Would Be King, The French Mistake, and Scoobynatural. Seasons 6-10 were enjoyable at times. I blocked out most of 7 & 11-15. 

If you’ve been following this blog since its heydays in 2010-2014, you’d know I’d try my best to defend Destiel and this show’s decisions regarding it no matter what.

Because you know what, as a CONCEPT, this show is good. If you take a look at all the worlds its storylines have birthed in fanfiction/fanworks, you’d see how much Supernatural has wasted its own story arcs. The writing got shittier as each season progressed, and they’ve obviously given up in production as well because the quality in the execution has noticeably gone down too, but if you take a step back and take a look at the bigger picture, you’ll see that this show still tries to make sense of itself.

[If you’re still following this post, please bear with me, I know this is long, but I just want you to understand how jaded and pessimistic I am with regards to this show, so maybe you can buy into whatever hopeful thing I’m about to say later on.]

SO LET’S TALK ABOUT DESTIEL

Never in my wildest dreams did I think that they would give us Castiel’s “I love you” speech. To the point where, if I weren’t so desperate for it, I would argue that it was completely out of character for him to word vomit the way he did (but I’m not gonna diss on that right now because I’ll take what I can get).

I’ve valued every meaningful and obscure exchange that Dean and Cas have had in the earlier seasons, and I was willing to accept their relationship as just that--undefined, without any clear boundaries as to what they really are. And I think that was beautiful on its own.

But now, they’ve chosen to define it.

After they’ve driven every possible wedge between Dean and Castiel in seasons 11-15, to try to explain away their feelings as something they offer to a collective.

Dean can’t mourn and pray for JUST Cas, he has to mourn and pray for EVERYBODY--even Crowley, even some chick he just met, because god forbid he cries about just the guy who has given up everything for him--that would be “too homo”.

They’ve even set Cas on a path to abrupt fatherhood just so he can care about something other than Dean. Make it seem as if Dean wasn’t his purpose through and through.

And after all these years of this stupid show trying to deny it, they choose to acknowledge it at the worst possible circumstance, at a time where they’ve been so far apart, that it seems so foreign for them to suddenly come together.

But here we are. And they’ve chosen to tell us.

Chosen to tell us that everything that Castiel has done leading up to his death, he has done it because he was IN LOVE WITH DEAN WINCHESTER.

Chosen to tell us that the ONE THING THAT WOULD MAKE CAS HAPPY IS DEAN WINCHESTER.

Chosen to tell us that BEING WITH DEAN WINCHESTER is something that CAS WANTS BUT KNOWS HE CAN’T HAVE.

And they’ve also chosen to tell us nothing about how Dean feels.

Sure, finding out your angel made a deal, the stipulations of said deal, his newfound happiness philosophy, his long-winded monologue of why he loves you and why you’re worthy of his love, and to top it all off he tells you that being in love with you is enough to make him happy while he subtly hints that he’s always wanted to be WITH you romantically, was a lot to process in the 5 minutes after you’ve just had an existential crisis.

It’s whatever, right? Let’s culminate 11 years worth of tension and feelings in 5 minutes. Let’s waste the entire episode with cringey expository dialogue, and irrelevant sequences. The whole season was a waste anyway.

You know what Supernatural? FUCK YOU FOR THAT. They deserved better. WE deserve better.

And I would love nothing more than to hurl every possible insult your way,

But for the last time, I’m going to HOPE that you’re finally going to try to make it better for the fans that stuck by you all these years.

No more baiting new viewers, no more placating casual viewers, no more excuses. 15 years. Bring it home for the people who have actually been around.

SO HERE’S HOW I THINK 15x20 IS GONNA GO

There’s two ways this series is gonna end. Horribly or Spectacularly.

First let’s all take into consideration what Andrew Dabb says about it:

So, let’s start with

ENDING HORRIBLY

In this scenario, Misha is telling the truth about his last day of filming being 15x18. His “camping trip” during the last few days of filming 15x20, was actually a camping trip. He doesn’t go to Vancouver to shoot.

Jensen wasn’t “being careful” during the zoom interviews that it was just him and Jared quarantining for the shoot, it really was just him and Jared (althought most of these were done pre 15x19) Supernatural isn’t smart enough to do misleading PR, and they’re once again oblivious to the potential of their own story.

Misha hasn’t posted a “Goodbye Castiel” tweet because he’s probably saving it for last episode or he forgot because it was overshadowed by the Destiel trend that night.

So what we get is:

Sam and Dean are on the road again, up against the monster of the week. Only their world no longer has actual Supernatural beings anymore, so the monsters they’re fighting are humans.

Humans end up killing the Winchesters (despite having gone up against literally every powerful being imaginable INCLUDING God himself). Dean and Sam end up in heaven and relive their greatest hits.

Meanwhile, Castiel rots in The Empty because he died after realizing that he was happy and gay. Jack doesn’t bother rescuing him—his surrogate dad, the guy who made this specific deal to spare him—even though it was so easy for him get Cas in and out of The Empty when he had a fraction of the power that he has now.

Dean never speaks of Castiel’s confession because despite all the hints of a profound bond in the earlier seasons, and the fact that Dean has never cared for anyone (who isn’t his actual brother) as immensely as he does Cas, Supernatural just can’t have its main macho character be “suddenly bisexual” because that would hurt the male ego or some shit.

His heaven would probably be living happily ever after with his family. “Family” meaning Mary and John Winchester--two of the shittiest parents ever (but they’re not going to include them in this episode like they were supposed to because of Covid) and Sam.

Sam also gets a dog. As usual.

I wouldn’t put it past Supernatural to do this. After everything they’ve pulled, this would be right up their alley. I actually expect this ending.

Anyway, onto the next possible ending

ENDING SPECTACULARLY

In this scenario, Supernatural tries to stick the landing, and Jensen’s whole “It didn’t sit well with me at first, but then I took a step back after talking to Kripke, and realized that I had to view it from an audience perspective, I am now really excited about it” (DC Con 2019) anecdote about his thoughts on the final episodes, were actually about Dean potentially ending up with Cas. (Which would totally make sense because Jensen at first didn’t see Dean as anything but hetero, but as of late, he has been throwing in Destiel jokes of his own, so he seems to have warmed up to the idea)

Backed with Misha’s tidbit (DLConline 2020) that he and Jensen had conversations about Destiel, and that they wouldn’t have gone through with it if Jensen wasn’t onboard with it, but Jensen didn’t push back at all. (Why would they need to check with Jensen if it was just Cas going all in?)

