#movie tropes I dislike

[animationismycomfort]

always hated the trope of main male character is the butt of the joke and gets constantly put down/humiliated every second he gets

and then is seen as in the wrong or unreasonable when he gets upset for being treated like trash(I know it’s a popular trope but I’m getting sick of it it wasn’t funny the first time and it still wasn’t funny the other 9000 times)

[bambinification]

Unpopular opinion but I actually like Bambi II better I think? Idk.

The original is beautiful to look at and really relaxing and comforting, but it's a little bit nothingy and watered down from the original novel in a way that completely changes the story. In the book, the way Bambi left Falene because he was totally enamoured by the Old Stag really spoke to me (ace, lesbian, seeking out elders and mentor figures for a lot of my life). And though the sequel is a bit too kid-ified for an adult without nostalgia to sit through, the sequel DOES recreate this dynamic in a way!!

Plus I like Patrick Stewart as the Great Prince, I like how much winter we get, I like how the meadow scene is actually really unsettling (it haunted me forever as a kid and it still gives me the creeps), I think it's visually pleasing. Also I like how the movie was obviously influenced by the second generation Winnie the Pooh movies (which I like and watch a lot) with random sort-of contemporary songs by a female singer sprinkled throughout. The style of the movie holds it up; it's very watchable as a Disney sequel.

[imminent-danger-came]

Nimoma has good emotional payoff and animation but nothing else to really write home about TBH

It's very SPOP in that way, where the arcs and scenes are solid when viewed outside of the media in gifset or clip form but don't work as well when actually watching what they're from

For sure! I think that's a problem she-ra and toh both share with Nimona—they struggle with setup but then go ham on the payoff, which leaves everything feeling somewhat unearned.

The end of the movie bugged me in particular—Ballister's 180 with calling Nimona a monster (something he KNOWS pushes her to the brink) after one conversation with his ex-boyfriend was...I think out of place?

Normally if you have a character make a wrong choice like that you, as the audience, would be questioning the whole movie if they had ever REALLY changed. Was Ballister's loyalty truly to Nimona or to the Institute/Goldenloin? But, by that point in the movie they had really sold me on Ballister's complete acceptance of Nimona and disregard of the institute, so....why would he turn on Nimona then? I'm surprised they didn't do this plot the other way, which would instead have only made it seem like Ballister betrayed Nimona, you know? Like they did in Tangled. That way you don't undo Ballister's movie long arc with one scene, but you can still have Nimona go berserk and make her way into the heart of the city.

There were also a couple of other things that felt kinda dropped by the end. Ballister being the first commoner to become a knight? The Queen's important role in this society? This kingdom's prejudice going SO deep that not even a child would give Nimona a chance after saving their life, yet blowing up the wall changed everyone's minds in the end?

There were a lot of good pieces, but they weren't quite put together in the right ways.

[astriiformes]

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[arttheclown]

i feel like i need to watch m3gan again sometime to really process what i think of gemma tbh and that in of itself is pretty interesting. i like media that gives us flawed protagonists who aren’t always the easiest to like.

[dandelionjack]

half-human on his schroedinger's cat side

[lexyscross]

I don't believe horror movie filmmakers have ever been to a hospital in their lives.

[alister312]

wah

[shadowiie]

What are your expectations for how Shadow is written in the third Sonic movie?

I have zero expectations, as I'm not a big fan of the movies!! The movies just aren't my favorite interpretation of the characters and world, although they do make a great casual watch with a friend.

I think it will be interesting adapting Shadow's personality onto a younger version of himself, especially balancing the cuteness of the character model with the intimidation and edginess quintessential to Shadow's entire character in SA2.

I am also fully prepared to watch the third movie bend over backwards to justify the reasons why the military shot a twelve year old child. Sonic X justified this by claiming the president "had no idea this had happened" and also by "both sides"ing the actual soldier who shot Maria, so I'm fascinated to see how the movies will top that bullshit!!

[sethdomain]

I STll UCJUING HATE TROLLHUNTER ENDING

[ennn]

Hold the fuck up, this isn’t a real trial.

