#man... i can get lost in tv tropes forever

[happypotato48]

Wandee Goodday EP 2 Unhinged Tangent Thoughts

"Previously on Wandee Goodday Z. Doctor Wandee set his eyes on Mr. perfect Doctor Ter, but before the battle even starts our hero Dee got hit with the "I only like women." now after humiliated defeat, Dee rise up to meet his new challenger Yor-yak Phadetseuk. can our hero finally get to taste delicious victory or it he going to forever be consign to life of vanillaness. find out in this episode of Wandee Goodday Z!"

To zab or not to zab? an age old question, asks to themself by every repressed Homos that ever live.

Bitch! you just got offered free dick. and this hunk of a dick nonetheless. get off your high horse and go ride this bull of a man instead!

So you people probably figured this out by now. but yes Fluke is a really poppular thai boy name for millennials and gen z. i literally knew like 10+ different Flukes form just my school days alone.

Cher can you share your man with me. pretty please 🥺

Fuck you! how dare you wink your god dang eyebrow like that! เห็นใจคนไม่มีผัวหน่อยสิครับ.

Eyebrows!

Men, can't kill them, can't live without them.

Ok wtf, how is this dumb horny show give me the feels right now. Ohhhh those eyes, god damn those eyes. it's like staring into a hazy morning field touched by a gentle first daylight. i wish i could get lost in them forever..... anyway Hot man me likey!

I don't go there but Yak fursuit game is weak. forking amature smh.

Tank tops! hubba hubba. thank you show for putting all the men in tank tops. i will forever be in your debt.

No thank you. i really don't like this trope of a character getting saves from sa that so prevalent in BL and romance genre in general.

This man is a husband material, Dee. you better not break this poor man's heart. or i swear to all the lords of hell, i will bring down calamity on your ass.

Oh hello stereotypical gossipy gay. your kind was one of the first queer representations we got on thai tv. you walked so these BL boys could run, thank you for your service.

He's so beautiful. i love him and his magnificent eyebrows so much.

Cool grandma! i love her style so much. also loved that she asked Dee how the hell he still can't find a man. freaking savage.

จะเอาหัวเอาหางหรือจะเอากลางตลอดตัว ก็ได้จ่ะ.

"Moan harder" and "play with that longer" i'm fucking dead. this is so hot! ahhhh yessss i love this so much. this is how you do sexy. other BLs take some fucking notes!

This is so fucking tender. my heart is melted.

Oh my, this Ep whewwww. the tenderness expressed by Yak is something that i didn't know i needed, but i'm 100% loving every goddamn second of it. Great is such a great actor (pun intended.) and this version of Yak is already better than his book counterpart.

[ncisfranchise-source]

In an era when few streaming shows last beyond a single season, over on network TV, sturdy if faintly overheated procedurals like “NCIS” are still going strong. The first 18-plus of its 22 seasons were led by Mark Harmon as Leroy Jethro Gibbs, the impassive Special Agent in Charge and boss extraordinaire who liked to build boats in his basement in his spare time. “How did he ever get that way?” said nobody ever. But CBS is taking a page from “Young Sheldon” with its latest spinoff “NCIS: Origins.” Or as audiences will be tempted to call it, “Young Gibbs.”

Harmon (who is an executive producer here) makes a brief return on screen to set the stage for a TV series that functions as one long flashback to 1991 when Gibbs joined the Naval Investigation Service (NIS as it was known back then) fresh out of the Marines and shortly after the murder of his wife and child. Austin Stowell is appropriately stoic as Gibbs, but he’s stuck playing a character who doesn’t have many layers beyond his trauma, and the show more or less hopes his tragic loss will do most of the characterization work instead. Spoiler: It doesn’t. He failed his psych eval! He’s wound tight and suppressing grief! Well, that will have to suffice.

TV and film love nothing more than a strong silent type who has lost a wife or child, or both. That way, he can be endlessly sympathetic without having to actually be an emotionally present spouse or parent — or hear about it when he’s not. At least for a few years over on “Law & Order: SVU,” they gave Elliot Stabler a family he could constantly disappoint. But I digress.

Does a weekly procedural need lore? No! But lore you will be served. The show is solidly made and if you’re a dedicated viewer of “NCIS,” maybe there’s something satisfying in the premise. It does try to emulate the original’s sensibility, tempering a super-seriousness with a modicum of comic relief and quirky side characters. And wow, there are a lot of side characters here — as if show creators Gina Monreal and David J. North were throwing spaghetti at the wall to see what sticks — but at least they’re interesting enough, what we see of them, anyway. I especially like what Michael J. Harney does with a brief appearance in Episode 3 as the kind of unflappable, seen-it-all guy who’s been around forever running things in evidence storage. He underplays it just so (and will be a recurring character).

The group of primary investigators is small, if not particularly interesting. Mariel Molino plays the sole woman on the team and she’s a rebel because she wears her NIS-issued baseball cap backward, or something. She and Gibbs have a tense dynamic, but chances are that will thaw into something more. Or not. Just seems like things are headed that way.

But the real breakout is Kyle Schmid as the cowboy who runs this ragtag team of NIS investigators. He’s got a Marlboro Man mustache and a big swinging … ego. This character trope shouldn’t work, but it really does. There’s not much in Schmid’s resume up to this point that stands out, but he is making a meal out of the role and his performance might be the best thing “NCIS: Origins” has going for it. “I’m thinking somebody wanted her dead,” he opines at one point about a case. That’s your theory, his boss asks annoyed? “It’s what we got, ’til we got more.” It’s a great line reading and it doesn’t hurt that Schmid has one of the better voices (twang included) on TV at the moment, marbled one supposes by cigarettes and whiskey and nights by the campfire telling stories about bar fights and his old mare Bessie.

The cases are barely compelling and I’m always reminded how difficult it is to do this kind of economical storytelling well. What about the 1991 of it all? At first glance, the show doesn’t look like a period piece and I’m guessing that’s due to budget. The music does much of the heavy lifting, but there are other details that show up: Beepers, pay phones, microfilm, an overhead projector. It doesn’t feel conspicuous until you really pay attention (or maybe I’m just old) but analog technology is also just more interesting, prop-wise, than endless footage of dossiers and ballistic analysis pulled up on one computer screen or another.

There’s even an extended sequence that takes place at the mall, a place where the average person used to blow hours of their day in a consumerist fog. Somehow the mall might be the most significant throwback of them all and it was smart to think of ways to build a story around it.

“NCIS: Origins” — 2 stars (out of 4)

[cocoartistwrites]

:(( thank you for being so nice!! i’m sorry u had a weird/bad experience too.

i thjnk i feel so sad about it because i feel a bit used. like i said, he was really nice during & before. but he finished kind of quickly (maybe? idk) and then he just left. he’s two years older, in college, and i’ve liked him forever. he usually dates girls that are a lot prettier. but i knew that before so it’s probably not fair to say “used”. he’s a decent guy. i dont feel like i can tell my friends because my closest ones both lost theirs to their long term bf, and me & the guy aren’t even dating casually. i would feel kind of lame or desperate if i told them i did it like that.

thank you, sorry again this is so personal haha. i really like ur advice “column” 💜

There is no nice or easy way to say that that is, unfortunately, an experience that I do think so many of us share. A disappointment, the disappointment weighing so heavily. It’s a let down. You wanted more. I wanted more. So what I will say, which I wish I’d known and believed and not bought into the cool girl tv trope shit is: demand better. You didn’t really deserve that. Tell him. You don’t have to be loud about it. You can quietly and nicely say: this wasn’t great for me and I deserved more from this.

I’ve been thinking about your message so much and I wasn’t sure how to express that and I realise that too is part of the not being able to want. I wish I’d know at your age that I could just say I wanted more. I feel like I’ve felt so much of my life making myself and my needs and my wants less for men. I’m so sorry for my younger self - an urge I still have - who always wanted to be the cool accommodating easy-going girl. I’m not! Expressing what you want is an ongoing nightmare so start well. Start priorising you.

He left? Fuck this guy man. What a total dick. Tell him. You owe him nothing. It’s not lame or desperate to want your early sexual exploration to be respected.

I would also add: he obviously didn’t go down on you or work on your own orgasm. Many men won’t. A hard battle will be learning to ask for it. But also just bc he’s older doesn’t mean he knows what he’s doing. Next time you take someone to bed, tell them what you want a bit? You get into it, though I’ve always found it hard. I’ve always wanted people to know like they would in a novel. They won’t. Teach them how you need to be touched. Gently, then more. Straight in with it. Whatever you need. It is important and it does matter but you have this whole thing ahead of learning to be at least partially responsible for you own pleasure.

Look: he didn’t do it right. You deserved more. Ideally you will find it. I really want that for you. Realistically you are going to have to learn how to create that for yourself as well: ask more, verbalise more, learn more. That gets easier.

As for he dates prettier girls - that mentality has got me nowhere except finding out people I vibed with but didn’t have the confidence to go for really fancied me. You have no idea how you come across to other people. Let them be the judge of it you’re hot. I am literally right now texting an insanely handsome ex pro footballer turned masseuse I didn’t have the balls to seduce when he came to give me a massage but actually obviously despite him seeing my full naked body does fancy me. Looks are so minor. Vibe is really everything and only gets more important. Don’t get in your own way.

[minecraftrelatedrandomness]

Okay, darker quotes, here we go! Many of these are still short-notice TV Tropes quotes because I don't have the time to go through every VOD right now:

Aug 3rd: Apo (via episode recapping; added because it's mildly funny but also dark):

"Blatantly ignoring their concerns like any emotionally stable individual does, I set off to build my home!"

Sept 3rd: Michela:

"They said that we could get them back."

Sept 3rd: Acho:

"And everything is okay and fixed and will be good forever, and… we never lost anyone, because first, we would have to care about people to lose them, so let's just… play it safe."

Oct 26th: Martyn:

"Why rely on a god when you can just become one?"

Oct 14th: Krow/Kuervo (this one is just a funnier one):

"Can you buy a brain cell, perhaps?"

Oct 30th: Sausage (I'm mainly holding off quotes from this man because I'm not sure how well your school is gonna take his screen-name):

"'You're broke. You're alone. Ugly and alone.' SHUT UP, GHOST! Shut up! No, I'm not! I don't know who you are, but I'm not alone; I'm not ugly, I'm handsome and beautiful; everybody loves me and all my friends are waiting for me on the other side of this stupid nightmare. I've been to the Nightmare Zone before! It's every other night when I go to sleep; this is nothing to me! Let's go! This is nothing! I've been to Shadow Realm before! Let me out!"

Dec 4th: Apo:

"You– You gotta kill the monster, Acho."

Dec 4th: Acho:

"You're so worried about losing yourself that you're being someone else!"

Dec 6th: Shep:

"So, here's an idea: you're more trouble than you're worth, and maybe you should deal with it."

Dec 10th: Scott:

"I've spent the last week just… sticking to myself, thinking… I was ready and… now I don't know if I am. But I mean, I can't blame them, what do they want me to do? Put on an ad in QuestBuy? 'Hey, my brother's dead! Don't ask questions!' It's just like every time someone asks me… I'm reminded of how much I failed. I have to relive that moment again."

Dec 10th: Iris:

"My sister died the moment you latched onto her."

Dec 10th: Iris:

"I'm preventing the complete annihilation of everything. If not for the souls of a few, it all dies."

Dec 10th: Iris:

"Fools! I can't end this if it isn't contained! You must help me, or everything you know will die."

Other notes:

Another hyper-specific quote source is Acho's gazillion monologues, especially starlore monologues

Hey idk if people are still following these tags but does anyone have any quotes from pirates smp?

[cantuscorvi]

            RULES:  List five tropes applicable to your character, then tag others to do the same.  (Tropes Wiki ) REPOST! DO NOT REBLOG.

TAGGED BY: @welabitchek​

TAGGING: @lilyintheashes @zdravstvuysclntse @hiracith @miirus @saligiare

DEMON LORDS AND ARCHDEVILS: Demons that are above the legions of hell in Rank, but below Satan. Raum is part of the Ars Goetia, a list of 72 demon lords. Raum himself is an Earl of Hell and governs 30 legions of spirits.

AGENT PEACOCK:  Raum loves fancy clothes, elegance, finery, opera, art, fine food, wine and interior design. Some could say he acts quite femininely (at least in his hobbies and attitude), but his demeanour is still masculine - dominant, cold and strong. Pretty much all traits of this trope.

DISSONANT LAUGHTER:  You know that feeling you get when you’re angry and you just start crying for no reason? Well, when at the breaking point of anger - Raum laughs instead. It can be a downright unsettling experience, especially if you’re on the receiving end of his wrath. 

GENTLEMAN SNARKER:  Since he takes on the general appearance and demeanour of a gentleman, it’s somewhat surprising to people when Raum says things that seem “out of character” of that persona. He’s a  witty guy that loves to roast people now and then, or indulge in the reaction if he says something scandalous out of the blue.

DON’T YOU DARE PITY ME!: Raum is an incredibly prideful person, and mostly a loner. He doesn’t like the idea of relying on anybody else, or owing anybody else anything. He definitely doesn’t deal well with sympathy from other people and in fact pretty much hates it.

[feather-dancer]

002 Barbara? :3

This meme for reference:

How I feel about this character:

FEAR LAKES WITH BROOMS

In all seriousness though we have someone who was studying to become a medical professional when she suddenly became a single mother and had to balance all that while still paying the bills and an erratic schedule. Is she perfect? God no things on fire is a regular household issue thanks to her cooking but she's never afraid to try even when her world gets upended and will go to the ends of the earth for loved ones as much as patients if there's even a chance. Mean she went for Merlin, she made Strickler work to come back into her life because she doesn't need him (Now there's a rare media trope) and she's never afraid to call out garbage when she sees it. I love her so much.

And she's an amazing artist to boot, seriously.

All the people I ship romantically with this character:

Honestly just Strickler? I can appreciate crack ship content because it can be utterly hilarious but I have zero interest in shipping it myself. I know there is a popular one with her but there is only very specific circumstances I can stand it.

My non-romantic OTP for this character:

If this includes frandships 100% interactions with Morgana once she gets her shit together and @creativenicocorner's Anna their relationship is an absolute gem.

My unpopular opinion about this character:

Not aware I have any? Apart from wanting to launch anyone who calls her an abusive parent into the sun but that's more my reaction to unpopular opinions lol

One thing I wish would happen / had happened with this character in canon:

The execs didn't want to focus on adult relationships as "it wouldn't interest the kids" denied us a proper reconciliation for Stricklake and that forever annoys me, it clearly DID happen but we never saw it. Otherwise oh my god let this woman sleep she's as bad as her son for working herself half to death.

Oh and Jim coming home, I know we lost it for time BUT MAN I WANTED THAT HUG.

My OTP:

Stricklake got me despite the heavy cuts on the UK tv version of Trollhunters what does that tell you lol I even write it occasionally, hell one of the oneshots I owe is it .

My cross over ship:

Not my thing.

A headcanon fact:

The way I write her is she's a lot more savvy putting things together than people give her credit for, it's her job figuring out how to help people after all! In Ghost!AU she mistakeningly believed Strickler was the reason for the Draal letter (Of which he of course was innocent and had no idea) and saw a chance to get straight answers. Yet this is balanced with being a little bit clumsy or forgetful of things (Like her phone) showing a clear shift between professional mode and Barbara mode plus the uh ... Cookery fires. As ever she's simply doing her best and I appreciate the hell out of her for it.

[spencersstrawberryjello]

Shitty Slasher Film (Spencer Reid + gn!MC - platonic)

Summary: SPOILERS FOR SEASON 8 (and minor season 7 spoilers but I figure if you’ve seen season 8 you’ve probably seen season 7 already lmao) MC and Spencer decide to go see a slasher film, but it takes a turn for the worse when the killer begins to stalk his victim. 

Content: Hurt/Comfort (because literally what else do I write at this point)

Warnings: Descriptions of violence, depressive thoughts, and swearing

MC’s name and pronouns: Neither explicitly mentioned

Word Count: 2285

-------------------------------------------------------------------------------------------

The plan was simple.

We were going to see a new horror movie in the theaters - it seemed similar to a slasher film that Morgan, Garcia, Reid and I had seen like six or seven months ago, so I didn’t think anything of it when we booked the tickets. Morgan and Garcia couldn’t make it tonight, unfortunately, but we still elected to go on our own, thinking it would be a fun little outing. That was, until the film started.

The lights came up on a woman, walking through a back alley alone, at night. Typical. I even glanced over at Spencer and rolled my eyes a bit, and he grinned at the stereotypical horror movie trope.

She died, of course, and for the first half of the movie I genuinely thought it was going to be exactly what we assumed. We were laughing at the ridiculousness of it all, with the stupid special effects and the subpar acting. But everything went off the rails after the first half of the movie.

The killer had revealed his primary target, his endgame, and - much to my horror - he had begun to stalk her.

Scenes of her creating a disguise, moving houses, throwing away her phone, spun a dark web that I didn’t ever want to think about. But I had more pressing things to worry about than my fear at a movie that was literally intended to make you scared.

I glanced over at Spencer, and I could tell that his breathing had picked up. His hands were gripping the arms of the chair, knuckles as white as his face had turned. I put a hand over his, and his attention snapped to me.

“Hey, are you alright?” I asked him. It was a stupid question, and one I already knew the answer to, but it was the first thing I could think to say. He looked like he was weighing his options for a moment before he shook his head.

“Do you want to leave?” I followed. He nodded, eyes wild, and we quickly grabbed our bags and left, just as the stalker had pulled a gun on his victim. Spencer took one last look at the screen, watching with wide eyes as the victim begged for her life. It was like a trainwreck; he couldn’t take his eyes off the movie, and I couldn’t take my eyes off him as the stalker pulled the trigger, and the woman crumpled to the ground. He practically jumped out of his skin when the gunshots fired, and I grabbed his arm to usher him out.

I didn’t realize the full extent of his panic until we made it out of the theater, bursting through the doors into the significantly brighter lights of the hallway. He immediately sat down on the couch near the doors, head in his hands, breathing rapidly.

“Ok, you’ve gotta breathe, Reid. You’ve gotta breathe, alright? In through your nose, out through your mouth, can you do that?” I adjusted my breathing to fit the pattern, and saw that he had started to slow his as well. “Good, ok… we can sit here for as long as you need to, just focus on your breathing.”

He gave me an almost imperceptible nod, continuing to breathe slowly before lifting his head from his hands. His eyes were red, and it was clear he’d been trying to fight off tears.

“Reid, I’m so sorry -”

It was at that moment that he cut me off with a hug, tucking his head in the crook of my neck as I felt his body lightly shake with sobs. After a second I hugged him back, not used to physical affection from him, but not opposed as long as he was ok with it.

“It reminded you too much of Maeve, didn’t it?” I asked, trying to ensure that the story I had in my head was correct. He nodded, his breath coming in short gasps again, and I hugged him a bit tighter. “Reid, I’m so sorry, I never would’ve suggested this movie if I’d known the turn the story was going to take.”

He shook his head, sucking in deep breaths before finally attempting to speak. “No, no, it’s ok, I know that you wouldn’t have done this on purpose. It’s just…”

He trailed off, but I knew what he was trying to say. “I was there that day, Reid. I know how much she meant to you.”