Robert Berens (writer of 15x18) also wrote the script at the beginning of Season 15, but made Misha privy to the concept a year prior (Season 14), so they went into this season knowing about Destiel going canon.

This one’s a reach, but this scenario also supposes that Misha was lying about his whereabouts during the filming of the final episode, and him saying that 15x18 was his last episode is part of the diversion to avoid taking away from the weight of Castiel’s death.

And that Supernatural is actually self-aware of its own material (similar to how they have wrapped things up in the past—lots of expository dialogue, poor execution, but fulfills the story arc)

Since Season 15 is basically a Meta Season (Chuck/God as a writer, pretentiously calling out how he created the worlds, its characters, and basically invalidating the past 14 seasons), and 15x19 is supposedly the finale for Season 15, written by two of the worst Supernatural writers, Brad Buckner and Eugenie Ross-Leming (Bob Singer’s wife), then we can assume that 15x19 is where the shitty writers kill themselves--as Chuck, of course.

So we get a badly written episode that produces a bad ending, or as Becky put it, “All action, and no Cas”

So we get the bad writers season ending at 15x19.

And 15x20 is where Sam and Dean write their own stories, and where the cast had a hand in pitching ideas for it.

Dabb has mentioned that 15x20 (Act Two) is a SERIES finale, where they try to resolve the characters’ journeys.

Because as everyone has acknowledged, Supernatural isn’t about the story, it’s about the characters.

So here’s what we can get out of it:

With no more Supernatural beings left to fight, Sam and Dean are in a stalemate. They’ve resigned themselves to fighting to the bitter end, but the “end” has passed, and they’re still standing.

So they try to figure out who they are now, and what they want out of the life they still have.

Sam still wants a normal apple pie life. Before Dean dragged him out of college to go hunting with him, he had a whole life planned out for him. Become a lawyer, settle down with a nice girl, and get a dog. He gave all that up because they had work to do, but now the work is finished, he can finally go back to wanting that for himself again.

Dean finally realizes his self-worth after Cas saves him again. His prayer to Cas in purgatory may have helped him come to terms with his anger, but the whole “you’ve done everything you did for love” speech finally put him in his place, and he learns not to hate himself anymore.

But of course, he cannot fully reconcile with himself if he doesn’t get Cas back, and tell him how he feels.

Because Dean actually wants something for himself this time. Something he knows he can finally have if he can just salvage it.

So maybe this time around, with the help of Jack (off-screen), Dean saves Cas. Grips him tight and raises him from perdition.

They bypass The Empty deal by turning Cas human, and he lives the rest of his days with Dean.

Dean and Cas know they deserve to be saved, and they know that they deserve to be happy.

(Wishful thinking, maybe they kiss a little)

Anyway...

I’m just saying, there’s NO WAY that they’d have Cas go through that whole rushed speech, if they weren’t going to do anything about it later on.

But again, after 10 years of disappointment, I wouldn’t put it past Supernatural to pat themselves on the back and say, “Okay, we sort of gave them what they wanted. We’re good now”

If that’s the case, Supernatural, I’m sorry I wasted my time on you.

Here’s to hoping 🤡

[the-lone-witch-and-secret-room]

The Owl House and pacing, a perspective from a fanfic writer that works with a large cast

I’ve seen a bunch of complains about the way The Owl House is paced lately. People claiming that it’s bad writing, and rushed, and whatnot. But from how I see it, you’re complaining for all the wrong reasons, and to the wrong people.

TL;DR: this is an overlaying issue with Disney and the industry that doesn’t allow long shows anymore, essentially forcing writers to pick between good pacing and complex stories being told with large casts.

For context: the fandom I wrote for before I got into The Owl House had a pretty small main cast. There were a few reoccurring characters, but most of them only showed up like five total times over the course of four seasons or had little personality, so my main cast I was writing about always consisted of my main five characters, with occasional cameos here and there. All characters were living together and experienced the adventure from the same perspective. There was one overarching storyline and not multiple. The interpersonal relationships still varied, though, for obvious reasons.

Now think about how large The Owl House cast is, and why that’d send them running into issues. Or don’t, because I have a whole-ass in depth analysis under the cut because this got unreasonably long.

(Also I’d appreciate a reblog, I spent… an unreasonable amount of time on this, lol)

The Owl House is different. There’s the main characters: Luz, Eda, King, maybe Hooty, technically (someone recently pointed out that he’s technically the titular character of the show and I’m still processing that, lol).

But they also have a HUGE additional cast to work with. There’s Lilith, Eda’s sister, and the main antagonist of season one, who has a lot to her character and gets a ton of screen time. There’s Amity, and there’s Willow and Gus, Luz’s friends. They’re all very fleshed out characters, and got a bunch of screen time and development, despite “only” being reoccurring characters and not the main characters.

Then there’s characters that have played a fairly minor role so far. There’s Belos, the big bad villain, who we will likely learn a lot more about this season. There’s the Golden Guard, the new main antagonist our cast deals with personally, who we’re just starting to learn more about. There’s Camila, Luz’s mom, who, despite only showing up a couple of times in the show so far, is very relevant to Luz and how the plot will ultimately turn out. There’s Edric and Emira, Amity’s siblings, who despite only showing up a few times as well seem to have a very worked out personality and background and also have a story that is (at least to some extent) going to be told according to the AMA.

There is at least one more seemingly important character whose role in the bigger story is hard to tell at this point, Raine, but according to the description of the episode, they’re probably going to influence the story a bunch.

There’s Alador and Odalia, who are responsible for a lot of their children’s toxic behaviors, and seem to have bigger plans that will probably be relevant later on.

The characters that are only focused on for an episode or two (like Matt and the troublemaker kids) all have very worked out personalities and even short arcs.

And heck, even characters like Boscha, who is extremely minor and seems like a very one-dimensional bully for the most part, get their moments that hint at there being more to them. We know Boscha has a clingy mom, that apparently has a rivalry with Odalia and works with Amity’s parents. The scene at the beginning of Wing It Like Witches tells us a lot about her general mindset and how she’s embraced that winning at whatever cost is the only thing that matters.

This leaves us with: 3-4 main characters

3 friends with fleshed out stories

Lilith, who is probably the most relevant aside from the main cast

Belos, the main antagonist, and the Golden Guard, currently starting to become a lot more relevant

A whole handful of minor reoccurring characters that have the potential to become bigger characters at any point in time

A handful of minor reoccurring characters that mainly seem to be there to further the story, but still get to have distinctive personalities and motivations (looking p.e. at the troublemaker kids)

That is AT LEAST 9 pretty major, relevant characters whose stories have to be tackled in the same show, in addition to the people that joined in season two and a huge supporting cast of well-developed characters that clearly also have stories of their own, even if not all of them will get told.

On top of that, the Owl House lives from exploring different relationships and different storylines. There’s the overarching story of how flawed the system is that will likely end with them overthrowing Belos, but there’s so much more.

Eda and the curse. Eda becoming a better mentor for Luz. Eda coming to terms with the loss of her magic.

Luz learning to cast magic with glyphs. Making friends for the first time. Slowly falling in love with Amity. Fighting to be able to learn whatever kind of magic she wants to. Learning that she’s not a burden to people. Struggling with her relationship with her mom, and trying to restore the portal so she can get back to her. Figuring out her future and what she really wants.

Lilith trying to cure Eda, and now in season two coming to terms with the loss of her magic and fixing her relationship with her sister. Lilith learning to ask for help.

Willow switching tracks. Willow growing more confident.

Amity becoming a better person, fixing her relationship with Willow, standing up to her parents, falling in love with Luz. Starting to fix her relationship with her siblings.

King finding out where he came from.

Hints at Gus struggling with decision making and stressing himself out less. Gus learning to be more selfless. Struggling with his magic track and being the youngest in his grade.

The newly introduced plot point with the Golden Guard. The plot point about the rebellion that will get introduced next episode.

The mystery with the letters.

And I’m like 90% sure I’ve forgotten something.

That is… a lot of different plots and relationships that are in some way important to the story.

In comparison, as stated, the last show I wrote for focused mostly on the same five characters and their relationships with each other, and one overarching plotline aside from some minor interpersonal relationships with two people’s family members that weren’t even introduced for several seasons. The first season fully focused on establishing the bond within this found family with exactly 1 important reoccurring character, an antagonist that had little personality and got a total of one line of backstory before he died.

If you have 90% of a season to develop 5 characters who live together, that’s a lot easier to do than developing twice the amount of important characters + introducing reoccurring characters season one of The Owl House has—the majority of which have separate lives and do not live together and thus can’t be focused on at the same time.

I’ve seen a bunch of people complain recently that the pacing of The Owl House is off, that the writing is bad, that the show is rushed, etc. etc.

And I get those complains. Believe me, as a viewer and also as an author that takes a lot of time to develop each character and their issues individually, I 100% get it.

But as an author that’s currently learning how hard it is to tackle a cast of the size that The Owl House has, I’ve also come to a whole different understanding from the perspective of the writers on the show.

For context, Locked Out focuses on a couple of serious themes, in the same way that the show does. It has 4 main plotlines: Amity Camila and Luz, Edric and Emira, Eda and Lilith, Willow and the Grudgby Squad (as well as a Gus arc that ties into the last one while also being its own thing, we’re getting to that part). So far, it prominently features: Luz, Amity, Camila, Eda, Emira, Edric, Willow and Gus, and to a lesser extent King, Lilith and Boscha, Skara and Amelia in relation to the separate plots.

That’s eight main characters across five different households. And then there’s the reoccurring characters that will have a larger role later on that I’ve not even had the opportunity to bring into the story yet/feature in a more prominent way. The cast is still growing.

And heck, I have all the time in the world to write this thing, because I don’t have an episode limit, or a deadline, or a limited amount of money to produce it.

For Locked Out, it took me 120k to get through a single week of plot at a very high level of character development, with about as many important characters as TOH has in season 1, and with an equally high number of reoccurring characters, some minor, some major. I think you can compare it to the show pretty well. I’d say, if I were to split Locked Out into episodes, I’d set one episode at about 10k. That would be 12 episodes. 12 episodes to get through a single week. Heck, even if I said 20k words were to be one episode, which I’m pretty sure is too much realistically, that would still be 6 episodes for one week.

And TOH covers more than three months.

That would be at least 72 total episodes to get through the three months of summer camp. And we’re currently progressing past that point.

72 episodes.

Let that sit for a while o.o

Everything that’s happened in season one (which as we know now was about 2 months) would have happened in 48 episodes rather than 19. Pacing-wise, everything would happen at less than 0.5x the speed. The first four episodes of season two would’ve been 24 episodes, assuming we hadn’t skipped a week and a half and had instead shown the immediate aftermath of the petrification ceremony, too.

And I’d love if we could have that, and if we could actually develop the characters and their relationships that thoroughly.

But the sad fact is that shows like The Owl House do not get the amount of episodes that would be required to develop every single aspect of the show to its fullest potential. Disney rarely greenlits shows of 150 episodes anymore. They used to, once, (Phineas&Ferb for example had 130+ episodes—you could tell one hell of a story in that many episodes), but that’s not a thing anymore. And the writers know that going into a show. They know the chances their story will be told in that way are very low.

And thus, the writers, especially ones working with large casts, have to make a choice: cut characters they love, and plots that are important to them, because they know they won’t get the amount of episodes required to do everything perfectly, OR include most of what they want to do, but at the cost of the pacing being off and everything seemingly happening too fast.

The Owl House crew went with the second option. The biggest issue the show has isn’t bad writing. The show’s biggest issue is that its cast and the story the crew members want to tell are too big for the amount of episodes they’ve been given (especially now that Disney decided to cut season 3 down into just three 44 minute specials).

And that’s on Disney, and Disney alone.

The crew is making the most of the amount of episodes they have, and unfortunately the lack of time forces them to rush things, and to sometimes sideline characters to focus on others.