“The girl in the movie kind of looked like her. You know? Same hair, same face shape… when I saw the fear in her eyes, all I could imagine was Maeve, terrified, with a gun to her head. The woman I love - loved. The woman I loved. Scared, and alone.”

“Oh, Reid… you know it’s not your fault, right? You did everything you could to save her.”

“No. No, I didn’t. I should’ve closed my eyes, I should’ve tackled Diane - hell, I should’ve shot that bitch the minute I walked into the room! Instead I stood there. I stood there while the woman I loved died in front of me, and I didn’t do anything to stop it.”

“Spencer.” I put my hands on his shoulders, pulling back from the hug to look into his eyes. “You absolutely cannot blame yourself for this. What happened to Maeve was horrible, but it was not your fault. And you can’t live your life with that on your conscience.”

“Maybe I deserve to.” His voice was soft as he tucked his head back into the crook of my neck, and I put my arms around him, one hand lightly rubbing his back. My heart broke for the man in my arms - my best friend - as he sniffled, a few stray tears still trickling down his face.

“You don’t deserve to live with that kind of guilt, Spencer. Guilt for something you didn’t even do. And I’m so, so sorry that you feel that way. And I’m so sorry about what happened.”

“Sorry doesn’t make it go away,” He argued, his voice muffled by the fabric of my t-shirt, “Sorry doesn’t bring her back.”

I heard his voice hitch when he said it, and I held him a bit tighter. “I know it doesn’t.”

He was silent for a moment before he spoke again, his voice thick with tears begging to be released. “I just wish I could bring her back.”

It was as if saying it broke something in him, and I felt his body shake as he cried again, consumed by grief and guilt unlike anything I could ever imagine. He was usually so closed off about his emotions that having him crying in my arms was a rare occurrence, even after years of friendship. The last time he was like this was after Emily’s… “death,” and even that wasn’t near as intense.

I wasn’t sure how long we sat on that bench, the orange lights of the movie theater hallway creating a strange liminal sensation as I held Spencer, finally releasing the emotions he’d clearly been pushing away since Maeve’s death.

Eventually, he stopped crying, his breathing returning to something close to normal, and he pulled away from me, his eyes red from tears.

“I’m sor -”

“Nope, do not even start to apologize. There’s nothing to apologize for.”

He closed his mouth, contemplating saying something else for a second before nodding, hugging me again.

“Thank you.”

“Of course, Reid. Do you want to go back to my place? We can order a pizza, and watch a movie - something we know this time. If you need to be alone, I understand, but -”

He shook his head. “I’d like that.”

“Good,” I sucked in a deep breath, trying to steady my own breathing after everything that just happened, “Good. Are you ok to walk to the car?”

“Yeah… I’m not sure how talkative I’m going to be tonight though…” He kind of trailed off, clearly drained, but not wanting to be alone.

“I understand; you know there’s no expectations with me, Reid. If you want to just wrap yourself up in a blanket and eat junk food, I get it. I just want to be there, to make sure that you’re ok.”

He gave me a small smile, and I grinned, grabbing his hand to help him off the bench. We made our way out to my car, and I climbed in, starting it before turning on the radio.

Spencer was pretty much silent the entire drive back to my apartment, the noise in the car mostly consisting of the music and my less than stellar singing. When we finally pulled into the complex, we headed upstairs to my place.

“I’m gonna order the food. Do you wanna find something on Netflix you like?” I asked as I unlocked the door. He nodded, and I threw my keys on the kitchen counter, putting in the pizza order on my computer. I saw him grab a blanket from the basket in the living room, wrapping it around his shoulders and plopping down on my couch.

I expected to return to the living room to see whatever movie we were watching cued up on the TV. Instead, I saw Spencer, staring at the wall across from him, remote untouched on the coffee table.

“Hey,” I sat down next to him, gently putting one hand on his shoulder, “Is there anything else you want to talk about?”

He was silent for a moment, and I could see the mental battle he was fighting. Eventually, he spoke, his voice barely above a whisper.

“I’m afraid… I’m afraid that if I allow myself to grieve, if I allow myself to think about what happened, I won’t be able to stop. It’s been almost four months, I thought the pain would be gone by now. But it isn’t, it’s… I just miss her. I miss her so much.”

“I know, Reid. I know.”

He leaned into me, and I didn’t hesitate to wrap my arms around him, the thoughts of pizza and a movie completely abandoned in my mind. Instead, all of my attention was on Spencer as he spoke again.

“On the last case, Rossi talked to me. I told him that I wasn’t sleeping because whenever I did, I would dream of her. Of Maeve. And everytime I saw her, I felt nothing but relief flooding my mind. I told him how she would always ask me to dance, and how I always said no. I never even got to hold her when she was alive, and I was scared that if I gave into the fantasy, I would be lost forever,” He took in a shaky breath before he continued, “And he said I should. He said, ‘just let it happen, Spencer.’ So I did. I danced with her, I held her, and when I woke up, she was all I could think about. The way it felt to wrap my arms around her, the way her head fit perfectly into the crook of my neck while we danced. It took another day before I could think about anything but her, before I could stop wallowing in my grief enough to function. And since that night, I haven’t allowed myself to give into the fantasy again, the fantasy of having her back. I think… I think that if I let it happen again, I won’t be able to come back from it. It’ll just consume me.”

“Spencer…” I trailed off, unsure of what to say. He just shook his head, telling me I didn’t need to say anything as we sat there on my couch in silence. He wasn’t crying, he hadn’t cried since we left the theater. He was just… hollow. Everything that he’d been trying to repress - to compartmentalize - had finally caught up to him, in the form of a shitty slasher movie that we’d gotten cheap tickets to see.

I held him tighter, wishing that I could figure out something to say to comfort him, to take away his pain. But I knew there was nothing I could do. Nothing I could do but just be there.

“Have you ever considered talking to someone? Like, not someone from the team - a professional?” I asked.

“I’ve thought about it. But… we’re experts in human behavior, you know? What’s a therapist going to be able to tell me that I can’t already profile myself?”

“Well, it might be helpful to have a licensed professional to talk to about this stuff. Someone who can actually give you advice on how to handle your emotions. Because as much as I am absolutely here for you no matter what, I’m afraid I’m not great at mental health advice.”

“Yeah… maybe.” He sounded dubious about the idea, and while I wanted to encourage him further, I didn’t want to push him today. So I settled for just gently rubbing his back as he laid in my arms, staring at the wall. Eventually, the doorbell rang, and I got up to get the pizza, bringing it back into the living room and setting it down on the coffee table. By now, he’d sat up, the blanket still pulled around his shoulders, but at least a bit more present.

“Thank you,” He said, for the second time that day. I just smiled at him.

“Of course. I love you, Reid. And I’m always here, whatever you need.”

“I love you too,” He gave me a small smile back before turning his attention to the coffee table, “But I also love food - I’m starving.”

I laughed as I handed him a plate, joining him on the couch as we both dug in.  

[rachelbethhines]

Vintage Shows to Watch While You Wait for the Next Episode of WandaVision - The 60s

So the 60s is the era that Wandavision pulls most heavily from for it’s inspiration. So much so that one could make the argument that each of the first three episodes are all set in the 1960s. Episode one pulls from the early 60s with multiple Dick Van Dyke refences, episode two is very Bewitched inspired, and episode three is aesthetically very similar to The Brady Bunch which started in ‘69. As such it was hard to narrow down the list for this decade and I had to get creative in some ways. 

1. The Andy Griffith Show (1960 - 1968)

The Andy Griffith Show gets kind of a bad rap now a days for being, supposedly, a conservative’s wet dream. People claiming it as such have apparently never actually seen the series. Oh yes, it’s very much set in white rural 60s America and will occasionally present the obliviously outdated joke, but the story of a widowed sheriff being the only sane man in a small town full of lovable lunatics, who prefers to solve his and others problems with negotiation and hair brained schemes as opposed to violence has far more in common with modern day Steven Universe than whatever genocidal fantasy fake rednecks have in their heads.  

As the gif above shows Andy Griffith was very subtlety progressive for its time. Andy was a stanch pacifist, pro-gun control, treated drug addicts and prisoners with respect, and all the women he would date had careers, ect. and so on. It’s not a satire making any sort of grand political statements but the series had a moral center that was far more left than many realize. 

But if it’s not a satire, then what type of comedy is it? 

The Andy Griffith Show excels in what I like to call, ‘awkward comedy’. See everyone in Mayberry is far too nice to just come out and tell a character they’re making an ass of themselves, so therefore whoever is the idiot punching bag of the episode’s focus must slowly unravel as everyone looks on in helpless pity until said character realizes the folly of their ways and the townsfolk come together to make them feel happy and accepted once more. Wandavision takes this polite idyllic awkwardness and plays it up for horror instead of laughs.  

2. The Dick Van Dyke Show (1961 - 1966)

The creators of Wandavision actually met with Dick Van Dyke himself to pick his brain and learn how sitcoms were made back then. Paul Bentley also took inspiration from Van Dyke in his performance of the sitcom version of Vision, while Olsen stated Mary Tylor Moore had a heavy influence on her character of Wanda. But more than just being a point of homage, The Dick Van Dyke Show was hugely influential in modernizing the family sitcom and breaking a lot of the unspoken traditions and ‘rules’ of the 50s television era. It’s also just really, really funny.  

3.The Alfred Hitchcock Hour (1962 - 1965) 

Bit of a cheat here. Alfred Hitchcock Presents actually started in 1955 as a half hour anthology show, but in ‘62 the show got a revamp and was extended into a full hour tv series. I knew I wanted The Twilight Zone to be covered in my episode one recap, but ‘The Master of Suspense’ couldn’t be forgotten. While The Twilight Zone reveled in the surreal and supernatural, Alfred Hitchcock pioneered the thriller genre and made real life seem dangerous, horrifying, and other worldly.   

4. Doctor Who (1963 - present day) vs Star Trek (1966 - present day) 

Just like how westerns dominated the air waves during the 50s, science fiction was the center of the cultural zeitgeist of the 60s. From Lost in Space to My Favorite Martian, space aliens and robots were everywhere. So naturally I had to name drop the two sci-fi juggernauts that still air to this today. If you thought that the rivalry between Star Wars and Star Trek was bad then you’ve never seen a chat full of Whovians and Trekkies duking it out over who is the better monster, the Borg or the Cyberman. But which one has the more influence over Wandavision?

Well Star Trek owes it’s existence to sitcoms. As with The Twilight Zone before it, Star Trek was produced by Desilu Productions and it’s co-founder and CEO, Lucille Ball, was the series biggest supporter behind the scenes, lobbying for it when it faced early cancelation. As with all things sitcomy, everything ties back to I Love Lucy in the end. However despite that little backstory, it would seem that the series has very little to do with Wandavision itself beyond being quintessentially American. 

I would argue that Wandavision owes much to Doctor Who though. Arguably more so than any show mentioned in this retrospective. Time travel, alternate realities, trouble in quite suburbia, brainwashing, people coming back from the dead, ect... just about every trope you can find in Wandavision has also appeared in Doctor Who at some point. As a series that can go anywhere and do anything, Doctor Who was a pioneer of marrying genres in new and interesting ways. 

5. Bewitched (1964 - 1972) and I Dream of Jeannie (1965 - 1970)

It’s hard to pick one series over another because they’re essentially the same show. A mortal man falls in love with a magical girl who upends their lives with magic filled hijinks as they try their best not to have their secret discovered by the rest of the world. And both have their fingerprints all over the DNA of Wandavision. 

There’s only two core differences; Samantha and Jeannie have completely different personalities, with Sam being confident and knowledgeable and Jeannie being naïve and oblivious, along with their relationships with their respective men, Sam and Darrin being married and in love at the start of the series and Jeannie chasing after Tony in the beginning in a will they/won’t they affair, finally only getting together in the last season. 

6. The Munsters (1964 - 1966) vs The Adams Family (1964 - 1966)

Fans of these two shows are forever sadden that there never was a crossover between them. Because they’d fit perfectly together. Both shows are about a surreal and macabre family living in American suburbia and disrupting the lives of their neighbors with their otherworldly hijinks. Sound familiar?     

The main difference between the two shows is the way the characters viewed their placement in the world they inhabit. 

The Munsters were always oblivious to the fact that didn’t fit in. They just automatically assumed everyone had the same personal tastes as them. Whenever they encountered anyone who behaved strangely around them they would write that person off as being the odd one rather than questioning themselves. As such the main cast was structured like a stereotypical sitcom family who just happened to be classic movie monsters. 

The Addams were well aware that they were abnormal and they loved it! They lived life with in their own little world and didn’t care what anyone thought of them. As such the characters were far more colorful and quirky as individuals but there was little in the way of refences to other horror franchises beyond just a general love of the twisted and strange. 

7. Green Acres (1965 - 1971) and the Rual-verse (1962 - 1971)

So the MCU is not the first franchise to bring viewers an interconnected universe to the small screen. Far from it, as sitcoms had been doing this for decades, starting with the ‘rualverse’. Beverly Hillbillies, Petticoat Junction, and Green Acres were all produced by the same company and were treated as spinoffs of each other, complete with crossovers and shared characters and sets. 

Of the three, the last show, Green Acres, has the most in common with Wandavision. A well to do businessman and his lovely socialite wife settle down in small town America on a farm in order to get away from the stresses of city life, only to find new stresses in the country. Eva Gabor, herself a natural Hungarian, plays the character of Lisa as Hungarian making her one of the few non-native born Americans on tv screens during the cold war. Despite her posh nature and original protests to the move, Lisa assimilates to the rural life far easier than her husband, Oliver. Who, as the main comedic thread, can’t comprehend his new quirky neighbors’ odd and often illogical behavior.  

8. Hogan’s Heroes (1965 - 1971) and Get Smart (1965 - 1969)

So as comic fans have been quick to point out, it’s looking like both A.I.M. (Hydra) and Sword (Shield) will be players in the story of Wandavision. To commemorate that here’s two shows to represent those opposing sides. Although in truth, neither series has anything else in common with each other but I need to condense things down someway. 

In Hydra��s corner we got Hogan’s Heroes. A show all about taking down Nazis from within. 

I love, love, love, ‘robin hood’ comedies where a group of con artists try week after to week to pull one over the establishment. The Phil Silvers Show, Mchale's Navy, and Top Cat, just to name a few examples are all childhood favorites of mine. However while those shows had a lot of morally ambiguous characters, Hogan’s Heroes has very clear cut good guys and bad guys, cause the bad guys are Nazis and the show relentless makes fun of the third reich as should we all. In fact I was watching Hogan’s Heroes while waiting for the GA run off election results. Fortunately my home state decided to kick out our own brand of Nazis this year. 

For Shield, we got the ultimate spy spoof, Get Smart. Starring, Inspector Gadget himself, Don Adams, as the bumbling Maxwell Smart. Get Smart, is a hilarious send up of Cold War espionage but the real selling point of the show, imho, is Max and his co-worker 99′s relationship. You can cut the sexual tension in the air with a knife all while laughing your ass off. 

9. Batman (1966 - 1968)

First was Superman and then came Batman. Yet while Superman was a serious action show, Batman was a straight up comedy. Showcasing that superheroes could indeed be funny. 

Also shout out for Batman being the only show on this list to have an actual crossover with it’s competitor, The Green Hornet. 

10. Julia (1968 - 1971)

Since episode two features the first appearances of Herb and Monica, let’s highlight the first black led sitcom since the cancelation of Amos ‘n Andy over a decade earlier. The show focuses on single mother and military nurse, Julia, as she tries to live her life without her recently decease husband, who was killed in Vietnam, as she tries to raise their six year old son on her own.  

The series is cute. It’s more of a throw back to earlier family sitcoms where there’s no fantasy and life lessons are the name of the game. It’s the fact that the main character is a single black woman is what made the show so subversive and important at the time. 

Runner Ups

There’s much good stuff in the 60s, so here’s some others that didn’t make the cut but I would recommend anyways. 

Car 54, Where Are You? (1961 - 1963)

I call this the Brooklynn 99 of the 1960s. Bumbling but well meaning Officer Toody longs to do good in the world and help anyone in need, but often screws things up with his ill thought out schemes. He often drags his best friend and partner, the competent but anxiety riddled, Muldoon into his escapades. 

Mr. Ed (1961 - 1966)

The grandfather of the sarcastic talking pet trope. 

The Jetsons (1962 - 1963 and 1985 - 1987)

Hanna-Barbera often took popular sitcoms and just repackaged them as cartoons with a fantasy theme to them. The Jetsons has no singular show that it rips-off but is rather more a grab bag of sitcom tropes that feature, robots, computers, and flying cars. 

The Outer Limits (1963 - 1965) 

The Outer Limits was The Twilight Zone’s biggest competitor in terms of being a sic-fi/horror anthology series. 

Gillian’s Island (1964 - 1967) 

The only comparison to WandaVision I could think of was that this is a sitcom about people being trapped in one place. But by that point I was running out of room on the list. Still it’s one of the funniest shows on here. 

So yeah, this took longer than expected cause there’s a lot, here. Hopefully the 70s will be easier. Which I’ll post on Friday. 

[phantomsilva]

Thoughts on Rott

I’m not very active because of time, but I really need to put this out. So now that everyone has had their rants on rott… It’s my turn.

A reminder that all I’m going to talk about, is simply my opinion on the matter. Oh, and this will be a pretty long text.

ROTT SPOILERS(I guess)

I’m not even gonna talk about how OOC the characters were in the movie, I think other profiles already did a pretty good explanation of that, and I actually expect it from a movie.

I’d like to talk about resettings and about how as a writer myself (at least in my native tongue) I swear I’ll never use a timeline resetting as an ending in any canon fiction of mine.

To begin with, resetting being used as a resolution, an ending, is by concept disrespectful.

First, it disrespects all characters’ arcs.

Everything every character went through, their growth, their pain, their victories, is completely thrown at the garbage. It means nothing anymore because all of them went back to the start, none of it ever happened and there is no way in canon to know if it will happen the same way again.

I don’t know about you who is reading this but a big part of the reason I follow a series is for character development. That was the one thing in toa I was always proud to affirm it was chef’s kiss. Well, none of this exists anymore, jokes on me.

So, my second point: Ending with a resetting disrespects the viewer.

I think it is bad enough when you waste two hours of your life watching a movie, for the resetting to happen at the end. But then it was only two hours. Rott was a movie, but it was a part of a 5 years franchise. 5 years that we spent waiting for new stories to come, to see our favourite characters grow, come back or even die. All the engagement, happiness, and other emotions we felt while following these same characters were completely meaningless when the franchise ends with “And so we are back to the beginning”. I think it is even worse when they complete it with “and now everything is different and you don’t know what is going to happen… But we won’t tell you how”.

The disrespect doesn’t even end there for me lol . Besides the “So, and it was all for… nothing” feeling, I think the specific way it was done in toa affects it on another level.

Trollhunters was a comfort tv show for me, I found it in a very difficult time of my life and have been rewatching it for fun in stressful weeks.

I saw someone commenting “how can I enjoy the rewatching if I know in the end none of this ever matters?”. That is my problem with the specific way they used it. It affects my rewatches. Maybe it is still too early, but everytime I think about rewatching season 1, I realize there is no reason to do it. And not because I already watched it several times (thanks anxiety), but because all of this was undone and maybe never even happened.