Lilith got a bunch of screen time in the first four episodes. I’m sad to see her go, but she’s basically guaranteed to be back by season 2B. And there’s other people that have gotten way less focus than her so far. We‘ve seen basically nothing of Willow and Gus for the first few episodes, and I’m super happy Gus finally got some focus! We haven’t been inside Hexside all season except to see Luz expelled! And episode seven is even going to introduce a new character. Sometimes there’s parts of the story that certain characters don’t have a place in. And it sucks if they’re characters you like. But Lilith has to go for a bit so other characters can get the same amount of spotlight she did. At the end of the day, Lilith is not part of the main cast. She’s a very important reoccurring character, yes, but so are Amity, Willow and Gus. The main characters are Eda, Luz and King, and they’re the only ones that will always be around. And heck, even Eda got sidelined for a bit in the last two episodes, because we needed to focus on other characters. If not even the main characters are always around because we need some spotlight time for other characters, you can’t expect any more minor reoccurring cast member to be.

God, I wish they’d be given more time and more episodes to bring every part of the plot to its full potential, but they don’t have those, so they sometimes have to take shortcuts that unfortunately cheapen the story here and there. It’s the only way they can hope to tell their story to the end at all. And that makes me hella sad because it’s so obvious that they have an incredible story to tell, and that there’s so much more to so many of the characters we just don’t have the time to focus on.

The thing is: I liked the episode with Gwendolyn. It sends an important message that will hopefully get some parents who watch with their children thinking, and I’ve seen a couple of people talk about how close to home it hit for them. I have also seen a couple of people complain about that being too fast—and also just in general about things in the show getting sorted out too fast. And I get it. At least with this particular episode, I 100% get it.

(I’ve also seen some people complain that “Amity stood up to her parents too fast in Escaping Expulsion”, but I vehemently disagree with that. We’ve been building towards that moment since season one, with her doing more and more things that were technically defying her parents. I don’t see how this was rushed.)

Just… please don’t blame the writers. Dana even said that Keeping Up A-Fearances is one of the episodes that hit very close to home for her in the recent stream iirc? So I highly doubt this was rushed on purpose, or because the whole thing is “bad writing” when the entire writing quality of the show says otherwise.

A lot of shows in general have the issue that they have to be written season by season rather than as a full story these days, because there’s always a chance that they won’t get a next season. How large scale the story they want to tell actually is doesn’t matter if there’s a solid chance they won’t get to do any of it.

From a viewer perspective, I get being frustrated at the pacing being off. But from a writer perspective, the chances are very high that this is a choice they had to make, rather than one they wanted to make. And I don’t think you can truly see this if you’ve never worked with a fleshed out cast that large—Locked Out was really eye-opening for me in that regard.

This isn’t simply a case of bad writing/bad pacing by choice. It’s forced. They’re forced to rush through their plots because otherwise they won’t get the chance to tell certain parts of the story at all. And the saddest thing about this is really that those 72+ episodes to flesh out these plot points further wouldn’t have been an impossible thing to get, at a time.

Go for Disney’s head. Yell at the industry for being what it is today, for constantly axing shows before even giving them a real chance. But this isn’t on the crew.

[trashendence]

How to explain someone that watches the show casually the cheating storyline? Someone that doesn't analyze Buck? Just watches the show every Monday

I personally didn't like it. I still see a lot of plot holes. At first I thought Taylor knew about Lucy, they I thought maybe she doesn't? (There's no way to know for sure since they didn't explicitly said it, we can only guess)

So what was the point of having her talk to Lucy? If they never brought it again. I get that she was clinging too, but if she knew, why won't she said it when they were breaking up? When there was nothing left to cling? I know old Taylor would've said something.

If they were going to create a cheating arc, do it right. Commit to it, dont do it halfway through. They were going to break up anyway, might as well make that scene as messy as possible (since she talked about the mess) the scene in question was a big let down for me. Eddiana's>>>BT 100%

I personally wanted to see Buck acknowledging his mistakes. Instead I saw him making fun of the situation.

I'm rambling sorry lol

hello!

(sorry it took me so long but i was at pride so i’m justified i think🌈)

i understand what you’re saying but i don’t agree and here are my two cents on it (under the cut to save everyone’s day):

i don’t think the cheating storyline has to be explained, that’s one thing i really like about it. it shows and doesn’t tell (not the real root cause of why it happened, anyway). the casual viewer can akcnowledge it as bt not being strong as they thought they were, buck having so many mixed feelings about his relationship he kisses someone else one night and asks his girlfriend to move in the next, and taylor and buck being on two completely different tracks. leaving out those who demonize buck for cheating (i get not supporting the act of cheating, but perfect characters are imperfect), i think the casual viewer would be absolutely correct in this thought process.

from those of us who are Normal about the show, instead, i expect a more informed and nuanced opinion. which, as i said multiple times, can obviously be that the cheating bit was unnecessary - i fully respect that, especially if it’s backed up by some reasoning.

regarding taylor knowing/not knowing about lucy, i think it was very heteronormative of her to assume buck’s new colleague is the one she should worry about. but it still showed she knows buck up to a certain level and then still manages to miss the point entirely. it was neat, it was taylor defending her territory and fighting windmills while buck and eddie quietly talked in the bg - storm and calm, and buck choosing a safe space in the post-fire at dispatch situation.

here the interesting bits the cheating arc brought to us that we may would have missed otherwise:

buck opening his confession by saying ‘i kissed someone’ and adding only a moment later that this ‘someone’ is a woman. imo, that was Interesting.

taylor being ready to forgive and forget as long as she was sure it meant nothing, as long as it was a ‘random girl in a bar’ and not someone buck actually cared about. which was interesting to see play out right after taylor realized it was lucy buck kissed - someone in the 118 - and still tried to prove that she (taylor) was the one who knew him best. that she was the one who came right after his circle of meaningful relationships, not lucy.

taylor making buck promise there wouldn’t be any more lies between them just to explicitly lie to him, what, three episodes later? different priorities, different goals, too different people.

buck and taylor living together. arguably, buck asked taylor to live with him out of guilt and fear that arose because of the kiss. this sets a precise way of looking at them living together right away. it also served the jonah storyline perfectly, cutting times and scenes where there was, admittedly, no space to look more into how exactly taylor’s betrayal started taking shape.

lucy, as much as some people may not like to hear this, is here to stay. this means that the kiss was 50% a way to introduce her character and, thankfully, portray more than the usual LI mary sue.

i also think that taylor not bringing up the kiss during the breakup was actually smart; the last crack wasn’t the kiss. think of the kiss as a symptom and the fundamental differences between these two people as the cause. ‘it’s our first argument all over again’, aka this is why we’re breaking up. i genuinely think taylor forgave buck for cheating and his loyalty was never doubted again. taylor chose their relationship despite the cheating. so it speaks volumes that buck couldn’t return the favor, could not bring himself to forgive and choose their relationship despite what she did.

i was never a big fan of ‘having a messy bt breakup’, simply because buck needed to make a mature choice and he also needed for his relationship to end on his own terms (for once). the relief we can see on his face when taylor leaves is worth a thousand screams, it’s really the beginning of a clean slate. that’s where the levity you probably didn’t like (rightfully so!) came from. it’s just how it’s always been; buck talking about his relationship problems with taylor with a big smile on, it’s nothing new and it happened before the kiss with lucy, too.

(the majesty that was the eddiana breakup is something that has its own long list of implications but, ultimately, i wouldn’t compare them. they’re relevant and you can certainly find some parallels, but they’re not the same.)

thank you for the questions and for being respectful!💕

[akirameta84]

Saiki K. - A list of Never-Adapted Chapters

As stated, a list and brief kinda long summery of the chapters never adapted into the anime. Only a few have good reasons aside from time though. (Also a list of reasons for anime only viewers to give the manga a read *cough*)

Warning: I spoil every single one of these chapters. So if you’re lazy and only want to read the non adapted chapters, go ahead and just read the chapter number/name, and avoid the summery. You will be missing a HUGE amount of unadapted scenes if you don’t read the whole manga though, which are present in nearly every chapter, adapted or not. They were likely cut for time like a lot of the chapters, but many add depth and important character development, and actually explain certain dynamics between characters present that were glossed over in the anime.

Reblogs appreciated...this took me so long qwq

Under the cut for sheer length

Chapter 0.1 “Telepathy”: A chapter mainly detailing info about Saiki’s telepathic abilities, and the plot revolves around him stopping his class from believing Nendo stole everybody's wallets.

Chapter 0.2 “Telekinesis”:  A chapter mainly detailing info about Saiki’s telekinetic abilities, and the plot revolves around Nendo “saving” him from being bullied, and him realizing that Nendo actually isn’t a delinquent, and is a good friend. Interestingly, Saiki is able to hear Nendo’s thoughts during this chapter, in which he is internally telling Saiki to run away while he takes the attack from the bullies.

Chapter 0.4 “Precognition”:  A chapter mainly detailing info about Saiki’s precognitive abilities (are you noticing a theme among the volume zero chapters?), and the plot revolves around him receiving a precognition about Nendo’s supposed funeral. Saiki follows Nendo around all day as they hang out in preparation of his date, and it’s (obviously) revealed the girl did it as a dare. Saiki uses his teleportation to apport a bowling ball Nendo had bought with the girl’s phone, and sends a message telling Nendo that she was simply busy and had to miss the date. The two go to Nendo’s house and it’s revealed the memorial was for Nendo’s already deceased dad, not him.

Chapter 0.5 “Teleportation”: A chapter mainly detailing info about Saiki’s ability to teleport/apport, and the plot revolves around Chouno attempting a magic show with a new assistant, after firing Ike-san (still homeless at the time) for making mistakes. His assistant, however, is purposely sabotaging him. Part way through, Ike-san shows up and thinks about how he should’ve been a better assistant, and his makeover is revealed. Near the end of the show a trick is attempted to where Chouno’s assistant is meant to teleport out of a box, but of course she does nothing. It is noticed that her and Ike-san have swapped places, due to Saiki apporting the two of them, and Chouno and Ike-san reunite.

Chapter 0.6 “Clairvoyance”:  A chapter mainly detailing info about Saiki’s clairvoyant abilities, and the plot revolves around Kaido accidently spotting Saiki teleporting from a distance, and trying to find out who it was. Unfortunately, the drawing he is using to ask around for the “Trickster” looks nothing like Saiki. At the end of the chapter, Saiki appears before Kaido with the face of his crude drawing, and teleports out, to appease him. (Interesting tidbit about this chapter is that the mysterious stranger from the birthday arc appears in the class while Saiki uses his clairvoyance to watch Kaido. He also appears in the background of chapter 41 (the telepathy silencer movie chapter), but not in the anime equivalent.) 

Chapter 0.7 “Astral Projection”:  A chapter mainly detailing info about Saiki’s ability to astral project, and the plot revolves around Saiki using telekinesis to deflect a stray baseball from hitting him, but it instead hits Nendo, subsequently knocking him out right before he was due to play in a baseball game. Thus, Saiki uses astral projection to take over Nendo’s body and play in the baseball game for him.

Chapter 8 “ Fighting for a RePSIval!”: Saiki and Nendo end up stopping a failing musician from jumping off a roof due to his enormous debt. Nendo gets the idea to help the man gain money by selling the CDS of his music he had ordered in bulk, which were the result of the debt, due to them not selling. He performs live in the park, and Saiki accidently uses his telepathy to project the song to everyone in the are, causing them to believe it became stuck in their heads due to how good it was. 

Chapter 00 “Special One-Shot: The DiPSIster of Psychic Saiki Kusuo”: This chapter falls in-between 8 and 9. It is a collection of oneshots set in a slightly different universe (likely a pilot or a very early storyline) in which it details information over several of Saiki’s powers, much like Volume 0.

Chapter 32 “ExPSIbition! Jump Festa”: Saiki goes out to Jump Festa to purchase merchandise due to an errand from his mom. There he meets Kaido, and the whole chapter’s gag is subtle advertisement for Jump Festa. The pair run into a crying child, who had lost his mom. He smartly refuses to go with Kaido to a help desk due to stranger danger, but Kaido comes back in his cosplay and since the kid vaguely recognizes him after he “proves” he really is that character (with Saiki’s help), the kid is returned to his mom.

Chapter 73 “PubliPSIzing the Popularity Contest Results!“: Saiki ends up in an alternate universe to where people’s popularity is shifted. (The chapter is based on the popularity poll that was held, hence that being the joke). Saiki is the most popular in this world, and he is bombarded with people until he hides away in the bathroom and transforms into Kuriko. This allows the original world’s Saiki to return, and he briefly explains why the world is this way, before sending Saiki, as Kuriko, back.