I never expected an ending would ruin a whole franchise for me and I followed Steven Universe weekly. Worst case scenario, I thought we would have had a weak ending that could easily be forgotten, or continued in our fics. We would lose some characters, like we’ve lost Draal, but when we revisited them in past seasons they would still be there.

Revisiting past seasons now just tastes bitter.

I see Jim riding his bike on episode 1, I see Strickler with his character arc, Steve that has grown so much as a person.. And then I remember it was all for nothing. All of it was erased and, canonically, they will always be on square one.

I saw someone today saying “It is worse than ‘it was all a dream’ ”, and that is it. “It was all a dream” is already a disrespectful trope, this was worse.

If you are still here, I'm sorry, there is more to this rant. I won’t be repeating the disrespect thing though, I think I’ve made my point.

There is another aspect of the resetting that I really want to talk about.

Have you ever watched Dragon Ball? Yes, guys, I’m that old.

Dragon Ball was known for the trope of reviving characters. We always used it as an example to criticize this trope.

Reviving characters out of nowhere or with frequency takes the weight out of a character’s death. The spectator doesn’t care anymore when they see someone die, because they will come back in the end, and you feel that the writers take killing people very lightly because of that.

Difference between Reviving Characters and Resetting Timeline as an ending is that Reviving Characters can be good if used with caution. Resetting Timeline can’t, and that affected writing in Rott.

I found it strange how so many deaths felt light there, and to me the explanation is: they knew in the end it wouldn’t matter, so they didn’t need to put that much weight into it. “If none of this ever happened, I can kill whoever I want however I want.”

Which takes me to my last point of “Ending with Reset Timeline is bad by concept”.

When you know you will reset a whole world to the start, you can do any crazy thing to the plot or the characters because you don’t have consequences from that. Which, to me, explains the “wtf” feeling a lot of the fandom got while watching so many OOC scenes and silly situations during the movie. From a fandom who was waiting for an ending for more than a year, it is really disappointing.

Now, of course I’m not saying any of this was done on purpose, or with malicious intent. I think the writers had very good intentions, we know there were crew there who worked on other seasons of TOA. I even get the concept of “the adventure will continue forever”. I just think they forgot to read the fandom room.

Anyway, I really wanted to share my feelings about the “Resetting Timeline as an ending” trope (?) because I don’t think the issues here are limited to TOA. All points T made are pretty general and I got it from all the works I’ve seen using this “solution”. I’ll advocate any day that this is a lazy and disrespectful solution, no matter who uses it or where it is used. Unless, of course, you do give me the whole franchise rewritten after the resetting, but that ain’t ever gonna happen.

I’ll take from TOA the amazing artists and storyboarders I found out here. The stricklake discord that gave me so much joy over the last two years and let me meet great people. Even the screenshots and beautiful scenes from the movie because the art was Amazing! That part I'm taking with me. Oh, Good Aaron, of course, cause now I’ll be following his work wherever he goes because this man is amazing. Actually, only him to make a good situation out of this. As he himself said, all headcanon is now canon.

So I’ll be disregarding the existence of rott, as I disregard the existence of the last airbender, take the rest of the franchise with me and any post-Wizards/rott rewriting fics I’ll find. And if I don’t find one I’ll write one. Nothing can be worse than resetting timeline ending.

I hope someday I can revisit the old seasons without this bitter taste, though.

That being said, I’m open to fic suggestions. Rott AU's, Rott erasement, post-wizards AUs, you name it. Do you need a reader? Send it to me.

And I’ll be doing stricklake month, once I recover from this.

Thank you for coming to my TED Talk.

[jbbarnesnnoble]

JBBarnesNNoble's 2nd Annual Mental Health Awareness Month Challenge 2021

Hello lovely people! And welcome to the 2nd Annual Mental Health Awareness Month Writing Challenge. The aim of this challenge is to shine a light on mental health, medical conditions, and the things that can have impacts on us. This started out initially being a PCOS Awareness challenge last year but through conversations with other writers over Discord, it evolved into a Mental Health Awareness Month Writing Challenge last year. I’m reusing some of the unused prompts from last year’s challenge and adding in some new ones!

May is Mental Health Awareness Month. The goal of this challenge is to lift each other up, and show that it’s okay not to be okay. Spread some love and light during a challenging time in the world to those who struggle with chronic illness, depression, anxiety, self-esteem issues, grief, PCOS, acceptance from their families and communities for being LGBT+, and anyone struggling with insecurity.

This challenge will run through July 31st, 2021. It will run through Mental Health Awareness Month, Pride Month, and the month of July to give people time to write. You can submit it at any time. I probably have too many prompts, but I wanted to ensure that there was a wide array to choose from. Please don’t hesitate to message me if I haven’t interacted with your fic after a few days! Sometimes the tag system doesn’t work and I miss things!

The Rules:

1. Utilize resources available online if you’re dealing with subject matter you’re not that familiar with. I’m not going to go all “cite sources” on y’all, but please do make sure to do your research. Writing about some of these issues can be hard if you don’t have first hand knowledge of how it can affect you. The goal of this challenge is to write about topics that we tend to shy away from, that many of us struggle with, from mental health struggles to chronic illnesses to low-self esteem. A gentle reminder that if you think writing about a subject will be triggering for you, please look after yourself first.

2. Use #JBBNNMHAM21 to tag your fic

3. Dark!Fic- Due to the subject matter involved in this challenge, please don’t submit dark!fic. I enjoy dark fics, but this challenge isn’t the place for them.

4. Smut- Smut is welcome! Make sure you tag it appropriately.

5. No inc*st, dubcon/noncon, underage, etc

6. Ships- I prefer reader inserts, but show me what ya got.

7. NO JOHN WALKER FICS. Please. Please no. I beg of you.

8. Selecting Prompts: Just let me know which one you want to do! 2 people per prompt! The song prompts have a line from them under it. You DO NOT need to use the line in your submission! It’s mostly to help you decide if you’re interested in a song before you take a listen to it.

You also can alter the sentence and dialogue prompts as needed for grammar, be it altering the pronouns used or changing the pluralization of a word.

9. Trigger Warnings: Use warnings as needed. Fics dealing with depression, anxiety, eating disorders, or other mental health issues should be tagged appropriately to ensure that readers that may be triggered by the subject matter can avoid the fic. Trigger warnings are non-negotiable

The prompts are under the cut!

Prompts:

Dialogue Prompts:

“I feel like if I let go, if I move on, I’ll only be proving them right.”

“I don’t know. Am I? Because from where I’m standing it’s pretty damn clear that’s how you see me.”

“You don’t believe that do you? Tell me you don’t. Please.”

“It’d probably be easier if you left”

“Please leave me alone”

“Everyone’s got broken pieces. Some have more, some have less. It doesn’t make you less of a person to have those broken pieces.” @nekoannie-chan

“If it’s okay with you, I’ll take that shake now.”

“What’s the point if I’m going to end up breaking that promise too?”

“You sure about that, moonman?”

“It made you smile though. And that will always be a win in my book.”

“That’s not true. And I will tell you that every day of your life until you believe me.”

Sentence Prompts:

Feel free to adjust the pronouns as needed

It was a day. It was the only way it could be described.

Summer had a smell that reminded her of innocence and a time long since past.

In that moment, the world stopped spinning on its axis as it all shattered down around her.

Some things, there would never be a way to understand. @justrunamok

Like shattered glass, in that moment the illusion was broken.

Forever was a lie, just like everything else.

If you had another condescending doctor tell you your problem wasn’t a problem you were going to scream.

They’d say it was easy, like riding a bike. Except, you never learned how to ride a bike in the first place.

Today was going to be good. It had to be.

It didn’t take a genius to figure out that this was going south.

AU and Trope Prompts:

Soulmate @samsgoddess

College

Childhood Friends @tellmealovestory

Friends to Lovers

Enemies to Lovers

Musicians

Writer

Professional Athlete

Teacher

Coffee Shop

Fake Dating

Accidental Marriage

Royal

Librarian

Doctor

Song Prompts:

1. Nobody Ever Told You - Carrie Underwood

Lyric Snippet: “Wish you could see yourself the way I do. Nobody ever told you, nobody ever told you. Shine like a diamond, glitter like gold, and you need to know what nobody ever told you”

2. Missing You - All Time Low

Lyric Snippet: “And if you need a friend, I’ll help you stitch up your wounds. I heard that you’ve been, having some trouble finding your place in the world. I know how much that hurts. But if you need a friend, then please just say the word.”

3. Barefoot and Bruised - Jamestown Story

Lyric Snippet: “Maybe when your sky comes crashing down, I can be your angel on the ground. If you get tired and can’t go on, I will carry you along, when the rocks below your feet wear out your shoes, when you’re barefoot and bruised”

4. Hold On Till May- Pierce the Veil

Lyric Snippet: “If were you, I’d put that away. See you’re just wasted and thinking about the past again. Darling, you’ll be okay.”

5. If I Surrender - Citizen Soldier

Lyric Snippet: “If I surrender, surrender, to the monsters in me, will it set me free?”

6. Home - Machine Gun Kelly, X Ambassadors, Beba Rexha

Lyric Snippet: “All these miles, feet, inches, they can’t add up to the distance that I have been through just to get to a place where even if there’s no closure I’m still safe. I still ache from trying to keep pace. Somebody give me a sign, I’m starting to lose faith”

7. Broken Arrows - Daughtry

Lyric Snippet: “The best of intentions I lay at your feet. And I need you to see past the worst part of me.”

8. Used - Serious Matters

Lyric Snippet: “The wounds are gone and the pain still lingers. But this time I won’t stand by, I don’t need you in my life”

9. According to You - Orianthi

Lyric Snippet: “According to you, I’m stupid, I’m useless, I can’t do anything right”

10. Let It Land - Tonight Alive

Lyric Snippet: “And everything we hate is something we just bought along the line”

11. Cold As You - Taylor Swift

Lyric Snippet: “You put up walls and paint them all a shade of grey. And I stood there loving you and wished them all away. And you come away with a great little story, of a mess of a dreamer with the nerve to adore you”

12. Tied Together with a Smile - Taylor Swift

Lyric Snippet: “Hold on, baby you’re losing it. The water’s high, you’re jumping into it, and letting go, and no one knows. That you cry but you don’t tell anyone that you might not be the golden one. And you’re tied together with a smile, but you’re coming undone.”

13. Human Interaction - Tonight Alive

Lyric Snippet: “I don’t know love. I don’t know hate. I am numb. Wish I could find the words to say. Asking please, as colors fade. I need to breathe. Before I turn the world to grey.”

14. Therapy - All Time Low

Lyric Snippet: “Give me therapy, I’m a walking travesty, but I’m smiling at everything. Therapy you were never a friend to me, and you can keep all your misery”

15. Scars - Alison Iraheta

Lyric Snippet: “Do you know how hard I’ve tried to become what you want me to be. Take me, this is all that I’ve got, this is all that I’m not, all that I’ll ever be. I got flaws, I got faults, keep searching for your perfect heart. It doesn’t matter who you are, we’ve all got our scars”

16. Hurts to Know - 1551

Lyric Snippet: “I can’t remember what I did to earn you by my side. I can’t surrender. I’ll fight as long as you’re in my life”

17. Spinning Bottles - Carrie Underwood

Lyric Snippet: “He’s in a hotel room, with the tv on. Getting lost in the static with the curtains drawn, knowing this could be the time that gets her gone for good, he’d quit if he could. But one down, two down, three down, four, can’t even recognize the man in the mirror anymore”

18. Praying - Kesha

Lyric Snippet: “Well you were wrong and now the best is yet to come. ‘Cause I can make it on my own. And I don’t need you, I found a strength I’ve never known.”

19. Jersey On the Wall (I’m Just Asking) - Tenille Townes

Lyric Snippet: “If I ever get to heaven, you know I got a long list of questions. Like how do you make a snowflake, are you angry when the earth quakes? How does the sky change in a minutes, how do you keep this big rock spinning? Why can’t you stop a car from crashing? Forgive me, I’m just asking”

20. Five More Minutes - Scotty McCreery

Lyric Snippet: “Time rolls by, the clock don’t stop. I wish I had a few more drops of the good stuff, the good times. Oh, but they just keep on flying right on by like it ain’t nothing, wish I had me a, a pause button. Moments like those, Lord knows I’d hit it. Give myself five more minutes”

21. Dad’s Old Number - Cole Swindell

Lyric Snippet: “Sometimes I forget, these ten digits ain’t my lifeline anymore. Every now and then I dial them up when life gets tough or when the Braves score. Sorry about the one ring hang ups, early morning and late night wake ups. It was just me. In case you wondered, you’ve got dad’s old number.”

22. The Other Side - Lauren Alaina

Lyric Snippet: “There’s gonna be a lot of sadness on a lot of happy days, I’ll try to think of this moment, this place”

23. I Was Here - Beyonce

Lyric Snippet: “So they won’t forget I was here. I lived. I loved. I was here. I did, I’ve done, everything that I wanted and it was more than I thought it would be. I will leave my mark so everyone will know I was here.”

24. Gone Too Soon - Simple Plan

Lyric Snippet: “Like a shooting star, flying across the room. So fast, so far, you were gone too soon. You’re a part of me. And I’ll never be the same here without you. You were gone too soon.”

25. Amelia - Tonight Alive

Lyric Snippet: “And you will always be perfect, you’ll always be beautiful, our hearts, will never forget you. You didn’t belong here, and it’s become so clear why heaven called your name.”

26. Heaven Right Now - Thomas Rhett

Lyric Snippet: “When the whole crew gets together, memory lane goes on forever. We twist a top and pour a little Jack D out.”

[thescorpioracer]

Sen Çal Kapımı 1 - Episode Recap

To be honest, this series of posts is mostly going to be a fashion roast. But DISCLAIMER! I really do love this show and Turkish TV in general, it’s just my preferred mode of media analysis is to pick things apart. 😂And I need everyone to know that I am very pro-women, and believe people should be able to dress how they want and not be judged for it or be looked down upon for it. But oh my god this wardrobe department/costumer needs to be STOPPED. I also have zero credentials to be talking about fashion, but will that stop me?

I’m going to make these posts assuming you’ve watched the show, and just comment on whatever comes up. There will be spoilers. Let’s go!

We start off with a voiceover from Eda Yıldız, an A+ romcom trope. (It wasn’t until my rewatch that I remembered that Eda used to do VOs at random intervals, and I’m kind of glad she stopped tbh.) She is a strong woman who wants to get her education and become a landscape architect/designer. She was all set to do that until- dun dun dun! - Serkan Bolat destroyed everything. 

Check out that dart board of a man (and this is the only time we see that photo there). And these outfits are probably the most normal and reasonable clothes she wears in the show. She’s a beautiful young woman, who was a college student, and now works outdoors as a florist. 10/10 outfit. 

Of course that transitions us into an epic slomo of Serkan exiting his private jet. He of course begins to berate his assistant on the phone in a way a friend described as reminiscent of The Devil Wears Prada.

@teamnick​​‘s commentary back when she first started the show. 

Serkan returns to his office for the first time in 2 months after working on business deals in London. Chaos ensues: Miranda Priestly is baaaaaaack.

See... here we have some good fashion choices! We meet the girls for the first time, while they try to sneak off to their graduation without making Eda feel bad that she won’t be receiving her diploma. Melek “Melo” is dressed in a sweet dress with a bold, romantic color, which captures her personality perfectly. Ceren, the rich daughter from a family of lawyers, looks a bit more high-fashion. The dress is short but it has long sleeves and no cleavage so it works out to be chic and elegant. Fifi is unapologetically herself with her full-black, punk wardrobe. Eda is again dressed in a pretty, but casual outfit. Nicely put together for her lower-middle-class lifestyle and her job as a florist.

Enter: the plot device to get our protagonists together. Serkan’s face says it all.

We are then introduced to the main couple’s respective cars. Serkan has his 2020 BMW (though the show blocks out the copyrighted branding) while Eda’s beat up SUV is clearly unreliable. What’s that? Another plot device being introduced? I have no idea what you’re talking about.

Also, I just noticed this, but for someone as uptight as Serkan, I’m surprised at how fun his suit jacket lining is. If I’m not mistaken the pattern is of a bunch of rainbow fish. #Snazzy, but they seem out of character?

Plot highlights:

Eda learns she can come back to school and finish her final year, but she’s lost her scholarship and will have to pay. She can’t.

Serkan gives his talk at the graduation (?)-- Is his talk just for architecture students? If so, why are Ceren, Fifi, and Melo there? We’ll never know. I know, I know... it’s all for the ~plot~

Eda calls Serkan out in front of everyone for taking away the scholarship that she earned from his company, Art Life. He is confused but unrepentant. She refuses to tell him her name.

She tries to deface his car with lipstick after keying the side (we never hear about the damage to his car after that). He catches her and wants to call the police, so she impulsively handcuffs them together with the plot devices from Selin’s wedding invitation sitting on his passenger seat.

They then have to go to Serkan’s urgent business meeting with an out-of-town client. Eda drives while they’re handcuffed together. Bickering ensues.

What is this? Foreshadowing? Symbolism?? Eda’s last name “Yıldız” is the Turkish word for “star” so... file that away for later.

One of my favorite parts about watching Turkish dramas is the experience of trying to decipher the fan translations. Add to the fact that Turkish only has 1 pronoun *chef’s kiss* 

Eda refuses to take the elevator to the 15th floor (we’ll learn about her claustrophobia later). Serkan is equally as stubborn, saying she owes  him for screwing up his day. But he has met his match in Eda with regards to stubbornness. They take the stairs.

More highlights:

First instance of fake dating - they need to hide the handcuffs from his client so Eda pretends she’s his girlfriend and a fellow investor.

The girls track Eda’s phone to the hotel and try to find her by asking around the premises. 

Eda charms the client into selling his land to Serkan.

We learn that Serkan is allergic to strawberries and has a lot of health anxiety. He’s a very tightly wound person.

Serkan says “Mashallah,” translator hears 🤷🏻‍♀️🤷🏻‍♀️🤷🏻‍♀️

Engin brings way too many people to open the handcuffs and chaos ensues.

I feel like nothing can do justice to the comedy of 58:45 to 1:00:00 with Fifi using a bobby pin as a lock pick. The dramatic editing is 👌🏼

Leyla gets fired for somehow causing this drama??? And she is so happy to leave that stressful workplace omg, we don’t deserve her 🥺

Serkan and Eda go their separate ways, Eda prepared to never see her enemy again, but of course her phone and purse are still in his car so she has to go to his office at Art Life and confront him again.

Serkan has found out that Whoops, Art Life did cancel the study abroad scholarships to cut costs, but his CFO did it without telling him. And Serkan is pissed, but I think mainly about the fact that Eda did have some (SOME) grounds for yelling at him in public.

Leyla then explains the nonsensical reasoning behind her being fired-but-not-fired and still working. (Spoiler alert: she never goes anywhere and she is my favorite side character to this day).

Eda: “How can I piss Serkan off?” Leyla: “Find a mistake he’s made and he will fixate on it forever. But you won’t find anything.” Eda: “Hold my beer.”

Eda walks into Serkan’s office and his meeting. She gets her purse back and they fight about him not being willing to apologize for ruining her life and education. He refuses and says she owes him an apology for embarrassing him in public (no, dude).

He wants to give her back the scholarship and make it all go away but she rightly tells him that it won’t fix her broken pride from begging the company and her university for a second chance. But somehow her calling him a heartless “Robot” is what gets to him???? And he short-circuits. Eda walks out triumphant. 

~dRaMa!~

MEANWHILE

Melo, as well as being a perfume sales girl, also works as a flight attendant and wants Eda to cover her shift (we’ll get into how that doesn’t make sense in a minute) 

Eda says no, she’s going to meet her boyfriend, Cenk, who she hasn’t seen in months and has just returned from Italy.

Enter: Selin. Serkan’s ex who he dumped a while ago and is now engaged to the heir of a hotel empire. Serkan doesn’t like this. The two of them grew up together and are set to each inherit 50% of the holding company that Serkan’s father currently runs.

Right away Selin serves us with a gender reveal level color scheme.  Personally not a fan. They confirm that Serkan is coming to her engagement party tomorrow.

Meanwhile Eda  meets up with Cenk. Her outfit is still reasonable and cute for her character. He looks mildly like a hobo and doesn’t seem to have anything going for him (I know he’s a throwaway character but the two of them really don’t have anything in common).

This creeper keeps staring at them, but Cenk tries to explain it away and says he’s busy and can’t meet her again until the day after tomorrow. Eda is disappointed but accepts this. Creeper girl remains and remains a red flag to viewers, but apparently not to Eda.

Cut to later that evening, and of course our broody main man enjoys astronomy in his free time (???) idk what he’s charting and to what purpose but okay? 

Eda finds a mini first aid kit in her purse that Serkan put there before returning it. Queue montage of them treating their respective wrists for handcuff-related injuries. #couplegoals

Of course we also needed a sepia-toned flashback to earlier that day when the handcuffs contrived their faces to get too close together. #romance

Finallyyyyyyy it’s morning again and a new day.

Since Eda can’t see Cenk (good, he’s so boring), she agrees to fill in as a flight attendant for Melo, who’s side job is for a private plane company.

Now. This should not be a thing. Eda was in college to be a landscape architect and now works as a florist for her aunt... Where has she learned any relevant skills to work as a flight attendant?? Presumably nowhere. And I really don’t think a private plane company would be so easygoing about just having a random person fill in to cover for her friend? 

But does this show care about that? What do you think...

Also, instead of the standard white shirt, black skirt uniform requirements, the girls decide that this skimpy dress and heels is fine? Hmmm

Also lol @ Melo for assuming that the client who wants jasmine tea and fruit salad is probably a woman. And her telling Eda that the PRIVATE JET COMPANY would in fact have its own tea was very random and unnecessary. 

Back at the Bolat house compound, we meet the parents: Aydan and Alptekin. We’ll see them again later. Selin’s engagement party is today. 

Meanwhile Eda is just.... being a flight attendant, I guess??? And who could possibly be the passenger she has to take care of? Take a wild guess. Of course it’s Serkan Bolat.

And of course that tiny dress (THAT ALSO HAS A LEG SLIT?? WHY?? I really don’t need to see her vagina) looks very practical and professional... not! (Hande Erçel is a gorgeous human, and the dress looks good on her, don’t get me wrong. BUT THIS IS SITUATIONALLY INCORRECT ATTIRE). Also him just folding his vest and then social distancing from it... K? 😂

Eda panics and doesn’t want Serkan to see her and runs away back to her seat pod thing - Serkan takes issue with his fruit salad for ~plot reasons~ (EDIT: I’ve been informed that it’s because there was a strawberry in his fruit salad and since he’s allergic, of course it needed to be fixed. Why doesn’t the plane have a note of that??) and comes back to find this mystery flight attendant.

Eda is very stressed out about this encounter and is also starting to have a panic attack because, surprise, she’s also claustrophobic. 

After Serkan calms her down, they have a cute/civil conversation for the rest of the flight.

When they land, Eda realizes they’re on an island 2h45min away from Istanbul and she isn’t sure what to do with herself (How did she not already know where they were going, as the FLIGHT ATTENDANT??? So may red flags with this private jet company).

Serkan convinces Eda to come with him and she can hang out at the beach while he’s at Selin’s engagement party.

At the engagement party we finally meet Selin’s fiancé Ferit. He’s sweet and non-threatening and clearly insecure about Serkan being Selin’s ex.

This dress/skirt outfit Selin is wearing isn’t terrible, but it doesn’t scream rich socialite to me. Anything with feathers seems... a bit tacky/too showy? Like someone pretending to be rich? Idk, this outfit isn’t one I’m going to really take a stand on.

Does this engagement party warrant being a 2h45 min flight away? No. They try to explain it away as the couple wanting to have something small and private, even though they also invite the press?? But okay whatever, as long as Serkan and Eda cross paths again, I suppose.

Kaan Karadağ has been mentioned a couple times in passing, but now we finally meet our “villain.” Ferit’s friend, and Serkan & Selin’s childhood acquaintance, who has it out for Serkan bc he somehow bankrupted Kaan’s dad? Idk and I don’t really care but tl;dr they’re enemies. 

Another thing I love about Turkish dramas is the censoring. Like, they’ll allow alcohol to be on screen, but they won’t say the word and they’ll just blur out the bottle and any liquid that we’d assume is alcoholic 😂

In the evening, Serkan is tired and wants to leave and Ferit snidely jokes about how Serkan is too picky to have a fiancé of his own. Serkan flashes back to 1 entire day ago when he and Eda pretended to be dating at his business meeting, and says that actually he is engaged to someone and then peaces out.

Serkan finds Eda on the beach, and they are preparing to leave when a crowd of people (Selin, Ferit, and Kaan mainly), arrive to get a peek at Serkan’s new “fiancé.” Eda very reluctantly plays along (good thing she has that unnecessarily sexy “work” dress to help her look the part) and Serkan notices that for the first time ever, Selin is jealous of another woman. #drama

After they finally escape the crowd, Serkan makes an annoyed Eda an offer: Pretend to be his fiancé for the 2 months leading up to Selin’s wedding so he can get them to break up and prevent Ferit marrying into the company. In return, he will pay all the fees to help her complete her last year of studies in Italy.

Eda refuses, stating that she doesn’t want anything from him, and besides she has a boyfriend (Sure Jan; Cenk is such a joke). They have it out and then fly back to Istanbul. But of course the gossips at the engagement have spread the news of Serkan’s new woman so the paparazzi corner them at the airport when they land. 

So glad that we got to see this random mechanic find out the news (???)

They escape the cameras and Serkan takes her home, saying that Art Life has a press conference tomorrow, and she should come so he can save face and tell everyone that she was his assistant accompanying him for work to the party. Eda agrees. 

It should also be mentioned that Serkan still doesn’t know her name at this point?? She refused to tell him and Engin still hasn’t sent him the names of the scholarship candidates so it’s a bit miraculous that their relationship was at all believable.

The next day, Cenk wants to meet but Eda has to go to the press conference. The girls come too for whatever reason, and Melo is convinced that Cenk wants to propose. Eda just lets that fantasy take hold (why tho?), and Cenk shows up unexpectedly right before the press conference and takes Eda into the nearby hotel’s cafe so they can talk.

Eda seems ready for a proposal (they haven’t seen each other or really communicated in months??) but Cenk wants to break up. Eda is shocked (???) but then Cenk mentions that he has a new girlfriend from Italy that he adores, and oh by the way, it’s the creepy girl from the other night who also happens to be here right now?

Okay fine, I guess??? Cenk: “She’s doesn’t speak Turkish” Girlfriend: *clearly a Turkish actress*

Eda is upset that he brought his jealous girlfriend with him to break up with her and says something about how actually, she’s seeing Serkan Bolat now (maybe it’s just me being someone who doesn’t follow tabloids, but are business people really that popular in every day society where everyone knows who they are?). Cenk laughs at Eda, saying that everyone wants to be with Serkan Bolat, and that she’s bluffing.

Eda makes an impulsive decision, and walks away, over to where Serkan has started the press conference. And seals their fate as fake dating in the public eye.

Queue confetti. No really.

And there we have it. That’s the episode!

In all seriousness, it’s a pretty great pilot, especially for a romcom. It hits all the right beats, includes enough tropes, and tells us a lot about what we should expect in the episodes going forward. And no matter how much I make fun of it, I really do enjoy this show! It’s been such a nice distraction from Current Events. I’ve spent a lot of time watching these episodes just saying “oh my god” out loud to myself as I watch all of the cute/romantic gestures that give me a lot of second hand embarrassment (I forget that PDA makes me kinda uncomfortable 😂).

There wasn’t actually that much terrible fashion in this episode, which I didn’t notice until my rewatch. If I continue with this series of posts, I’m hoping they’ll end up being less plot-centric, and more about the situationally inappropriate outfits and strange subtitling choices. 

See you next time? 

[miraculouscontent]

Askplosion #12 4/4:

(I would like to state for future reference that, while I do not mind long/multi-part asks, if you’d like to engage in actual discussion with me over a non-Miraculous topic, my DMs - Tumblr Messenger - should be open; I lost pieces of three multi-part asks this time just due to Tumblr not sending the remaining part(s) so yeah, I just wanted to make that clear)

(like, this askplosion ended up being super long because of this section and that’s not really what I want to have going on since I’m supposed to be a primarily Miraculous blog; I don’t want to have to stop answering non-Miraculous related asks but I might have to if this keeps up:)

.:New non-Miraculous Asks:.

Anonymous said:

What are your experiences with some really rude anons?

It’s partly my fault when it happens. Like I’ve said before, I’m an aspie, and part of what that means is I struggle to understand situations emotionally. I can come off as insensitive or read the mood wrong which often leads to people misunderstanding my intentions or where I’m coming from.

More often than not, what I’m saying will make 100% sense to me but not the person/people reading it. I also stick a lot more firmly to my opinions than I should because people tell me I fold too easily, and I come off as more egotistical than I actually am to cover up my low self-esteem lol.

So yeah, can’t think of any experience in particular but sometimes it might be my fault? At least I suspect that it is?

Anonymous said:

“Killed by kindness” makes me think of an assassin who kills people by giving hugs and compliments to people and the occasion gift that isn’t tampered until thre target does like Conrad Birdie making women swoon into fainting by singing.

omg

yes

Anonymous said:

You're watching Yashahime right now? rip

MARINETTE TAKE 2 MOROHA DESERVES BETTER

SETSUNA HAS SO LITTLE REASON TO HANG OUT WITH THE OTHER TWO GIRLS

IF I SEE ANOTHER DEUS EX TOWA I’M GONNA KICK SOMETHING

(so yes, I’m watching Yashahime)

Anonymous said:

Since someone recommended Remarried Empress, I would like to recommend my own webcomic: Princess Love-Pon! It's about a young girl named Lia Sagamore who becomes the titular magical girl and purifies people's hearts when they're tainted by the Dark Queen! It's really cool due to its diversity, the main character is black and her best friend is Afro-Latina, the villain and her prince son are also black, and there's a Japanese girl, a black guy, and an Indian girl. Plus, loads of pink and frills!

Thank you very much, though I actually don’t take recommendations, even from close friends. The Remarried Empress anon wasn’t a recommendation; they were more pointing something out to me and then I went to confirm.

Anonymous said:

Unrelated to MLB: Which Pokémon are your favourites?

I used a “Favorite Pokemon Picker” because I prefer going by generations to pick favorites and that was the easiest way of going about it. I struggle picking super favorites so here’s what I got form each generation! (my only rule was “one Pokemon per evolution line” with an exception of the Eevee line since they’re different types, and also Alolan/Galarian forms)

(note: the blue-patterned Vivillon is my favorite and I honestly don’t like Charizard normally but the Y version actually slims him down and gives him the wings I feel he should have; it’s an improvement of the design so it gets my seal of approval, I don’t like the X version at all)

(lol I was looking through this after I was done and find it really funny how it’s like, 50% cute things and then the other 50% is just EDGY, there’s very little in-between with me I guess)

Anonymous said:

Bridgerton the Series: Yay or nay? Sorry if you haven’t seen it or it’s not your thing. I was just curious.

Never seen it, though when I brought up to someone, they didn’t recommend it to me at all ahaha.

Anonymous said:

I previously kept having this argument about The Bechdel Test with someone. She keeps insisting that the test is invalid because there's nothing wrong with talking about men and that it was created for lesbians only, and not for feminists, with the implication that being a lesbian somehow means that you dislike men or want them gone. And she also thinks the test is about NEVER talking about men, rather than merely occasionally talking about other things. I keep telling her otherwise, but...

jdfhkgdfhjgdfg “lesbians only”

now all I can imagine is “lesbians only” sections at restaurants and such

Anonymous said:

Have you ever played Akinator, with or without the Miraculous Ladybug characters? Because I played it with Ochaco from MHA and Marinette and he guessed them within a second(can your character control gravity? Is your character a protagonist?). I even played it with myself as the "character" and he guessed "your shadow" lol. How about you?

I’ve played Akinator before but I don’t specifically remember what I was searching for lol.

Anonymous said:

The cast for the newest Power Rangers series got revealed, and I hate that as soon as I saw the Pink Ranger's bio mentioned she was an internet journalist, I thought of Alya. I really hope she doesn't have the same problems as Alya in the series proper.

fhgdfkgd journalists have been ruined for us forever

Anonymous said:

Have you noticed that in many shows, especially shonen shows, people tend to hate the most "feminine" female character? Like, in Naruto it was Sakura, in Death Note it was Misa, in My Hero Academia it was Ochaco(although a lot of people like her so I'm not so sure about that last one?). The most hated character in one too many a shonen is almost always the "girliest" of the characters. They're always claimed to be useless or reliant on a man. And this is within the fandom who should know better!

It probably didn’t help with Sakura that she was decked out in pink hair; that’s an instant girl label for you (or lesbian label, depends on the person :P).

I don’t think I’ve been in enough fandoms to have such an experience but I definitely see where you’re coming from.

Anonymous said:

Rewatching Chat Blanc and Here To Help from Star vs. and hearing Adrien/Marco tell Marinette/Star that they always liked the girls from the beginning makes me so pissed. It's not that I don't ship Starco(I do! But I also like MarcoxJanna), although I don't ship the love square, but I'm so annoyed with writers finding the need to make the audience "know" that the main ship's characters "always" liked each other, as if that makes their love for each other more true, even if it's obvious they had other crushes? Like, what happened to Kagami Tsurugi? Jackie-Lynn Thomas?

News flash: Teenagers are allowed to have crushes on multiple other people before they find "the One". It doesn't mean their love for that "One" is any less valid. And if you still want to pull the "they always liked each other since they first met", at least make it actually TRUE!!! Don't have them have crushes on other people before moving on to the "official" crush and be all like "Oh, by the way, I liked you from the start," when it's dead obvious they didn't. You're doing a disservice to the romantic "false" leads.

I'm willing to forgive Star's crush on Oskar and Tom since she's not the one claiming she always liked Marco(even though she fell in love with him LONG before he fell in love with her, which is a nice turn of events), although her "love" for Oskar was merely an infatuation at most and I personally don't see why it was needed. Why don't they just say that their old crush didn't do it for them???

UGH, I remember watching that show and being so annoyed because I really liked Marco and Jackie and wanted them to be a thing but I knew that they’d pull Starco in the end because of course they would.

It also totally makes it seem as if love is the most powerful relationship there is (aros would like a word), which is so bizarre when there are so many “power of friendship” tropes. Like, a male and female lead have to get together because their relationship is the strongest.

The love square would hold so much more meaning to me without this love drama nonsense. It’s tiring.

Anonymous said:

Have you seen Yuki Yuna Is a Hero? If so, then what are your thoughts on it? I was thinking of watching it but it seems to be another "taking away the empowerment of the magical girl genre by making the girls suffer instead" type story. I read about it on TV Tropes and apparently it's a deconstruction that takes after Madoka Magica which already puts a bad taste in my mouth, but then I got to the examples and they're basically about how girls who get magical powers lose their body parts one by one and that the reason only girls can be heroes is because "young girls have always been sacrifices".

Not to mention it was written by a man and aimed towards a seinen(adult men ages 17-35) demographic, making it torture porn for adult men. Also, both the laconic page for Yuki Yuna and Madoka Magica say "Being a magical girl sucks."(though for Yuki Yuna it adds "Unless you have the power of friendship.") and to be honest that kills any desire in me to watch the show. Should I give it a chance?

Oof.

Yeah, after bringing it up to a friend of mine, it was instantly recommended of me not to watch it, so I’d say, “no.”

Anonymous said:

Let's make one thing perfectly clear. I, love, love, LOVE Sailor Moon. And I love the transformations, too. But if there's one thing I don't love, it's that their outfits all look pretty much the same but with different colors/different lengths of gloves and shoes and stuff like that, and that they all have the exact same body type save for the one fat girl who's made to look bad. I don't like Madoka Magica, but at least they all had unique/different costumes(but they still have similar bodies).

We’re not allowed diversity here. Take your different body types to a show that cares; we’re all about femininity here and how girls can be beautiful and powerful no matter wha--oh wait...

Yeah, I don’t care for the design in Sailor Moon, but that’s because skirts don’t interest me design-wise unless it’s really unique/interesting.

(note that there’s a lot of talk about tomboys, sexism, and TV tropes and such below, and then Madoka Magica after that; that’s basically the rest of this askplosion:)

Anonymous said:

I just saw the thumbnail for a video called "Why You Should Watch Princess Tutu(Yes, I Know The Name Is Stupid)". Umm, why is it stupid exactly? Because it's "girly"? What is with people thinking that in order for a girly show to be good they have to first separate the show from its girliness in order to enjoy it? It's like how men will say a show is good despite it being girly, or that since it's good it's no longer girly. Nobody does this for boy shows, because boy things are "never" stupid.

Princess = girly thing

Tutu = girly thing

girly things = bad

That’s the formula~ They should’ve called it something edgier and manly so that more people would be interested.

Anonymous said:

I'm wary of any woman or girl who says, "I'm a girl, but I'd rather read books about guys" or "I'm a female writer but I mostly write stories about male characters". I feel like those women are the "not like other girls/one of the guys" type who suffer from internalized misogyny and don't like female characters. I also feel like they're the type to not care about female representation, because in their minds, girls shouldn't care about female role models. We can enjoy males just as much! I do!

To be fair, they might also just be writing about shirtless men doing “handsome” things. ;P

But nah, I see your point. Me personally, I try to find a balance of writing both, but I do think there can be bias.

Anonymous said:

Do you think it's okay to like a ship but acknowledge that it wouldn't be safe or healthy or condonable in real life? Because I was just thinking of how a lot of people like some really "toxic" ships like Veronica/JD in Heathers, Yuno/Yukki in Future Diary, Madoka/Homura in Madoka Magica(although some people don't like it because of its toxicity/like it but don't realize it's toxic), almost any villain/hero ship, the list goes on. But they're aware of the fact that it's not a good standard for healthy relationships in real life.