Chapter 88 “Press Play! A "Making Of" PSItory”: Saiki finishes watching a movie, and he remarks about how he loved it due to the quality of the acting and would like to visit the place it was filmed. Shortly after, he teleports to the location while returning the movie. He then decides to use his psychometry to see how the movie was filmed, and slowly it is revealed that the actors themselves were quite bad, especially the child star who Saiki believed to be a very good actor. The reason the movie was so good is revealed to be because the scenes in the movie were filmed as a supposed to be “behind the scenes”, and those were put in place instead of the actual filmed scenes.

Chapter 95 “The PSInnacle of the Golden Age of Heroes! A Fun Party Game”: Kaidou, Nendo, and Kuboyasu visit Saiki’s house the same day the game “J-Stars Victory Vs” was supposed to be arriving for him. A package arrives at the door, but instead of J-Stars, it is “C-Heroes Vale Tudo Battle”, a ripoff game by Saiki’s dad’s manga company. Kaido, Nendo, and Kuboyasu are all enamored by the game and reveal that they love Cognac, the magazine the game is for, and they all play the game. At the end of the chapter, the actual wanted game arrives, and the trio are just as excited and want to play that instead.

Chapter 102 “The Achromatic InviPSIble Boy”: (My personal favorite chapter) Saiki turns himself invisible to avoid running into his friends on the way to school, and winds up inside an empty storage room in order to wait for his invisibility to wear off. Unfortunately, a group of girls decided to use this room to change due to the peeping tom that’s been rumored around the campus. He hides by gripping onto the ceiling and waiting for them to leave, but when his invisibility is about to wear off the girls have still not left. After some time spent dodging and hiding, the door is opened by Saiki, revealing the actual peeping tom. The girls chase after him and Saiki uses the opportunity to escape.

Chapter 118 “The DiPSIster of the Rental Video Store”: Saiki, due to being bored, decides to go to a rental movie store to rent a movie to watch. Unfortunately, the current cashier is one that Saiki doesn’t favor very much, because she is high on his list for potential spoilers, but he remarks that at least the manager, a man who has seen nearly every movie, isn’t there. But (lmao), the manager switches positions with the cashier shortly after. Saiki then runs into Takahashi, who is purchasing pornography. In exchange for not telling the school about this, Saiki asks Takahashi to check out his movies for him. Takahashi gets caught like the dumbass he is and the plan is ruined.

Chapter 133 “An ExPSIlent Wife and Mother!? Mom's Class Reunion”: Saiki starts the chapter off by explaining how his mother is scatterbrained, and showing examples of it. Kurumi than remarks that she is going to her class reunion, which is being held in the city near her this year instead of way out in the country, meaning she can attend. When she arrives she starts getting reintroduced to her classmates who she hasn’t seen in 20 years, and talking about how different they are. Only one of the attendees, however, is actually from her class, and he reveals that the whole event is a plan to get closer to Kurumi, in order to use her for her eldest son’s wealth. Saiki, who had come to watch after having a bad feeling about the event, follows him into the bathroom and threatens him to stay away from his mom. Before he can finish, Kurumi accidently stumbles into the men’s bathroom, and her former classmate claims that her youngest son had attacked him unprovoked. Kurumi attacks the man, claiming her son would never do such a thing.

Chapter 134 “Kaidou and Kuboyasu's PSIpicions”: (The BEST Chapter) Kaidou and Kuboyasu are talking near their lockers about how neither of them got any chocolate for valentines day, and the conversation strays off to talking about Hairo. The two remark that they never see him talking to or dating girls, despite his popularity, and joke that he must be gay. The two are later found following Hairo, and bring up incidents that add to their growing suspicion. They soon find Hairo talking to Nendo, and begging the latter to join his club, stating that it has to be him. The conversation is normal, but Kaidou and Kuboyasu keep mistaking parts of it as being dirty. They watch Nendo and Hairo have a sumo match, and confront him after it, stating that it’s fine if he his gay, they were just curious. Hairo laughs it off and says he isn’t, but after another risque seeming scene (including an omake where Hairo and Nendo remark about keeping their relationship secret and how Hairo is willing to come out for him 🤔 ) the duo agree to stop thinking about it.

Chapter 165 “Train DiPSIster”: Saiki decides to take the train to a coffee shop 30 minutes away from his house instead of teleporting, claiming coffee jelly tastes much more satisfying if there is effort put into travelling there...though he does plan to teleport home. He explains how annoying train rides are for him, due to his telepathy, and how if someone playing music loudly is annoying for you, how much worse it is to listen everyone complain about said music. Over the course of the trip, Saiki begins to get anxious due to the crowds and his telepathy, and is relieved when several people get off. Unfortunately, he receives a precognition about the train stopping, and ends up saving a man from jumping in front of the train. Saiki winds up teleporting to the coffee shop. 

Chapters 176 & 177 “PSIolving the Biggest Riddle!”: Saiki shrinks himself to retrieve his mother’s wedding band that had fallen down a drain, and when he jumps down, he remarks that the sink had become essentially 80 meters tall due to his height. He lays down in his bed afterwards, deciding to take a nap while he returns to normal size. When he wakes up however, he is much taller than normal. Due to the fact his body keeps growing, to avoid destroying the house anymore, Saiki teleports away to an island to hide, but he realizes that he teleported to an island closer to land due to his height throwing off his teleport. He hides under the water to avoid being caught, but ends up having to teleport away to avoid being seen. He accidently ends up on land, and nearby is a tribe of people, who are speaking a strange language. Before they approach him, Saiki ducks into his shirt, remarking that he feels embarrassed and is at a loss. He ends up floating and crashes to the ground once he reaches a certain height. It eventually clicks and he returns home, normal size. He had realized that his growing and shrinking powers were the same, but growing happened slowly, and shrinking happened quickly, hence why he would return to normal size slowly. The cause of this issue? The off comment he made about the sink “Becoming 80 meters tall.”

Chapter 201 “A Miraculous InvenPSIon”: Saiki notices his dad using a tablet and asks him what it his, to which Kunihara explains. Once he remembers he has work, Kunihara runs off, but not before offering his old tablet to Saiki, saying he can use it to read books and buy things. A little while later, Saiki is amazed by the tablet. He remarks about the shopping sites he an use to buy not only physical copies of books on, but digital ones as well. He keeps thinking about how amazing the online shopping sites and recommendations are, meanwhile he performs basically the same exact thing to his mom, when she requests he go out and buy groceries, as he instantly apports them for her, and also added foil because he had a precognition about her running out. While searching for appliances, he stumbles on the coffee jelly maker he owns, and finds out it has shitty reviews, but everyone recommends a newer model. He looks for the cheapest price of it, and finds an ad claiming to sell it for 100 yen. However, he falls for the trick of a ridiculous shipping fee, and his father laughs and remarks how just like his mother, he got scammed. Angry, Saiki teleports to the factory and threatens them into giving him the model for 100 yen, claiming that he doesn’t have to pay the shipping fee if he picks it up himself.

Chapter 229 “No Need for Bath Salts! Taking a Dip in the PSIcret Hot Spring”: Saiki decides to take a visit to a secluded hot springs in the mountains to relax himself, but unfortunately two strangers decided to hike there at the very same time. He cannot just teleport or walk away, since he didn’t bring his clothes with him, having teleported there to begin with. To make them leave, he decides to heat the hot spring up, so that the two men get overheated and decic to leave. One of the men, however, decides to try and stay in the water that is slowly gaining heat, in order to outlast Saiki. The man eventually gets out and faints, and to avoid having to help them, Saiki feigns having fainted from the heat as well, causing the two men to leave on their own.

Chapter 243 ″Welcome to PSIberspace”: Saiki’s dad has a new VR headset, and while he has to leave for work he offers it to Saiki to play with. Saiki is enamored by the horror game his dad was playing, being that it’s able to surprise him. The jump scares, however, cause him to accidently use his telekinesis, which is actually blowing stuff up at his dad’s workplace, instead of his house. 

Chapter 245 “Trending on a Streaming PSIte”: Kaidou, Nendo, Kuboyasu, and Saiki are all hanging out, and Kaidou mentions he has a camera and wants to become a youtuber (Yotubo-er is what it’s called). At a café, the group suggests video ideas, such as Teruhashi. In order to prevent this plan, however, Saiki uses telekinesis to stab french fries into their eyes when Teruhashi ends up walking by the café. On the walk home, however, Saiki receives a premonition  about all the video ideas they suggested becoming popular, including one of him using his abilities on the french fries. He obtains the camera from Kaidou and deletes the footage, which had been recording due to the camera being on the entire time.

Chapter 255 “APSIsting In Mediating A Long-Term Marriage!”: Saiki and his parents go to visit his grandparent’s, only to learn the pair is fighting, and his grandmother would like a divorce. The start of the entire fight is revealed to be because Kumagoro left the toilet seat up, and Kumi explains how she’s had to put the seat down for 40 years. The reason she was so adamant to divorce as well was because Kuusuke had pushed her to it. Kumi gets ready to leave the house, especially after Kumagoro purposely leaves the lid up one last time. Saiki stops her and tells her to put down the lid one more time, only for the words ‘I’m Sorry’ to be written on it. The fight is resolved.

Chapter 264 “Please Go Watch the Live ActPSIon Movie!”: A manga Saiki reads is getting a live action movie, and he is particularly upset about it. His dad happens to be the editor for the manga, and takes him to the filming set to change his mind. (By the way, this is the best chapter for showcasing Kunihara’s shittiness as a father. He physically attacks his son several times. Missing, of course, but he still actively attacks him. Kunihara is a horrible person, let alone father.) Saiki views the set and is perturbed by the actor choices, specifically Makoto as the lead character. He is even more upset to learn that the movie features an original character (like a badly written wattpad fanfiction), and that the end of the movie even features the death of the main character, and Kunihara explains that it differs from the manga greatly. He explains to his son that the changes make the movie better, and Saiki ends up agreeing after he winds up viewing the actual live-action movie.

[lucemferto]

I'm actually so curious. Which things would you specifically change about the Doomsday event? What do you think would've made it much better/more impactful for the overall narrative? /gen

This is a lot to ask of a man who just woke up. But I’ll try my best.

Now, the problems with Doomsday are mostly deeply structural. They’re problems with Tommy’s story and Techno’s story and Philza’s story and the Butcher Army’s story. So, if we really wanted it to be this morally grey issue that the narrative is convinced (?) it is, then we would have to rewrite a large part of S2 - basically everything that’s not the exile.

If we want to go for the “least fixes necessary”-route - the easiest way to fix up Doomsday - then there’s one giant glaring thing: Have Technoblade feel bad.

Now, any stray Technoblade-fans reading this, hear me out! I have my reasons!

One of the most egregious problems that Doomsday has is its horridly confused mood. This comes mostly from the completely different tones of the Technoblade-side and the L’Manburg-side. Techno is elated, happy, giddy even – the L’Manburg-side is downtrodden, they have lost all hope, they’re at the end of their rope.

Narratively speaking – looking at the Three-Act-Structure, which is highly applicable here – this is L’Manburg’s lowest point. And looking at the larger narrative of S2 – beginning to end – this also coincides with the Lowest Point of the larger narrative. Because of this we, the viewers, come to understand the L’Manburg-crew as the protagonists of S2, because the dramatic structure of the season mirrors the dramatic structure of their personal stories.

Now, there are characters that are happy during the Lowest Point – but they’re usually the villains. And we don’t want Technoblade to be the villain, because prior to that – through the Butcher Army event – he’s been framed as righteous in his anger.

The solution here is to also have Techno experience his Lowest Point during the Lowest Point of the larger narrative. He looks at the destruction; he hears Dream – autocratic villain extraordinaire – gloating about how he has won, how no one will be able to stand against him anymore, he sees people like Ghostbur, Tubbo and Tommy grieving and begins to realize that he hasn’t just hurt a government he has hurt people.

(Combined with that, drop Quackity from Doomsday – he doesn’t need to be here and he would muddy the waters as the most overt antagonistic presence besides of Dream. Also, it doesn’t contribute to his story-arc in the slightest)

(Also, have Niki and Fundy delay their villain arc – again, muddies the waters).

A lot of Techno-fans have been telling me in the comments under my YouTube-video, that the main conflict for Techno in S2 is pacifism vs violence. And I see where they come from, but the problem is that it really isn’t a conflict or an arc.