An alternative I've seen is people having a crush on "dangerous" characters like JD and Yuno, or Karma from Assassination Classroom(there's not a single video on YouTube with him in it that DOESN'T have comments full of people saying they want Karma to father their children), but still being aware of the fact that the character is a) not real and b) wouldn't be a good partner if they were real(and that's assuming they even want to be with you. But sometimes there's a good reason for falling in love with a "toxic/dangerous" character.

Take Monika from Doki Doki Literature Club! She's obsessed with the player(not the player CHARACTER, the flesh and blood player themselves) to the point of killing off all the other girls and "trapping" you in a room with her where she talks endlessly about lots of things. But she's actually a lonely girl who's driven insane by the fact that nothing around her is real. She latches on to you because you're the only other person who's real and sapient and has got a mind of their own. You're literally her outlet to the outside world.

She's personally my favorite character in the game due to her actually being a more fleshed out, sympathetic(and not in the idealized "moemoe" way), and realistic take on the Yandere archetype(which, like many moe archetypes, is kinda misogynistic in nature in that it reinforces submissiveness; it's basically animes version of "woman scorned".). So it makes sense that people would sympathize with her and want her to become real, because all she's ever wanted was to be real and to talk to real people. Especially since she really did care about her friends and even returned them back to life because she saved their backup files, taking herself out of the picture.

I read a few "Monika becomes real and lives with you" fanfictions where she's really sweet and not at all crazy and cares for you a lot, and it's never felt the same as all those other "Yandere/psycho lives with you and is your girl/boyfriend" type stories precisely because those stories tend to just glorify possessive partners that kill your loved ones, drive your family members to commit suicide, and tear up your stuffed animals and dollies for the sake of it, rather than go into why they're so crazy for you, and often reinforce Stockholm Syndrome.

Plus, those "things" she talks about in the empty room? They're actually quite smart and make you think about the world for a bit. Not many "crazy" type characters actually get that. They're all about how "I'll slice your boyfriend open with an axe if you don't date me wa ha ha", and even if they're not, it's all the fandom will focus on, to the point of ignoring any and all other aspects to their character. Because that "crazy in love" aspect is the most appealing part of them. Maybe it's due to forbidden fruit/bad boy(or girl) appeal? Who knows? But I'm starting to wonder if it's still as bad if people recognize the problematic aspects of "crazy in love" characters or "dysfunctional" relationships.

Because if they recognize it's not real and don't really want it for themselves, then it's probably not much of a problem. But if they just go on wanting it to be real and never take a step back and go "wait a minute, this isn't real love; they're only together because he latches onto the first girl to show him any kindness and affection and she's a doormat who doesn't want something bad to happen if she leaves him", then that's bad.

Obviously it's not as bad as being in love with literal stalkers, killers, and rapists in real life(which is an actual thing, believe it or not, it's called hybristophilia), because fictional characters will never be real. Karma Akabane will never be real. Yuno Gasai will never be real. JD will never be real. But loving fictional characters who do those things and not realizing the problem with it may cause people to seek out real criminals, so it's best to separate fiction from reality.

I can’t help judging a little internally, but yeah, I think people can ship whatever as long as it has that “not in real life” scenario going for it. It’s ultimately fiction, so just because I don’t like it and/or think that it’s bad doesn’t mean other people can’t ship it.

Anonymous said:

I'm getting tired of all the racists on TV Tropes getting upset whenever a trope has a Japanese name. Whether it's Tsundere, Yandere, Meganekko, Genki Girl, Bokukko, or any Japanese anime name, people will complain that the trope exists beyond anime so it shouldn't have a "cute anime name", and that it should instead just be given a broader(read: English) name with the same meaning. Or that the site is too obsessed with anime. I'm just sick of people saying that anime names are bad.

The other thing is that we don’t actually have English words for certain things? I mean, the whole reason we say, “tsundere,” is because it says everything in one word. It’s easy.

(Also, people are aware the the English language isn’t some unique thing that takes no inspiration from other languages, right? It’s a mix of things, so accept that other languages exist because we literally wouldn’t have English without them.)

Anonymous said:

Have you seen the TV Tropes reviews for "My Little Pony: Friendship Is Magic"? Holy crap, they are all a perfect example of the "Real Women Don't Wear Dresses" phenomenon that I have mentioned earlier and is so fucking present on this site. While some reviews praise the show for showing that "it's okay to be strong AND girly"(such as Hadles' review, which was really splendid), and that girl shows are no less good, others either insult the show by calling it "girly, saccharine, and stupid" as if "girly" is synonymous with anything bad about a show, or feel the need to distance it from its girliness in order to praise it as if a show can't be good if it's also girly.

Some people were saying things like "the show might seem girly at first, but it's actually a good, brilliant show with intricate plot twists, well-developed characters, and even some scary moments" and "the characters aren't just shallow girly-girls, they have depth!" So what, girliness is mutually exclusive to anything of value? One person even said that the Girl-Show Ghetto was the reason they couldn't get into the show or respect it. Just...wow.

And one review even said "Rarity's pretty tough for a girly girl!" Excuse me? Tough FOR a girly girl? So being a girly girl somehow automatically disqualifies you from being tough? Like "yeah, she's tough despite being a girly girl! Because girly girls aren't supposed to be tough."

It reminds me of the phrase "you're pretty for a black girl", which, while it's never been said to ME, I have heard other people complain about. It's sick and it hurts, just like this. And the few people who didn't say things like that still said that they couldn't get into the show at first because it looked "girly and vapid", before changing their minds and thinking that the show either proved their biases about girly shows wrong, no longer think it's girly since girly shows "can't" be good, or like it "despite" it's girliness.

And there were 70 reviews in all. 70 reviews full of this misogynistic "girly is bad" shit. So in conclusion nearly all the reviews on TV Tropes for My Little Pony: Friendship is Magic were along the lines of one of three things. 1) "This show is girly so I looked past it because girly shows are dumb." 2) "This show is good despite being girly/the characters are good despite being girly." and 3) "This show is not girly to me at all because it is well-written and captivating and girly shows aren't capable of such things."

Granted, some people there were able and willing to call out those who judged the show badly for being girly(or gave it the "not like other girls" treatment, but in show form), as well as people warning other potential viewers to get rid of any potential bias they may have against it due to it being girly. But there were still more people insulting its girliness as a reason they think it sucks or denying its girliness to justify their liking of it than the other way around.

I would've accepted it in the form of "If you think this show is bad because of its inherent girliness, then you are wrong!" or "This show is proof that a show being girly or aimed at girls doesn't and shouldn't take away from its value, as people seem to believe." or "A girl can be girly and be a strong female character.", but no, instead I got shit like this. It's especially insulting when TV Tropes is a site that devotes itself in part to critiquing sexist tropes found in media, only to turn right around and reinforce them.

I don’t read TV Tropes that frequently, so I fortunately missed out on all of these complete idiots who associate girly products with being bad.

(that “pretty for a black girl” comment makes me hate all aspects of “expectations of beauty” and it’s like--plz let these die)

I could maybe see an argument for criticizing a girls show for being “saccharine” if it were like, “girls’ shows written by men who clearly don’t know how to write girls are usually bad,” because then it’s not a criticism of girls’ shows exactly but rather who keeps being put in charge of writing them.

Anonymous said:

I get so annoyed when people get upset when confronted with the matter of female representation with "what's so wrong with one show having a male protagonist or mostly men and one/a few women? Why do we have to include women in everything?" These people clearly do not understand that one show doing it is one thing, but when multiple shows do it, it's an obvious problem. It's even worse when they turn around and diss shows with largely female casts for "not having enough men".

And as for people getting upset that "every show has to include women/come with a checkbox nowadays", as if it's bad to include women in your story...look around. Women make up 50% of the population. They're literally everywhere. What reason do you have to not include a substantial amount of women?

These people act like male is the default and women are a last resort. They see no problem with men dominating a cast because it's justified(despite that not reflecting real life), and yet having female characters, or, hell, a female-dominated cast(I know they also don't reflect real life, but there are still female-dominated spaces; most colleges are 2/3 female) is "unrealistic" trying to fulfill a quota, or a straw feminist agenda, as if characters can't be female for their own sake. You shouldn't have to be forced include women because their presence should be a given.

How many stories nowadays take place in the war front in Viking times or whatever? A lot of men just don't want to include female characters or see them represented(well) in media because those who are overrepresented tend to want to stay that way. They likely also have insecurities about their masculinity and are worried about female characters flooding their shows with estrogen and ruining the shows they love, because they can't relate to female characters or enjoy shows about them without negating their girliness(ie. This show seems girly, but it's actually good), since they're ashamed to associate themselves with anything feminine due to looking down on women or seeing them as bad.

Plus they want to be the center of everything so the second a show is about mostly women they get upset and claim it's "sexist against men" because it's not about them. Hence why bronies(bless their souls) are made fun of for the grave sin of enjoying a female-centric show with a female protagonist and largely female characters. Granted, there are some freaky fans, but there's still some sexism at play here.

This reminds me of a post I saw about a boy who actually looked up to female characters because you can pick a role model who doesn’t fit your gender. Crazy concept, I know. ;P

And yeah, that’s how it goes with equality. People who are best/most represented don’t want equality because they think it means less for them and they don’t want that, like a child who doesn’t want to share their cookies with everyone else.

Anonymous said:

I love TV Tropes, but if there's one problem I have with it, it's how often it associates femininity with weakness. The "Masculine Girl, Feminine Boy" trope is a good example of this, but the worst offender in my opinion is the Girly Girl With a Tomboy Streak, as most of the examples there are simply of girls who are strong-willed or fierce or can fight. Because you know, those traits are male. It's bad because there are ALREADY tropes for girly girls who can fight, Girly Bruiser and Lady of War (which TV Tropes even goes out of its way to SAY shouldn't be counted as a "Tomboy Streak" and yet does stuff like this), but it's also bad because ANY girly girl with these qualities, no matter how feminine they are otherwise, will be seen by TV Tropes as having to be at least somewhat tomboyish(read: masculine) in order to have those traits. Because regular girly girls are just weak and fragile and only want to be housewives.

It's even worse when you realize that much of these characters are created with the exact purpose of subverting the stereotype that girliness equals weak, and instead present a new and more empowering form of femininity: that femininity is strong and DOES NOT equal being a passive sex tool for men's pleasure. They're MEANT to show that being a tomboy is not the only way to be strong, and TV Tropes acknowledges that! But then they also go and claim these characters have "Tomboy Streaks" thus undermining the positive message by insinuating that you have to be tomboyish to be strong and that even girly girls have to have some level of masculinity to be deemed respectable and equal human beings, plus manipulating many impressionable folks into thinking strength and bravery is automatically tomboyish.

Worse yet, they often put a character here because "she's a big eater" or "she burps/farts a lot". Gee, I didn't know women had bodily functions? I didn't know women had digestive systems? So basically any time a girl shows that she is a human being and not a pretty, passive doll to be idealized, she is acting like a man. Because only men are fully-fledged human beings. Even outside of that, look at basically any masculinity-femininity contrast trope(Tomboy and Girly Girl, Sensitive Guy and Manly Man, Masculine Girl Feminine Boy, etc.). The "masculine" character will often be described as dominant, assertive, or outspoken, and the "feminine" character will often be called weak-willed, passive, emotional, and timid. It's fucking sickening.

The Tomboy With A Girly Streak trope is similar to its inverse in that a tomboyish girl will often be placed under this trope with their proclaimed "girly" streak being that she's tender or cries a lot or is soft spoken/a doormat. Because being girly is about not taking up too much space, not having any ambition or aspiration, and overall being a weak and shallow waste of space. For a site that claims to dismantle such sexist misconceptions, it sure does reinforce them just as much.

I almost want to stop using TV Tropes based on that and many other reasons, but it's a genuinely informative site that at least tries to avoid these stereotypes(plus it's edited by more than one person), it just doesn't do enough. For example, they made an awkward claim once that women can't fight while on their periods, and even have an Improbably Female Cast trope, as if it's abnormal that a cast could consist of mostly women and demands an explanation. To them, femininity=inferior.

And then in comes the “anti-girl tomboy” characters who basically do everything “girls don’t do;” glares at things like make-up and such, rolls eyes at the subject of “girl talk” or “romance,” drinks anything carbonated and spreads their legs wide open, etcetera.

Guys really don’t get the same version, at least not that I’m aware of? Like, at best, they don’t participate in “guy things” but that’s about it.

Having characters acknowledge it just makes everything more blatant, like if a woman comes by and the guys have to assure “DON’T WORRY, SHE’S LIKE ONE OF THE GUYS.”

It’s like a woman can only hang out and engage in “guy talk/time” (the concept of which I hate but that’s besides the point) if they can crush a beer can against their forehead.

Anonymous said:

OMG TV Tropes called Cirno the Ice Fairy from Touhou a "tomboy"? Why? Because she's boisterous and outspoken and not a "shy girly-girl" like Daiyousei! TV Tropes clearly believes that any girl or woman who is more than just a pretty face(which ALL women are, by the way), who takes up space, who has a dynamic personality and isn't just a weeping wallflower(which I'm not saying Daiyousei is) is a tomboy. Because she's acting like a man that way. Ugh, so over TV Tropes and their sexism.

And all the girls in Touhou(including Cirno) wear big frilly dresses anyway so it doesn't really make sense to see ANY of them as tomboys. But no, apparently any girl who is rowdy or tough or is active and not passive is a tomboy. You gotta be a tomboy to have attitude. You can tell they think so because they often say things like "strong, but still feminine" as if those things are opposites. They even described femininity as "weak and susceptible, vain and superficial". Like, ugh, kill me now.

I legitimately want to see a bullet point list here of what qualifies as a “tomboy.” Like, what, anyone who does one thing that isn’t “girly”?

Can we just throw out all of these terms; not even replace them, just throw them out?

(the below ask is incomplete - the first part is missing - but the asker clarified after I asked them, so clarification is below:)

Anonymous said:

Tropes is because I'm working on a story and I hope when it becomes famous that TV Tropes will write about it, but as it stands, I'm beginning to wonder that TV Tropes undermines most stories or plots to do with women one way or another. I mean, they constantly create tropes with the intent of calling out inherent biases, yet reinforce those biases themselves.

For example, they have a trope called Men Are Generic, Women Are Special, which points out the bias of male being the default, and yet on almost every other page on the wiki describing a trope, the default character will be a "he"(especially if it's a character trope), and whenever they mention "The Hero" or "The Big Bad" it's always a he unless it needs to be female(like if the heroine is in a romance story, or if the villain is a seductress). Female characters at best, can hope to be "The Heart" or "The Chick" of the group(which is often used in a demeaning way).

They even have a trope called "Improbably Female Cast" in which they point out all the instances of a story's setting having an "over-abundance" of women or girls with no men in sight, and claim that such stories have majority female characters when it is "unusual" "unlikely" or "lacks justification". Someone even suggested that the trope should be called "Where Are All The Men?" as if there's something inherently weird or wrong when a story is dominated by female characters, and like the story is in dire need of men, as if only men can be protagonists.

Even if the story has a justifiable reason for having mostly women, the fact that the writer made that choice at all is somehow deserving of mention. The mere fact that there's no "Improbably Male Cast" trope shows where the site's biases lay. They don't see anything wrong with a show being dominated by men with little to no female representation(ex. Death Note), and yet a show dominated by women(ex. MLPFIM) is somehow an anomaly and demands an explanation(even if the story does provide a reason for it, TV Tropes will still list it and presume it "improbable", as if to say "I mean, yeah, but there's no reason why you couldn't just make them mEn instead", as if writers who have mostly female characters are going out of their way to steer away from the "default" males.

In fact, they even admit that "Men Are Generic, Women Are Special" is their reason for having such a trope, but not the inverse. They even say that it's not the trope if the show revolves around a group of girlfriends with no indication of the gender ratio in the wider setting. So any time the females outnumber the males a story it's instantly labeled "improbable" because there's NO WAY any setting AT ALL could have more females than males. That's improbable! You see, this is why when women are 1/3 of the people in a given space men perceive it as "majority female" because they're uncomfortable with women having more of a presence than men.

We'll never have true equality if shows with majority female casts continue to be scrutinized under a microscope and assumed to be of inferior, lesser quality, just because there's no male characters around and it's women who are driving the plot. My problem isn't that they have a trope for majority female casts, it COULD be a testament to gender equality(ie., "there used to not be a lot of shows revolving around women, but now they're becoming increasingly common and well-known), but it's that they single out such stories as "unlikely" and thus discredit them.

And worse yet, they refuse to change the name, because they don't see a problem with it. So now every single show that doesn't have an equal number of males and females or more males than females is going to be called "improbable" by TV Tropes, because there's something(bad) to be said about shows that choose to make most of their characters women. Death Note and Naruto can slide by the radar of having loads of men, but Madoka Magica and Touhou are "improbable"? Because they have loads of women?

the clarification:

Anonymous said:

I started out complaining about how TV Tropes says that boys will watch Star Vs. The Forces of Evil only because of Marco(who's great, but it comes off like boys can only relate to boy characters) and that the show only looks girly but has a deep complex plot with scary moments(as if a show can't be dark and complex and still be girly; girly=shallow, watered down fluff), hence my complaint about TV Tropes undermining girly shows or anything "girly".

Yup, exactly like I said.

Good stuff in “girly” things is the exception. Good stuff in “manly” things is expected.

Which is funny when you consider stuff like “edgy” reboots of things. Like, Disney remakes their original movies and that usually means making them worse (like in Beauty and the Beast - god I hate that remake - where the objects are going to become complete objects when the last petal falls even though the enchantress is explicitly a good person and it comes off as super cruel and unnecessary), but that seems to just be its own breed of bad I guess.

Then there are terms like “chick flicks” and “soap operas” which are usually women-oriented and tend to be considered dumb/over-dramatic.

You know, not like MEN shows with their sexualization of women, guns and MEN things.

Anonymous said:

Remember what I said about TV Tropes being sexist? Well, they also have a trope called "Girly Run". Like, that's literally the name. Girly. Run. Thankfully the first example(which is under advertising due to the forms of media being in alphabetical order) is an aversion from the blessed Like A Girl campaign, but...just reading the page lets the casual-yet-bold-faced sexism speak for itself.

why can’t things just be like the Sims where characters can wear whatever the hell they want and have any personality without any judgment or criticism from other Sims?

(more Madoka Magica talk - and ONLY Madoka Magica talk - below because I’ve unleashed a monster apparently:)

Anonymous said:

I know you don't like Frozen but I saw a theory somewhere that Elsa's powers came from making a contract with Kyubey and her wish was to impress her sister and anyway I can't stop rolling my eyes. This isn't(just) because of my distaste for Madoka Magica compared to my love for Frozen, but if Elsa's a Puella Magi then why didn't she become a witch long ago? How did she make it to adulthood? How did she become emotionally stable? And why do her powers have to come from a negative source?

I think it might just be people looking for excuses to do their crossover fanfiction which--yeah, I’m not crazy about that.

Anonymous said:

Did you know that Cristina Vee voiced Homura Akemi in the English Dub? It's very noticeable, especially during the Cake Song, where I could've sworn she sounds exactly like Marinette. By the way, I'm still not sure what the hell was going on in that song. Could you please explain it to me(if you know)?