How it goes is: Technoblade is pacifistic – he gets the most convenient excuse to be as violent as possible – he is as violent as possible – his S2-story ends.

There is no sense of any thematic conflict or even character development. It’s very A, B, C with barely any connective tissue or a “dramatic discussion” aka scenes where either the characters or the narrative or both try to formulate a thesis, antithesis, synthesis.

Again, the easiest fix here – though you lose a lot of potential nuance, but again, we’re going for the least necessary changes – is to have Technoblade look at the destruction he wrought and think back to when he was committed to pacifism. He realises that he has become the person he wanted to leave behind, that he has become his worst self. It’s very similar to Tommy’s arc in S2, but that’s because stuff like this works – it’s basic rules of character arcs and storytelling.

(Combined with that, you could also have a story beat, where he tries to talk with the people he saved from the government – you know, Niki or HBomb – and have them be afraid of him, treat him like a monster and a weapon, because of what he has done. Oh, look! Now the incredibly sloppy dehumanization-conflict for Techno is an actual conflict – also good set-up for the syndicate. Techno realizes that you catch more flies with honey and formulates the idea to polish up the image of anarchy).

So, this is my most basic rewrite of Doomsday – again, this loses a lot of the moral ambiguity that S2 goes for and fails to do successfully. But if we wanted to achieve that, we would have to do some major rewrites for the entire S2-storyline and that’s a bit much for me right now.

Of course, even this simple rewrite for Doomsday would have ramifications for the story events that come after. We can’t just leave Technoblade in his Lowest Point – so ideally, he would take part in the S2-Finale. Probably help Tommy to take out Dream – maybe he and Tubbo have a heart-to-heart where they discuss their differences, who knows?

But you only asked for a Doomsday-fix and that’s all you’re gonna get.

[villainsandvictimsalliance]

I'm am completely tired of people crapping on villians and not trying to understand their perspectives I am really sick of the fandom doing all this

Me too, anon, me too. That's exactly why I create this blog.

I've said it before, but if someone decides to ignore the villains and their narratives through the manga, that person is not going to be able to read correctly the main arc.

In bnha / mha, the villains are not simple side characters. Shigaraki Tomura has the same relevance as Midoriya Izuku, for example. They are direct parallels and together they work as the representations of the theme. If my speculations and metas are correct, you have all the main characters directly interacting with the villains to reach the climax of the series.

Besides, it really frustraste me that people are unable to appreciate a character and how that character is written just because that said character is not "good". It completely takes the depth of the characters and the complexity of their buildings and create a shallow storyline. Even the characters in kids TV shows have different degrees of good and bad traits, because we are in an era of writing where we're exploring how real a character can get.

People can say "I like shallow, simple characters with very explicit plots that don't challenge my comprehension or my mind" and that would be perfectly fine, there's no shame in liking simple stuff. Instead, they invent every type of excuses to hate characters? And I mean, you can hate a character for your own personal reasons, but instigating a crusade against that character and the fans?

Also, many fans are unable to understand that there are not universal rules to judge characters WITHOUT the context. Lately I've seen so many people bringing things out of context and directly violating the original material not in rational ways (admitting something is fan modified, fan made, personal takes, etc) but in harmful serious ways, by telling others that what they see is the only possible point of view on the matter.

For example, I'm totally able to say that I hate Overhaul in the canon for what he did but I'm pretty much interested in the implications of his writing. I can write many aus about Overhaul without liking the character in a sentimental way, just because I as a writer want to explore the possibilities within this character. I can totally say Boku No Hero Academia is not the best written manga and still entirely love and rant about the worldbuilding daily.

When it comes to the villains, it is simply annoying to me how people refuse to acknowledge that they are some of the best written characters in the manga. Toga is one of the best written female characters in mha / bnha, Dabi has an intricate personal arc that involves the values of the hero system itself and Shigaraki Tomura is— I don't even have words for the amount of dedication Horikoshi put in Tomura. He's been driving the plot along with Izuku this whole time. I can even argue that Shigaraki is better written than Izuku, because he is way more deep in terms of motivations, psychological traits and way of acting.

People is free to hate the villains, but to refuse to see the greatness of their writing? And even then, it's incredible the amount of issues I've seen within the fans regarding the villains.

For example: Spinner as a character represents the racism within the bnha / mha world. He is an incredible character, he narrates the MVA arc, he's been there for the almost every arc of the villains... And yet he lacks popularity. Why? I know studio bones tends to take him out of the anime, but this also has a reason. Why studio bones thinks Spinner is not as relevant or popular as the others? It's safe to assume a group of fans don't care about him only because he "doesn't have the look".

Sometimes when I point out that the League is right about MANY issues within the hero system, some fans go great lengths to defend the heroes and shut down my arguments. I don't personally understand how people likes to ignore the fact that pro-heroes in bnha / mha are a mixture of the police-the army with the celebrity world. In the real world, we're right now living a whole situation regarding the values behind the police existence and the negative side of putting celebrities like they are gods. You can clearly see it reflected on the bnha / mha universe, the villains clearly point out the privileges of the pro-heroes and why the system promoting and manipulating such privileges has created the catastrophe they're going through. But apparently fans don't want to read that? Because heroes are supposed to be good and villains are supposed to be bad, I guess. They don't understand the hero-villain narrative has been dehumanizing the characters and the main arc of bnha / mha is working on it to show that more than heroes and villains and citizens, there are complex humans who don't fall into an absolute.

I'm sorry for ranting about this anon, but every time I read "villain fan" as in derrogatory, I laugh because I'm baffled. Most stories need a good antagonist for it to work. There are MANY types of antagonists and MANY types of villains and they just– they just ignore it? Like it is nothing? And then they pretend to judge the villains by only taking tiny parts of their personalities and stories and they pretend to say that is accurate?

I don't know what to say to that. I can only write meta to help people understand the villains better and show them why they are so important and impressive. If they don't want to acknowledge it, that's their problem.

I love to talk and discuss people with different points of view as long as we're able to keep things respectful, but the minute they start attacking me without even listening to my arguments, good bye.

I thank God for the block button every single day of my life.

Well, I hope you're having a great day, anon. Please remember to drink water, take your meds, eat enough, sleep enough and don't forget to breath deep and use the block button and the content and tag filters as much as you want.