Nooooo don’t make me think of Homura when I think of Marinette!! fjkdgjnfdg

lol but seriously, I think the Cake Song is just meant to be one of those “weird but meant to be dEeP” things that shows do sometimes to be cool (not a criticism technically; depends on how it��s used).

I think the cake is the labyrinth and Homura saying that she’s the pumpkin makes her the odd one out since pumpkins are associated with scares and halloween, so it’s “foreshadowing” her being the witch. The things that they say they are... they’re like--ingredients for a meal, but not a cake, so the the cake is the labyrinth and they’re the things that would go inside it.

Homura and Madoka are the only ones who really get descriptions to go with them. Homura says that she’s “full of seeds” (despair?) and Madoka implies that it’ll bring sweet dreams once she’s sliced (which is either referring to the godly freedom given to magical girls before they turn into witches, or foreshadowing Madoka being “split” after Homura stops Madoka from purifying her, leading to Homura’s “sweet dream” of what it’s like when everything is “normal” after her reality twisting).

Anonymous said:

May I ask what you don't like about Kyoko's character? Is it because she was the stereotypical "jerk with a heart of gold"? Or because the writer made her flip from hating Sayaka and wanting her dead to suddenly dying for Sayaka even though she barely knows her compared to Madoka(because the writer doesn't understand how girls' relationships work)? For me it was a mixture of both(though I still don't mind KyoSaya!), but I still liked her enough, she just felt a tad stereotypical. Your thoughts?

It’s both. I just don’t like characters like her at all and the runtime of Madoka Magica can’t maintain all of these characters, “developing” them, and then killing them off. I don’t even have any time to get attached to them because they’re dead within a matter of a few episodes.

And it’s always like, “okay here’s this character’s backstory to make you feel emotionally attached--HA NOW THEY’RE DEAD. SEE??? WE TOTALLY GOT YOU.”

Like, no, you didn’t. I didn’t even have time to care about THEM, much less their actual death.

Anonymous said:

What about the girls in Madoka Magica? Do you think they're strong female characters? Now, obviously the show is not feminist, since it misses the whole point of Magical Girl, which is to empower girls and show them that girls can be powerful and feminine and can find strength in solidarity with each other by instead making them suffer and fight each other and have their power come from their emotions, which are exploited and turned against them because women can't be powerful, but still...

It’s the same way I feel about Marinette; there are some who I want to say are strong characters, but the writing is ready to just kill them off at any time and bully them for essentially having emotions.

Basically, imagine a male writer hands you a character sheet and is like, “AW YEAH CHECK OUT THIS sTrOng FEMALE CHARACTER I WROTE.”

Like, even if they were right, their ego and obnoxiousness about the whole thing, along with what they actually do to said character, makes you not want to give them any credit for it.

Anonymous said:

How do you think Puella Magi Madoka Magica would be different if they had magical boys as well(which can mean either gender-bending canon magical girls or introducing original magical boys)? Do you think the show would be better? Worse? Or would it be just about the same?

Personally I feel like having magical boys would be good and bad; good because there would be no more of the “teenage girls are hysterical” crap and it wouldn’t just be girls suffering because they can’t handle power, and bad because it would still be problematic(for stereotyping all teens as over emotional and deserving to be taken advantage of by the Incubators, and it would still be about kids suffering in a genre meant to empower girls, having some of them be boys wouldn’t help that much).

I also feel like Gen Urobuchi would still make the girls suffer more and have them be more emotionally and mentally unstable. Holy crap it feels like he read up on Aristotle’s views on women while making this show.

It would at least be more balanced I guess? Like, teenage years are a fragile time, so it would make sense for both girls and boys to be taken advantage of. I still wouldn’t like it but it would be nice to point out, “there are emotional boys as well as emotional girls.”

Anonymous said:

Literally all the problems with Treatment of Marinette, Chat's Entitlement(TM), and the sheer sexism in general(ex. all the teenage girls and even women villains being catty and bitchy, while the male villains are cool, suave, and calculating; female villains being irredeemable scum while male villains are "not as bad as they seem", etc.) could all be solved if the show just got some more female writers! You know a show isn't feminist like people claim if none of the writers are women.

That's what I love about Friendship is Magic; the show is written and directed by a woman and actually has a variety of both male and female writers! Plus, Lauren Faust explicitly identifies as a feminist and claims her works are meant to empower women and show them that there's no wrong way to be a girl. And the show reflects that! There's no "token girl" who checks all the boxes; the females have realistic flaws, diverse personalities, and let's not forget ARE THE HEROES!!! Not to mention that the cast is actually PREDOMINANTLY FEMALE. Do people have any idea how refreshing that is?!

And that's why whenever people claim that shows like Madoka Magica are feminist when it's written by men for men while also dismissing actually feminist shows written by women for women as "sexist" or "demeaning", I cringe inside. It's not just what the show looks like, it's what the people behind it say.

And Gen Urobuchi is not a feminist. At all. Just listen to the things he says about the girls, that they're terrorists who are full of hubris and destined to be alone, and that actual magical girl shows weren't his inspiration beyond the show's cosmetics, he just based it off of porn games. He only watched those shows after making Madoka Magica and admitted they were weird to him. Well, maybe they wouldn't be weird if you actually used them as inspiration! Why are you even making magical girl? So basically he admitted that all the suffering the girls go through is because it's his fetish.

I knew I wasn't imagining things when I saw all those weird shots and angles(ex. zooming in on Sayaka's thighs and breasts when she collapses to the floor, Madoka gripping the bed sheets between her legs when agitated, zooming in on Kyoko's ass when she takes her phone out of her shorts' back pocket, it's all for cheap titillation). And yet people keep saying the show is devoid of male gaze and sexism and why? Because apparently men know how to represent women better than women themselves.

you said “Madoka gripping the bed sheets between her thighs” and it gave me an immediate flashback, I hate it

I find that it’s a similar thing with gay anime/manga; I’m more likely to trust a F/F story if it’s written by a woman since they’re less likely to sexualize everything.

Anonymous said:

Homura in Puella Magi Madoka Magica: But Madoka, what's going to happen to you? You'll end up all alone here forever! You'll never be able to see your friends and family! Homura in Rebellion: Haha, screw Madoka's friends and family! Only I am worthy of Madoka's love! That girl belongs to me! MWAHAHAHAHA!!!!!!!!(I'm sorry for the over exaggeration, but this is how it felt for me.)

Apparently, it was better for Madoka to just have all of her memories and powers yoinked away.

Sayaka is Madoka’s right hand girl so idk why Homura has this idea that she needs to sAvE Madoka. The fact that this whole thing comes out of a misunderstanding (because Madoka doesn’t have her memories) is so irritating.

Anonymous said:

I actually love Madoka Magica, but I completely agree with you on the hysterical women thing. Why couldn’t they just have... both magical girls and magical boys? Like, just mention that magical boys are a thing? They don’t even have to change anything but that, they don’t even really have to show it, just be like “yeah there’s magical boys too but that’s not really what this story is about, it’s about our characters we have here”. I don’t know, feels like that would have at least helped stuff.

Yeah, they don’t have to bother having the magical boys around. Just to know they exist would be enough. I mean, the fact that the focus is on them would still be bothersome (they’d probably do a thing where each girl represents a different emotion that is easily manipulated/easy to control), but it’d be something.

Anonymous said:

One thing that weirds me out when people are talking about Madoka Magica is when people refer to the characters as "little girls". Like, excuse me? They are not "little girls". They are teenagers! All of them are at least 14 years old! I hate when people call them "little", it's just so condescending and infantilizing, especially when the show does enough of that to them already. After all, no one makes that mistake with the heroines of Lucky Star and Hidamari Sketch(who are also drawn by Aoki)!

I feel like it’s the equivalent of when people call women “girls,” y’know? Sort of a “treating females as younger than they really are,” which is probably what gives guys the feeling that they have control.

For a gender that claims to be so dominant, certain ones sure have to delude themselves a lot to make themselves feel better.

Anonymous said:

I was thinking about what you said about Puella Magi Madoka Magica passing the Bechdel Test, and if it counts if there's barely any men to talk about. And while I do agree that it counts, I also feel that it doesn't really matter much in shows such as Madoka. This isn't even about feminism, this is about the fact that if a show has next to no men in it at all then it's pretty much a given that they won't talk about them since it would be impractical to talk about something that doesn't exist.

So because of that, I think there should either be an alternative test which only applies to shows that have a significant or equal number of male characters and yet the ladies still pass the test(making it feel more "real" since the option to talk about men is there), or the test should be rewritten entirely so that it only applies to shows in which the cast is either equally gender-split, or has a majority male cast/significant amount of males even if the females still outnumber them.

Reminds me of how, on TV Tropes, someone suggested that there should be a "Weak" and "Strong" Bechdel Test, where "Weak" refers to the women talking about something other than men because it is literally what's relevant at the moment(such as two female police officers discussing how to catch a female killer), thus applying the Bechdel Test there seems semi-void, while "Strong" is when they could talk about men but choose not to(ie. two female students talking about their grades during lunch).

And just to clarify about the "Strong" one, when I say they could talk about men but choose not to, this isn't to imply that female characters should talk about men, or that something's wrong with them for not talking about men, just that there's nothing stopping them from doing so, but they choose to talk about something unrelated to men. I think this strategy is much better than the test we have because it makes conversations between female characters seem more real since they're discussing things other than men of their own volition, rather than the non-male-centered talk being because they have to talk about it in-universe. I say that because The Bechdel Test serves to show that women's lives don't and shouldn't revolve around men, and they can talk about other things if they want to, but if the conversation is because they have to(like the example I gave), that gives sexists the opportunity to go "Yeah, well, they're only talking about it because it's their job!"

But if the female characters talk about things other than men of their own free will(as in, when the option is still there), then it shows that women really do have their own free will to talk about their own things and that there is NO REASON to not pass the Bechdel Test in today's day and age(I keep hearing people claim the test is stupid and doesn't matter, but then it should be easy to pass). "Oh, but if they had the choice, they would talk about men." No, because men don't sit around and talk about the women in their lives all day so why should women talk about the men in their lives all day? And to the people saying these types of tests are getting in the way of their "creativity", well, now that we know that you think female representation is stupid and something you have to be forced to do, we don't have to listen to a word you say. ;)

I like the idea of adjusting the Bechdel Test for other circumstances and expanding it as such!

You could also extend it to things like sexualization, because--I mean, having two female characters who talk to each other probably doesn’t mean much if they’re half-dressed or the writer wanted to make them bisexual for “The Fanservice.”

Anonymous said:

To be honest deconstructions of Magical Girl confuse me. There are some good ones out there(such as Princess Tutu and Revolutionary Girl Utena, so I know they're not all just torture porn, my only gripe with Utena is the implication that girls who take on the feminine "Princess" role are weak), but at its heart Magical Girl has always dealt with death, gore and pain just as much as female empowerment.

It makes me feel like the people who write these stories haven't seen magical girl and think it's all just sunshine and rainbows and that just because it's "girly" it's vapid and has no substance, and since the only way to have substance apparently is to be "dark", they go "screw it with all this princessy magical shit! Let's make our show dark instead!" When in reality if they had just sat down and watched a magical girl anime, they would understand that this is not the case.

Not to mention that many of them tend to have fanservice and the idea that magical girls have to suffer, so instead of empowering young girls, they end up misrepresenting the genre and turning it into fetish fuel torture porn for adult men(Madoka Magica and Yuki Yuna are very good examples of this; the writer of Madoka says that the girls are terrorists and full of hubris and that he was inspired by porn games). It's not that you can't deconstruct the genre at all, but it's almost never done tastefully and the magical girl themes are just a cover used to explain the suffering the girls go through. :(

Another thing about magical girl deconstructions is that they often reinforce patriarchal themes, like that girls shouldn't want things for themselves and that genuinely doing something for someone while also having ulterior motives that help yourself are a BAD BAD BAD thing, no matter how ultimately harmless they are, even if they help everybody involved. They also tend to reinforce Tall Poppy Syndrome and portray the powers as harmful or a bad thing, implying that girls shouldn't have power.

Honestly, I think there can totally be even more substance in magical girl anime that doesn’t have to resort to “make it eDgY” (which I feel like is a slippery slope that can easily come off as lazy); for example, I’d really enjoy seeing something deeper to magical girl powers than something like, “oh, this magical girl happens to have the power that fits their personality,” such as a magical girl who has a power she feels she doesn’t fit but it’s a matter of perspective/seeing herself differently, or a magical girl who does have the powers that “fit” her personality - like a “fiery” girl with fire powers - and the weaknesses in her powers correlate to the weaknesses in her personality, so she has to either iron out those issues or find workarounds, as true “perfection” isn’t possible nor practical, which is something all the girls have to accept despite whatever pressure they’re under.

.I dunno, I like lore and powers revolving around metaphors. It’s fun.

Anonymous said:

About what you said in regards to "no pueri magi because it doesn't hit the shock value threshold enough", I remember this interesting comment I saw on an article called "The Problem With The Dark Magical Girl Genre"(which I would totally recommend checking out, by the way!) which said that shojo magical girl and seinen magical girl both embrace a different philosophy regarding strong female fighters. In shojo, they tend to embrace femininity as a strength and show girls that they have the power to do whatever they want and undergo dangerous professions. But in seinen, which conveniently enough is more likely to "deconstruct" the genre(ugh), rather than admiring the girls and supporting them in their endeavors, the girls are meant to be pitied(often to the point of infantilization) when bad things happen to them, with the fact that they are girls serving to make everything worse. It operates under the idea that girls are fragile, in need of protection, and shouldn't be fighting at all.

That's why deconstructions like Madoka Magica and Yuki Yuna don't sit right with me, and also why I don't consider them feminist series. People can say whatever they want about Sailor Moon and Pretty Cure, but ultimately they also had dark and dangerous themes(to the point where some kids had nightmares), but ultimately allowed the girls to rise above the hell they went through and find the strength in them to save the day. We feel bad for them when they die, not because they're moe girls, but because we were actually given the time to form a connection with them and want to see them succeed, rather than just be expected to pity them because they're cute manipulated girls. That way, when they ultimately save the day, it's all the more satisfying. Princess Tutu was a deconstruction that actually went about it in the right way, because the girls eventually found the courage to defeat their enemies in a way that made sense. Why the hell is it a "good" thing to subvert that?

No clue, but I basically agree with everything there. I mean, Madoka Magica’s entire stick is basically that all the girls are like “uwu” in terms of the style (with Madoka being the “cutest” of them all) and then being put in this dark and edgy plot+setting; it’s for both the shock value and the “contrast” of having “moe” characters be thrust into these situations to essentially die.

And the conclusion doesn’t end up being satisfying (at least to me) because the villain doesn’t have emotions so he’s just like “owo” (seriously, I wouldn’t hate on Rebellion so much if Kyubey had been given emotions rather than going crazy; Homura can basically do whatever she wants and it was SUCH A MISSED OPPORTUNITY) so it ends up being more about the journey getting there like wow look at all the sUbvErSiOnS and dEaTh we had along the way!

Because at the end of the day, it’s still like, “the girls give into their ‘hysterical emotions’ in the end basically no matter what,” even if they get saved by Madoka in the end.

Anonymous said:

Do you remember, in Madoka Magica, when Kyubey said that humans would still be living in caves if not for the Incubators? First of all, keep in mind what Incubators do. Their entire purpose on this earth is to feed off the emotions of young teenage girls as they spiral into despair as a result of their delusions of power. Like wow, let that sink in. Apparently humanity's advancement relies on the exploitation of women. We are literally the punching bags of the universe. Isn't it lovely?

No! You see--we’re so important to the world! If we weren’t emotionally exploited, the world wouldn’t be the way it is now! :D

(kill me)

Anonymous said:

I once saw a tag on tumblr that read "The only good magical girl anime is Madoka Magica because it's gay, and even it has problems." Like, ugh. Really? Has this person not watched ANY other magical girl anime? Such ignorance. So many things wrong with that statement that I can't--and WON'T--even begin to unravel here.

MADOKA MAGICA IS NOT GAY AND I’M SO TIRED OF PEOPLE CLAIMING IT IS

s T O P

I DON’T EVEN CONSIDER YURI ON ICE TO BE GAY. MADOKA MAGICA? NAH MAN.

Anonymous said:

Do the girls in Madoka Magica even have transformation phrases? You know, like how Marinette says "Tikki, spots on!" or how Sailor Moon says "Moon Prism Power! Make-up!" or how Iris in LoliRock says "Iris! Princess of Ephedia!" etc. But in Madoka Magica, there doesn't seem to be any of that. At least in Yuki Yuna they pressed a button on their phones. But how do the Puellae Magi even transform? Just goes to show you how Gen Urobuchi knows next to nothing about the genre he claims to deconstruct.

Transformation phrases are magical and cool and you can’t take that away from me.

Anonymous said:

I had a shower thought about Madoka randomly in bed last night: If a Magical Girl's Soul Gem loses control over its user when 100 metres or further away from it, that meant that when Homura got Sayaka's Soul Gem back for her, Sayaka should've regained consciousness once Homura was less than 100 metres away, even if she didn't have her Soul Gem yet. I also love to ponder why on Earth Homura would even bother retrieving Sayaka's Soul Gem if she only cares about Madoka and Madoka's well-being.

I think it’s just a complicated process of Homura trying to make sure Madoka doesn’t fall into despair herself (in a non-witch way) and is convinced to make a wish.

Anonymous said:

The more I think about it, the more I realize that Sayaka really got the worst deal out of the whole thing. While her story may seem more "mundane" compared to the others(she just wanted the token Ill Boy osananajimi to like her back), she's the only one who somehow isn't brought back when Madoka recreates the universe, loses her Soul Gem on more than one account(and on the second, she starts decomposing and her crush sees her and calls her a monster because he thinks she's pretending to be the REAL Sayaka), is supposedly the weakest Magical Girl, getting swiftly taken out by both Kyoko AND Homura(the latter of which doesn't even make sense, if her body can heal why was she taken out so quickly?), takes a long while to show up in Magia Record, and Gen somehow finds it suiting to single her out as the one who is "destined to die" every time she makes a contract. Apparently the series director wanted Sayaka to live/be brought back, but Gen refused because it just had to be edgy.

Of course, MEN are allowed to have wish fulfillment power fantasies and dream like the sky's no limit and aspire to be all they want to be, but the second WOMEN try to be the strong ones, the powerful ones, or dream of something for themselves and others, they have to learn a lesson about how unrealistic their fantasies are and how they'll never live out their dreams. Hence why Sayaka puts the blame all on herself, saying that she's not a hero and was stupid and selfish the whole time.

"token Ill Boy osananajimi“ dfhbgjhfdgdfg

It was a real shame because I liked Sayaka somewhat (not saying much but still) and she was such a predictable one to go. Like, “oh wow, an angst-y anime all about shock value? so basically the best friend is dead then with no chance of survival.”

I think I do remember being told/reading somewhere (so don’t quote me) that Sayaka is the one that’s hardest to keep alive in the games, so you have to work hard for it. It just sucks.

Anonymous said:

Yet another thing that bothers me about Puella Magi is how the show frames the young ladies as if everything is their fault even though they have no idea what they're getting into because the person who makes the deal doesn't even bother explaining shit to them and all the show's attempts at deconstructing is just taking lighthearted elements meant to empower girls and show them that they can be brave and strong as well as feminine and make them dark and morbid.

Like, I get the whole "having young girls fight is a little unrealistic" aspect, but most magical girl shows actually do touch on that! Only difference is that over time, they become stronger and better at fighting(which is only to be expected, whether you're a teenage girl or not) and become more competent along the way because the whole genre is about FEMALE EMPOWERMENT.

Not to mention how the show seems to forget that the Incubators are villains and even seems to put them in the right and the girls in the wrong, what with the claim that they rationalize with the girls they make contracts with like sentient human beings(yeah, because emotionally manipulating young girls and literally taking their souls out of their bodies and making them liches without their consent is definitely treating them like sentient human beings), and that they always follow up on their end of the deal whereas it's the girls' faults their wishes go sour because they never wish for what they truly want(I'm sorry, but I simply DO NOT buy that. Homura and Mami outright wished for what they wanted. Their wishes went sour because the plot "decided" that they should have wished in a different way; plus, you're telling me that if Sayaka had outright said she wished "for Kyousuke to love her back" that the show wouldn't just "make" him mind-controlled or have Sayaka "outgrow" her feelings by the time he falls in love with her, all the while making it out to be "her" fault he's so heartbroken because she was some kind of tease or whatever, further demonizing girls' sexualities?).

Plus they explicitly claim that every woman in history was a magical girl and that without them, humanity would still be in caves(as in, humanity wouldn't be able to progress without the oppression and exploitation of women, and women can't gain power without going insane because female power is some unhealthy, inhuman, infernal thing.). Even if we take this all as a reflection of patriarchal society(which I highly doubt it was, if anything, it reinforces it), all it does is imply that the oppression of women is the natural order of things, required even.

As for the girls themselves, they routinely beat themselves up and the show makes no effort to tell them they're wrong(up until the massive cop-out of an ending), like how Sayaka's last words before becoming a witch are literally her "admitting" that she was "stupid, so stupid" for wanting a boy to love her and be healed of his infirmity. It just seems like we're supposed to think "you know, maybe the Incubators aren't that bad!" while ignoring that the girls are being treated like the disposable trash bags of the universe. This show already does the magical girl genre dirty but treating it like everything the Incubators did was necessary and like it's all the girls' faults these things happened to them in the first place is the icing on the stale, sour cake. Nothing like a giant heap of sexism to help get you through your day. :/

I’ve noticed this a lot in Miraculous, but Madoka Magica somehow does it worse; this “one (supposed) mistake leads to all of these consequences you never saw coming.”

Like Ladybug calling Lila out. We know that Lila’s pettiness in “Chameleon” shows that it wouldn’t matter whether Ladybug yelled at her or not; the simple fact that Marinette opposes a liar led to Marinette getting expelled, even if only for a while. Then there’s “Miracle Queen” and all that garbage that came with it.

These two shows put their teenage girls through hell for having emotions and there’s no way to undo it.

Anonymous said:

Honestly, the Madoka Magica fandom is basically the magical girl equivalent of "not like other girls" type women. I can't say I'd be surprised if they didn't watch a single magical girl show other than Madoka because they're all "stupid and girly but this one is edgy and dark" just because those shows are written by women to inspire other girls and show femininity as a strength while Madoka Magica is written by men for men who want to see young girls suffer without any actual feminism.

Like, let's go through their arguments one-by-one to prove that they don't hold up. They love to say that Madoka Magica is better than other Magical Girl shows because "it's dark and edgy and shows the downsides to being a Magical Girl unlike other shows where it's all sunshine and lollipops". First of all, other Magical girl shows also got very dark. Princess Tutu and Utena are also "darker" takes on the genre, but even more lighthearted shows like Sailor Moon and Precure had scary moments.

The only difference is, with them, they still managed to critique problematic aspects of the genre and actually provided ways to improve it, while STILL managing to keep their target audience(FEMALES) in mind, without condescending to them and infantilizing them. And they still showed the girls being empowered and overcoming the darkness.

In Madoka, there's none of that, there's no actual critique of the genre because Gen didn't have the respect for it to do his research, it's aimed at men so it doesn't keep female viewers in mind by definition(which is also another reason why it can't be a deconstruction; deconstructions should be done FOR its target audience), and the girls are constantly put down and treated like Moe crybabies by the narrative even when they're not(cause, you know, teenage girls are "emotional"!). And it doesn't offer ways the genre could improve, it just takes a female-empowering genre and twists it to be this system of oppression that the genre is meant to avoid.

Magical Girls tend to have a very strong focus on girls empowering girls and all that awesome stuff, and yet when Madoka and Mami form a special bond and Madoka encourages Mami by telling her she's not alone? It makes her big-headed and overconfident and she gets devoured by Charlotte. See what happens when girls rely on each other? Madoka is Sayaka's best friend, but gets pushed aside in favor of Kyoko, who later dies for Sayaka because girls who want to help each other had better be prepared to suffer and die for their beliefs. Sayaka loses everything, which happens to include her best friend, over a guy. And the whole witch process means that any female solidarity that could be found in the show is thrown out the window since the core concept of the show is girls being forced to brutalize and kill and exploit each other.

People act like Madoka is Yuri when it's not, Gen was asked if Homura really was in love with Madoka and if Kyoko really was in love with Sayaka, and what did he do? He beat around the bush. Naoko Takeuchi and Kunihiko Ikuhara(the latter of whom also worked on Sailor Moon R; woah, what a surprise) both admitted that there was gay love in their stories, yet people act like Madoka is super progressive regarding homosexuality when it's just implied and those shows were MUCH more open! Doesn't stop people from claiming the show is "honorary yuri" and saying that the meaning of "yuri" should be broadened to include any close bonds between two female characters, whether or not it's actually romantic, AND favoring the show(and HomuMado) above actual yuri shows that are made to appeal to women. If all this were actually valid, Sailor Moon would be yuri as hell.

I hate seeing people fap over this show and act like it's so revolutionary for recycling things that the genre was ALREADY DOING, because I know full well that the ONLY reason it gets this wide acclaim is because Magical Girl shows have traditionally been written for women and this show is aimed at men. That's literally it. Because nothing a woman writes is good enough, especially when it dares to go against patriarchal constructs of femininity as weak and docile by portraying it as cool and awesome. It doesn't matter how cool and dark and diverse and inclusive and complex Sailor Moon and Precure and Princess Tutu and Utena are, they're written by/for women with the intention of empowering them so they're automatically invalid, cheap, happy-go-lucky crap where nothing bad ever happens and anything those shows try to do ought to be discredited because they don't appeal to men like they should so what's the point?

But the second a MAN comes in and intrudes on a female-dominated space by doing all of those things but with a very shallow understanding of how they ought to be executed, people are all over it because a MAN did it and now it's interesting and respectable! I have seen so many people say that they don't like Magical Girl because it's girly and shallow and stupid, but then they praise Madoka for things that the girly and "shallow" shows have already done! Men are always taking away things meant for women and distorting it to fit their patriarchal views and yet when they do it it's somehow better and anyone who complains is simply a whiny straw feminist!

The fandom does it all the time, someone complains about the show and why they don't like it and find it sexist, and the response is always "you're just not smart enough to understand it; you have no idea what you just watched". Because obviously since it's made by a man it's sooo much smarter then the traditional sappy stuff made by women. That's why it's so annoying when others praise it at the expense of other works in the genre: they know their reasons for liking it are, more often than not, rooted in sexism against female-aimed and female-empowering works, so the only way they can praise it is at the expense of said works, hence them being just like girls who claim they're "not like other girls" when there's nothing wrong with girls being feminine and in fact many of those girls may like the same things you do!

So while I'm not saying there's anything inherently WRONG with liking Madoka, I DO have a problem with people who act like it's better or more serious than other shows in the genre and simply discard them on the grounds that they're "for girls", since they obviously didn't watch them.

me when I initially watched Madoka Magica: I don’t get why this exists.

me when I learned it was written by a man: ohhh, now I get it.

I also take issue with people comparing things that are made for different demographics. Like look, I don’t care if you enjoy your angst display over here, but also maybe don’t compare it to the stuff not even made for you unless you’re willing to get into a fight over it?

It comes off wrong, like they have to trash on stuff because it wasn’t made for them, y’know?

Anonymous said:

Honestly, I am so sick of people saying that Magical Girl shows are sexist or anti-feminist, when all they do is portray girls being awesome and powerful while also being feminine at the same time, because "Well in Japan it's actually gender conformity because it's telling girls they can only be strong if they're feminine! You're just projecting your Western values onto an Eastern work!".

First of all these shows are made by women for women and often have explicit feminine messages that you literally cannot miss unless you are simply blind or trying not to see them. And they also tend to have a very strong focus on women supporting or empowering other women. Just think of Sailor Moon, which constantly gets this "criticism", and yet there's an episode where the girls explicitly protest against a villain who claims women are all shallow and useless and can't do anything without men's help. Would Naoko Takeuchi put that in the show if she weren't a feminist?

And then there's the fact that she has said that one message she wanted the female leads to convey was to value their relationships between other girls because girls are strong and don't need to waste time depending on men. There's also the fact that most Magical Girl shows tend to treat the powers as something special and awesome that's unique to women and girls, paired with the coming-of-age themes present in the show, and you get a magical equivalent of female puberty, with magic mixed in.

But no, all of that gets thrown out the window because they dare to be "feminine" while doing all of that stuff and the Japanese are forcing their girls to be girly through Magical Girl propaganda. And I just HATE when people act like anything feminine must be societally forced onto girls, rather than girls just happening to like them. In addition, stating that they are simply reinforcing gender roles by being feminine is such bullshit because the whole purpose isn't about conforming to patriarchal femininity, it's about reclaiming femininity.

Too often, femininity is associated with being weak, powerless, helpless, submissive, docile, vapid, catty, bitchy, petty, vain, stupid, the list goes on. Magical Girl saves femininity from a bad reputation. It shows femininity in a new light, as something strong and powerful and, hell, even admirable! It's about telling girls "Hey, you can be strong and powerful and smart, but you don't have to be a tomboy or act like a man to do so". Girls are always told they have to act masculine to be taken seriously because the only way to be respected is to be like a man, which is an indirect way of saying that only men deserve respect.

Magical Girl does away with all that in favor of showing the feminine as something innately powerful, and yet naysayers MISS the point and say that it's just stereotyping girls instead. To see people claim that Magical Girl forces girls to fit a feminine ideal to be respected is just disappointing. It's supposed to be a female power fantasy for young girls that shows them as the ones being powerful and empowering each other.

Take how in Sailor Moon the heroine often says something along the lines of "I won't let you take advantage of girls", which Wedding Peach went on to imitate. The purpose of the genre is for girls. To empower girls. So why on earth would they show them fitting into a "male" mould of power? Do these people think that any time women are shown acting distinct from men that they are doing something wrong?

And the hypocritical part is that nobody pisses on male-oriented anime for reinforcing a harmful narrative to boys that they have to be masculine to be valued and respected. Of course they don't! Because being "masculine" is never seen as a bad thing to be. It's assumed that masculinity is always strong and good and awesome and there's nothing wrong with boys being forced to be masculine because you're supposed to want to be masculine. You're not supposed to want to be feminine.

So of course people will shit all over Magical Girl for embracing, empowering, and reclaiming femininity, because it's not supposed to be that way! You're not supposed to be feminine and also be strong. You're supposed to deny your identity as a woman and assimilate into the boys' club because only boy things are worthwhile! And they cover it up by saying that Magical Girl forces girls to be feminine, when in actuality the WORLD forces girls to be MASCULINE. Magical Girl doesn't force girls to be feminine, It ALLOWS them to. Do you see the difference there?

Another thing I'd like to bring to the table is that the claim is racist and here's why: The claim that "Magical Girl shows are seen as feminist in the US for portraying femininity as a source of strength but not in Japan because it's telling girls they have to be feminine"...what does that mean? Japanese people can't be feminist? All Japanese people are sexists and think girls have to fit in a certain role? Do Japanese feminists HAVE to be anti-femininity? Are there literally no Japanese people who think you can be feminine AND strong(who also obviously identify as feminists?) Because it seems hella sexist to insinuate that Magical Girl shows are sexist because they're made in Japan and they don't believe you can be feminine AND strong there.

While there is some credibility to it since Japan IS, by and large, much more strict with gender roles, hasn't it ever occurred to these people that these types of shows exist to counter that belief? Not only that, but it implies that people aren't allowed to have opinions on works that aren't made in their culture, and that anyone who sees those shows as feminist are just projecting their Western beliefs onto an Eastern work. And even worse, when people say that, they don't have the same opinion of Western Magical Girl works.

Just look at LoliRock, Miraculous Ladybug, Winx, W.I.T.C.H., Star vs the Forces of Evil, and countless other European/Western Magical Girl works. Where are the people saying "They get their power from femininity and that is sexist!"? Nowhere! They're silent! Even though those are very much like Magical Girl works from Japan(although I don't think the genre originated from there), while still being original.

It's because people think that any media exported from Japan is automatically sexist and demeaning and so anything they create, no matter how empowering their intentions, gets twisted into something that's somehow toxic or unsafe for girls to watch. But when Europeans do the exact same thing nobody complains. Because Japan is not allowed to do anything empowering whatsoever; something's always wrong with it, apparently.

So that's why I have a problem with people who say those things; it's so problematic because they think they're being all open-minded and aware/respectful of other people's cultures, but all they're doing is reinforcing negative stereotypes further. It's kinda like what I said earlier(in another ask) about how people love to praise Madoka Magica for being a unique, dark, and interesting take on the genre when all it did was rehash elements of the genre that already existed, strip away the female empowerment, and gear it towards grown men, which is why people like it more. How about instead of speaking for Japanese people you let them speak for themselves?!

I would also like to add that there’s even a limit to women acting masculine because that’s still “not enough” for those kinda of men who would promote those beliefs. Women need to act more masculine to “be taken seriously” but then you have men who’ll tell them to “dress less” or whatever.

I think what it comes down to is that they want women to not be “emotionally taxing” with all those dAmN eMoTioNs of theirs (unless it’s for the sake of their angsty magical girl anime where the girls suffer for having emotions), but they also need to look pretty and be sexualized.

We can’t win.

[klaineccfanficlibrary]

Hi! Can you please recommend me your favorites sappy as hell fics? Like I’ll probably have cavities after reading sweet? 💕

That’s my fave trope, anon - cavity inducing sap! Here ya go, make a dentist appointment ASAP.  ~Lynne

Definition by villiageidiot

Kurt and Blaine are pretty much the definition of soulmates.

~~~~~

You'd Tear This Canvas Skin Apart by SirenVoice11

Blaine is at last embracing his second love - art. What he doesn't expect is for the living statue of David to walk into his art class in nothing but a silk robe...

~~~~~

Lost With You by Stuckontheground

When Kurt Hummel goes to Paris over the summer as a graduation gift, he’s afraid that he’s going to be all alone in the City of Love. Little does he know, a chance meeting in a cafe will change his life forever.

~~~~~

Crema verse by @twobirdsonesong

Kurt’s just landed a job at Vogue as Carrie Bradshaw’s assistant. One of his tasks is to bring her coffee in the morning.  Enter Blaine, the barista. This is the story of how they change each other’s lives.

~~~~~

Somewhere in the World by Water_Nix

Somewhere in the World is the world’s most popular children’s show, and its star, Blaine Anderson, has been touted as the handsome second coming of Mr. Rogers. Even Kurt watches the show religiously, and his list of Blaine’s best attributes is even longer than that of TV’s most gushing reviewer. Yes, okay, so Kurt has a little crush. Maybe. Possibly. Shut up. So when he’s given the chance to meet the man in the flesh, he can’t really say no, can he?

~~~~~

While We Two Keep Together by @the-cimmerians

Fluff and sugar. Early boyfriends at Thanksgiving.

~~~~~

Where There’s Smoke by stoney  [also on LJ]

Fireman AU, set 7 years after graduation. Kurt is Kurt, except that he never met Blaine Anderson. Blaine grew up in Brooklyn with his mother and firefighter father. Rachel and Kurt have graduated NYADA, Kurt gained a Masters from Tisch, and now they’re in their first post-college apartment together ready to tackle their dreams. Unfortunately, Rachel never learned how to properly cook and almost sets their new house on fire. Enter Dreamy McFirepants.

~~~~~

Domus Civita by JayhawkWrites  

While on vacation to a city he's never been to, Kurt Hummel finds himself in a place that he recognized from his dreams. The person he always sees in those dreams is there, too, and they spot him and ask, “Is it really you?” 

~~~~~~

I can’t resist, so I’m going to add some more :-)

The schmoopier the better, right?

Warning: give your teeth an extra brushing after consuming all the cotton candy fluff below.

Hugs,

Marjan

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After the Prom by PaellaIsComplicated

Takes place after episode 2:20 "Prom Queen." Blaine is dropping Kurt off at home. Total fluff. Canon compliant.

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Béchamel by @hazelandglasz

Blaine and/or Kurt using cheesy pickup lines on the other.  For example, could be to seduce or being funny but can be whatever you’d like, wherever you like, whenever you like.

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Bus verse by @antarcticbird

Their love story begins in the morning, on the bus to work.

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Have a Sappy Happy New Year by @wowbright​

It’s a little late for the Jewish New Year and a little early for the Roman one, but maybe it’s New Year’s for some culture somewhere? In any case, have a little New Year’s Eve-themed Klaine fluff!

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How I Met My Soulmate by @spaceorphan18

Over drinks one night, Kurt tells Elliott the story of how he met his soul mate.  Soul Mate AU! Also - Kitties! Superheroes! Drunken Shenanigans! Sappy love stories!

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Of Love and Staircases by water-nix

Blaine has mysterious plans. Kurt? He's just along for the ride. Sappy romantic mush with a touch of sassy!Kurt and the misuse of a Dalton tie that isn't nearly as fun as it sounds.

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Partners by @whatstheproblembaby

anon prompted: “kurt and blaine are partnered together for a school project where you have to take care of a fake baby,” and then I added the nerd/badboy trope for good measure. Probably more fluff than actual development, PG-13, ~1700 words. 

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So They Did by blaqkheaven

Kurt's first week (after Sectionals) as seen by David. 

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Three times Kurt finds a sticker on his butt after having sex… by @sir-pyllero

…and that one time he gets an explanation.

[isaacmcadoo]

DIN DJARIN PLEASE i wanna see your hc for best tv dad ples anxnsd

1: sexuality headcanon: MY MAN IS AN ASEXUAL DEMIROMANTIC AND I AM NOT TAKING CRITISISM! except if you want to make a case for aroace!Din Djarin, then we can talk The self-projection is strong with this one.

2: otp: Cal/Din is the ONLY Din Djarin pairing. Maddie (@theozmachronicles) and I are in agreement for two reasons 1.) Din/Luke sucks (to quote myself, they were in the same room for two minutes and suddenly I can’t escape them.) and 2.) my two precious beans deserve the world and each other (also, BD and Grogu would be great friends and get into all sorts of trouble together.)

3: brotp: so, my favorite platonic relationship (or any relationship really) is Din and Grogu Djarin because they are my two favorite tropes rolled into one (found family and reluctant parental figure) but, I don’t really think of them as a brotp, so... I’d say Cara and Din because they are the iconic lesbian/ace duo I have been waiting for!

4: notp: literally Din with anyone other than Cal. Until I thought it up as an alternative to Luke/Din, I shipped him with no one, then Maddie and i started discussing how much better Cal would’ve been, and suddenly I had a ship for Din.

5: first headcanon that pops into my head: that he’s ace (did I mention I think he’s ace?) alskaks But seriously, another headcanon I have for him is (and this is a bit dependent on time, so for the sake of this, he had Grogu for at least a year, okay?) for the one year anniversary of him finding Grogu, he threw a little party and made it like his birthday (since Din probably doesn’t know his son’s birthday) and he keeps celebrating every year after that, even if Grogu isn’t with him, because that kid changed his life forever and he loves his son more than anything in the world.

6: favorite line from this character: there are literally so many. “He means more to me than you will ever know.” is obviously up there. But I also really really love it when he says “Don’t play with your food.” because Grogu was not playing with his food, sir, he was being attacked, also anytime my favorite himbo says something stupid (Laser swords. Does this look Jedi to you? Are you a Jedi? (I don’t know Din, it’s been said multiple times that he’s a Jedi, but who knows.))

7: one way in which I relate to this character: he presents himself as a hardened badass but everything affects him deeply emotionally and he forms attachments quicker than anyone I know.

8: thing that gives me secondhand embarresment about this character: I wouldn’t describe it as secondhand embarresment, more secondhand anger? But anytime he interacts with Bo-Katan. I liked the woman in Clone Wars AND Rebels, but damn it if I don’t hate her here. She’s so condecending and just rude. She treated Din like a second class citizen because he was a Child of the Watch (lady, you too would still be in a cult if Maul hadn’t become the leader of said cult). Also, the way she talked down to Boba? Saying he wasn’t a real Mandalorian, just a clone? If Boba doesn’t consider himself a Mandalorian, that’s fine, but Bo-Katan didn’t need to say any of those things. I get that she had a lot of trauma, she lost a lot of people, but Din and Boba lost people too and they didn’t turn out like that, so... Just saying (did I use this as an opportunity to rant about how much I hate Bo-Katan even though the question was asking for something completely different? Yes. Do I care? No. (Also, sorry Maddie, I know you love her, but I am siding with my fellow asexuals on this one yes, this is me saying I also headcanon Boba as asexual, like his father before him for no other reason, once again, than I want to.))

9: cinnamon roll or problematic fave?: my boy is a looks like he could kill you, but is actually a cinnamon roll (but he could also kill you in two seconds so don’t look at his son weird.)

Send me a character x

[ericdeggans]

How My Love for Sean Connery and Bond Led to a Serious Case of White Guy Hero Infatuation Syndrome

Like a lot of people all over the world, I have long considered myself a stone Sean Connery fan.

I often recited the juiciest dialogue bits from his Oscar-winning turn as a beat cop-turned crusader in he Untouchables (in addition to the speech everyone quotes, I loved how he told Eliot Ness he knew he was a treasury agent without seeing his badge because “who would claim to be that who was not?”) I watched the painfully clumsy 1986 B-movie Highlander mostly for his charming turn as Egyptian (!) immortal Juan Sánchez-Villalobos Ramírez.

And, of course his work as James Bond always set the ultimate example for urbane cool. Which explains why I often felt the theme song thrumming in my head whenever I wore a stylish suit or hopped off a plane in a cool city. For men from the generation before mine, he practically defined the sophisticated, stylish machismo found in the pages of Esquire and Playboy.  

For these reasons and more, I have always loved the rogueish Scotsman as an actor. And yet, when news of his death at age 90 spread across the world, I couldn’t bear to pay tribute to him on my social media pages, until now.

That’s because his passing highlighted my problem with a particular malady. I call it White Guy Hero Infatuation Syndrome. And I have suffered from it for many years.

Put simply, my fan’s brain knows that Connery’s landmark performances were the stuff of film legend – especially as Bond. Cool, authoritative, suavely menacing and mostly unflappable, his take on a secret agent who knows the best suit designers nearly as well as the best pistol manufacturers set the template for escapist espionage fantasies over the next half century and beyond.

His first line as the character – “Bond. James Bond.” – has become pop culture legend.

But as a media critic, I also have to contend with James Bond’s status as a relentless sexist and a British agent who walked the world as if it was made to be ruled by wealthy, capable white men. Watch him slap the behind of a pretty blonde who was massaging him poolside in 1964’s Goldfinger when CIA agent Felix Leiter turns up for a chat. “Man talk,” he tells her dismissively, sending her out of the scene.

Or check out how he treats Quarrel, the bug-eyed Black man who acts as a “fixer” for him in Jamaica during the first Bond film, 1962’s Dr. No. Scrambling across a beach to avoid the bad guys’ goons, Bond turns to Quarrel and tells him “fetch my shoes” -- as if he were his butler, rather than a local ally helping him avoid thugs with automatic weapons.

And there’s loads of scenes where Bond forces himself on women who quickly succumb to his charms – like Honor Blackman’s character in 1964′s Goldfinger – perpetuating a dangerous myth that a man can earn a woman’s love by pushing her into being romantic with him. (Or that a dismissive, vaguely annoyed tone with women – treating them like impertinent children or misguided simpletons – is also, somehow, irresistible to them.)    

When Connery played Bond, he played a character who was the embodiment of white privilege. He made it look sexy, virtuous and necessary – the natural state of things in a 1960s-era world that, outside the comfortable confines of Bond’s make-believe spy games, seemed to be coming apart at the seams. But in the America of 2020, it’s a symbol of how media can teach you to accept a limiting legend.

And this was a fantasy I bought into eagerly. As a kid, my mom and I bonded over the heroic white guys she loved on film and TV, mostly from westerns. Just this past December, as she was fighting cancer and months before she would succumb to an infection, we sat and watched Clint Eastwood, Charles Bronson, Kevin Costner and Robert Duvall save the day too many times to count.

As I got older, I’d make fun of all the misogyny, racism and white centering going on in these shows – gibes which my mother, a proud Black woman who loved her people and culture, tolerated with a weary smile. “These are my guys,” she’d say playfully, swatting aside any idea that there was a deeper impact from gorging on stories which treated these virtuous white men as the noble, natural center of every story. I wish the issue were that simple; it often isn’t.

For me, it wasn’t just a problem with Connery. As a kid, I loved Eastwood’s 1970s-era Dirty Harry movies, where the taciturn cop with a Magnum pistol cut through all the nonsense to nab the bad guy. Same with Bronson’s Death Wish films, where the solution to rampant street crime wasn’t better policing, but a taciturn, middle class white guy with a gun shooting down street criminals. It’s a potent fantasy, especially if you’ve ever had to deal with the numbing bureaucracy of real-life law enforcement or the brutal violation of being a crime victim.

It wasn’t until I got older that I realized many of those bad guys Harry Callahan was hunting were young hippies and Black people – the kind of folks who, in real life when Dirty Harry was released in 1971, were trying to get America to face how it was chewing up poor, young men in an unwinnable, unnecessary war in Vietnam. It was a prime example of “copaganda” – convincing the audience that the excesses Detective Callahan committed to nail a person the audience already knew was a serial killer, was justified.

Even now, I wonder: Can I watch these movies and appreciate why they are thrilling, while rejecting the tropes that present a white male-centered world as just and appropriate? In my work on race and media, I’m often telling audiences that people who insist they are not affected by media subtexts are often the most affected by them. Couldn’t that be true for me, when it comes to heroes like Eastwood, Bronson and Connery?

(One caveat: Sitting in an arena in Tampa, watching Eastwood give his infamously strange “empty chair” speech at the Republican National Convention in 2012, broke me of my affection for his work. I have avoided watching new Clint Eastwood films since then. Click here to read my report on the empty chair speech for the Tampa Bay Times.)

In his later years, Connery denied or walked back quotes where he seemed to approve of physically hitting women in real life. His roles in films like Highlander, The Untouchables, Hunt for Red October, Indiana Jones and the Last Crusade and The League of Extraordinary Gentlemen often featured him playing the older mentor to younger white guy heroes portrayed by the likes of Harrison Ford, Alec Baldwin and Kevin Costner.

And so, as the question of Connery’s legacy in show business arises, the fanboy part of me is at war with the media critic. One side of me is lost in the absolute coolness of the suave masculinity he so often symbolized, particularly as the world’s most successful secret agent.

The other is painfully aware of the inequalities and oppression such portrayals enabled, and how much they may feed our real life fantasies for a powerful white male savior to set things right, even now. 

Especially now.

And saying these characters were a product of their flawed times somehow doesn’t seem enough.

This is a tough column to write, and not just because there are so many fans who want to focus on the best moments of Sean Connery’s life now that he’s gone. It’s difficult because he was a personal hero of mine for a long while – and remains one of my favorite performers – even as I acknowledge the terribly male-centric and white-superior ethos he embodied in so many roles.

This may sound like disrespectful nitpicking to hardcore fans and family. It’s never easy to sit with the more uncomfortable aspects of a great artist’s legacy. And the time after his death has been filled with heartfelt tributes to Connery, a man of great talent and no-nonsense sensibilities who was respected and loved by a great many people who worked with him.

Sometimes the media critic’s job requires being a buzzkill; insisting the public pay attention to troubling aspects of a film or TV show that we would all just rather sit back and enjoy. Because part of unwinding the effect of past portrayals is acknowledging their power in the present day.

Which means, every time I watch Connery stride to a baccarat table in Goldfinger, Dr. No, or Diamonds Are Forever, archly demanding a precisely constructed alcoholic beverage, I also have to remind myself of the damage done by too many characters like that offering too constricted a vision of what a hero looks and acts like. And I suggest you do the same.

It's the only way to balance a comforting myth with the reality of how that legend can, unwittingly, teach us to cling to ideas that ultimately hold us back.      

[fallintomyhands]

Blacked out card for @barisifandomevents !

Fake Relationship: Dreams – Asmodesgold (M) 

·        Barba gets the flu. Carisi gets more than he bargained for. A sweet, soft fic full of longing and loving care.

Wedding:  In Vino Veritas – etothepii ( E ) 

·        A bachelor party, a wedding, late nights in the office, and confusion. One of my favorite fics of Carisi figuring himself out, featuring a lot of unique but realistic situations, tenderness and heat, angst, and hopefulness. A fandom must read.

Alternate Universe: The Primitive and Sanctified – Konigsberg ( E ) 

·        Demons exist, unbeknownst to SVU… except the members counted amongst their ranks. This is one of my favorite stories of all time, and please don’t let the supernatural elements (or the fact this is sadly still a WIP) “scare” you away! The “monstrous” elements are used to perfectly capture characterization, and this is the most tender fic I’ve ever read.  Makes you want to crawl into the soft, dreamy feelings and live there forever. Please give this a shot if you haven’t already; perfection.

Crack Fic: Overstepping – rellkelltn87 (M) 

·        A raid on a real-life mad scientist goes horribly wrong, and ends with Carisi “in a family way.” I never thought I’d see an mpreg story in this fandom that could come off so believable, but this author works miracles (in a much kinder way than her characters!) Part casefic, part romance, all suspense, don’t pass this one up, you will not be disappointed!

Based on a Movie:  Do Monsters Dream? – bourgeois ( E ) 

·        Shape of Water AU in which Sonny works at an aquatic research facility and meets someone special. Takes place in a timeline where we see Carisi struggling after the Tom Cole incident, heart wrenchingly portrayed through his losses, personal and professional, and his meeting of another lonely, imprisoned soul. Beautifully written, absolutely captivating prose, wistful, heartfelt and magical.

Animals:  Yuletide by the Fireside – Juniperhoot 

·        First Christmas with a new love, and unfortunately a new, smaller paycheck. Tenderness, cozy domesticity, and the most adorable dog ever singing along to bad TV music numbers; what more could you want? If your answer was ‘thoughtful characterization’ – that’s here too!

First Date:  Everything Seems a Little Bit Sweeter – rafaelbaseball, burgeois 

·        Barba is obsessed with a YouTube chef, and enters a contest to meet him for dinner. One of the earliest fics I was obsessed with. The whole series is lovely, and the actual date is so tentative and lovely it makes my heart clench. Barba finding himself not in the age group of Sonny’s fans is painfully relatable and a stroke of genius.

Carisi Family:  A Healing Year – Adrianna_m_scovill (M) 

·        A year in the life of Barba and Carisi, in which Barba faces his insecurities and begins to heal, and to love. A fantastic story from start to finish, with top notch characterization and intense emotions, steamy sex, and everything in between. I chose this for my family fic not just because there’s a lovely holiday spent with the Carisi family, but because the fic also embodies how Carisi manages to make everyone in his life his family. Utterly captivating story from an author that always makes an emotional impact.

Soulmates:  Choose To Be With You – Robin Hood 

·        Sometimes the person who has your heart doesn’t have your soul. Great take on the soulmates trope, heartfelt, heartbreaking, mature. Insightful characterization of both characters, but especially Carisi, who faces an impossible situation, and reacts exactly how I believe the character would do.

Get Together:  Noche Sin Estrella – Lambnoire 

·        Casefic in which Barba is injured, and Carisi figures something out about himself when his protective streak becomes something more. A pretty much perfect fic; perfect characterization, strong and realistic casefic, recurring canon characters that feel true to themselves, whump that expresses the right amounts of terror without delving outside the scope of the show, and a slow burn journey of romance and self-acceptance that is meticulously paced, utterly realistic and hits every emotional mark flawlessly. Now that it’s back, make sure you don’t miss out.

Break Up:  Every Time We Touch – OblivionCastro 

·        Soulmate AU where the touch of your partner gives you pain.  A 5+1 fic, a soulmate fic, but mostly, a lyrically written story of enduring pain and enduring its loss. A wonderful metaphor for the agony of love and loss that brings me to tears every time.

Secret Relationship: Pink (& Other Promises) – leslielol 

·        Barba and Carisi fall together, and decide to keep it under wraps for a while; results vary. A common premise with uncommonly good prose. Vivid, lyrical language wraps around a soft story about affection, subterfuge, and acceptance.  A very different look at Barba and Carisi than the author’s main fic, but no less enduring and amazing.

WIP:  Much Farther To Go – nukablastr (M) 

·        The threats on Barba’s life have been declared a cold case, but Carisi decides to do some investigating on his own to protect the man he loves. This is the third part of a long series detailing the “missing” events in S17, and exploring beyond into “what could have been” if this major plot hadn’t been dropped. I added part 3 for the WIP, but recommend reading from the beginning. This story is expertly paced and plotted, and feels absolutely like it could be a piece of canon. One of the seminal works of the barisi fic fandom; read it if you haven’t.

Shadowing:  Mind if I Sit Down? – Larkin21 ( E ) 

·        Another episode tag based story from S17, featuring Carisi and Barba entering into a casual relationship behind the scenes. There’s not really many (or any!) full stories of Carisi shadowing Barba, but I was glad to be able to include this series, which features a full chapter on the shadowing episode. Again, I recommend reading the entire series, as it’s full of fantastically written plot and characterization, seamlessly weaving deep insights on the characters and blisteringly hot sex into the best seasons of the show. Another not-to-be-missed series!

Get Together:  I’m gonna leave it all out there to dry – littleblacksubmarine  ( E ) 

·        Carisi is barely keeping it together, and Barba is waiting to be allowed to help; a story of depression, self-loathing, comfort and devotion told through incredibly poignant intimate and sexual encounters. An unusual depiction of a very dark Sonny, and a protective, self-sacrificing Rafael who’s there for him every painful step of the way. Amazing story that captures perfectly some very different aspects of the characters than we typically see, and still feels 100% true. This story has broken and healed my heart so many times.

Holiday:  Pass Here and Go On – abogadobarba 

·        After the events of Undiscovered Country, Barba and Carisi reconnect, by chance, on a train of all places. Full of atmosphere, literary references, and some of the best prose in the fandom. This story is pure poetry, creating a tone of loneliness and longing, the sense of expanse and yet confinement that only travel can bring, and ultimately peacefulness and hope.  

Alternate Career Rafael: In This Light – Astronaut_Milky (M) 

·        Barba is a photographer, Carisi is a model, both men destined to keep finding… and losing, each other. Beautiful, sexy story about two men whose jobs keep bringing them together, and tearing them apart, full of light and heat and beautiful people and beautiful imagery.  

Undercover:  Have You Ever Wished For An Endless Night? – minnesotamemelord 

·        Carisi goes undercover at a high-powered legal event, and runs into someone familiar. A look at Sonny getting to go undercover at a nicer event than we normally see! Well written characterizations, and some interesting contemplations on unique issues, such as Carisi’s opinion on wealth and the wealthy that felt so spot on I immediately felt they were canon. Also, poor Rafael; he has such terrible friends!

5+1:  We Had No Haste – alwaysbuddy 

·        Carisi and Barba meet over and over in the most coincidental of places, but succumb to their own insecurities. Breathtaking story about two should-be fated lovers who continue to meet and connect over a multitude of vacations, but can’t bring themselves to reach for what they want, until they fear it may be too late. Gorgeous, atmospheric, romantic and sad, in equal measure, with an ending that’s happy, but still exudes a sense of so much lost time. This fic haunts my thoughts in the best ways.

Cooking:  Sustenance – AhumanFemale, tiberius (E ) 

·        Barba’s friends buy him a live-in chef for a time, so he can stop living on pretzels and coffee. Sweeping piece of art that exudes sensuality and the feel of time slipping through your fingers.

First Meeting:  Here and Now – wormghoul 

·        Barba and Carisi meet, and have a whirlwind romance, at LSAT camp before being parted until they meet again at SVU. The imagery and language used in this story has stuck with me for a long time. Shockingly, wrenchingly accurate descriptions of the feelings of holding memories dear, “as a talisman,” and the devastating feelings of having them torn away from you by reality… but also the hope that they can be made anew.  

Crack Fic:  It’s Not Too Late/Gag Order – cupidmarwani 

·        Carisi has a superpower, and has reached the end of his rope. Carisi has seen too much, and has the power to burn it all down. Barba wants to save him, but has to face stark reality. Short, intense story about the toll Carisi’s job takes on him, and how he becomes one of the monsters that he used to fight. Depressing, heartbreaking, terrifyingly relatable, this is an overlooked gem.

Confession:  Him. – keraunoscopia 

·        Carisi struggles with his sexuality and internalized homophobia, and seeks aid from the Church.  Quiet, powerful, painful, and so, so beautiful.

Domestic:  Daylight – cypress_tree ( E ) 

·        Carisi stays the night for the first time and Barba sees him in the sunlight. Short, sweet, hot. What’s more domestic than two people in love, unwilling to get out of bed and leave one another’s presence?

Fix It:  Good Morning – Kaye_21 (M) 

·        A threat to Barba’s life does not end well – repeatedly! Another “supernatural” style fic that shouldn’t be overlooked, even if it’s not your genre. Barba, stuck in a room with Carisi and a man out to kill them both, needs to figure out what is required of him to prevent their deaths, before he loses his mind. Fantastic character study. Terrifying, sad, sexy and hopeful. I chose this one for “fix it,” since as barisi itself could be considered a canon “fix it” or missed opportunity, and this fic itself embodies Barba himself finding a way to be that fix.