In retrospect a number of things about the episode, especially the coven's characterisation felt off... and now on rewatch I'm pretty certain this isn't a trial of the Road at all – it's the Salem Seven punishing Agatha.

Clues under the cut with some spoilers from future scenes in trailers / promo clips.

Clue #1 – No screen aspect ratio change

As @wolfcracker points out, for the two previous trials the screen ratio changed once they entered the place (going full screen). We didn't get that for this cabin.

Clue #2 – No phase of the moon decoration at the entrance

We've had these obviously built into the previous trial entrances but there's no sign of one for this cabin.

The coven's so panicked getting chased by the locusts they don't notice it running in. The door is made of wooden planks with tiny gaps in between and you don't see a sign of any moon on the other side either.

Notably, in a trailer and promo shot, you see the moon featured prominently again for an upcoming trial, when Agatha and Billy cross a stone bridge structure and approach an entrance (presumably of the tower).

Clue #3 – Each trial has an element, this cabin doesn't

This was something that seemed odd even before this episode, we saw five weird horror movie-trope settings – assumed to be trials – in posters and promotional materials but there are only four identified elements for the Road.

Sure you could have more moon phases (like we do irl) but the Ballad that is central the show only mentions four elements: fire, water, earth, and air.

Our first two trials had strong ties with an element: if you failed you'd be killed by that element or something associated with it i.e. drowning or burning.

Now from the promos, an upcoming trial with the anti-gravity effect going on in a tower fits well with the air element. And the threat of death here is associated with going into the air (spikes in the ceiling).

Notice from the flying forms that this trial does go full-frame like the first two we certainly had (clue #1).

Another upcoming trial we know of (that looks like a morgue or asylum-like place) can be linked with the earth given that we see rocks and earth falling in a shot. Death by crushing earth.

This cabin had no element associated with it at all. The threat of death was by... Agatha siphoning your magic? Or in the case of Agatha, to be tortured forever by her mom?

Clue #4 – The trial area doesn't necessarily keep out the Salem Seven

From the promo shots of presumably the air trial (see above), we clearly see the Salem Seven in the tower attacking them. Why then did Locust and the rest of the Seven leave them alone in the cabin when they were right behind them?

Other sus elements

OK, these are more ambiguous and could be the result of bad writing but here's the other stuff in this "trial" that just seems off

The coven turns really really quickly on Agatha and viciously. And they literally just rode broomsticks where it's mentioned it's "about selflessness" and "we fly together or not at all". I mean yeah the people might lie but they were enough of a team that the magic for the broomsticks worked.

The trial's instruction was to just "punish Agatha"? That's oddly specific and pointed. Previous trials had the entire coven in danger (e.g. everyone had to drink the poison). Between this and the above point it feels like someone is mad at Agatha for killing lots of witches over the years. Some people like the Salem Seven.

The trials so far have tested the witch's ability in the craft (potion-making, protection) and how they work together. How does punishing or sacrificing Agatha align with the Road's test of "Burn and brew with coven true / And glory shall be thine" -- which we were just reminded of last week.

Jen calling and dismissing Billy as a familiar is... more mean-ness that I'd expect. You could make a case for her disliking Agatha, but the amount of venom in this moment towards the boy for trying is surprising considering she was trying to watch out for him not too long ago. Of course, it could be her frustration and fear in that moment boiling over.

Pretty much everything at the end after Billy snapping and going all dark and vengeful.

Ultimately we don't know what the Salem Seven can do. Sure they shriek like Nazgûl but turning into animals isn't the most threatening thing? So, bad writing and copium or is this show being truly tricksy and reality-bending?

[literaryvein-reblogs]

Hi, I like your blogs but I want to ask how to write a flawed mentor? And how about writing reluctant mentor

Writing Notes: Mentors

You can use related tropes as a guide. Here are some examples I found for you:

FLAWED MENTOR

The "Anti-Mentor"

Think they are great at what they do and decide to train others in their ways. However, they are more often than not the worst at the very things they teach, and thus training with them could be considered anti-training.

In some cases, their student will be well aware of how bad they are and simply attend their lessons out of pity. Others will be honest and tell them how bad they are. There are those students who will think they are being great teachers by showing them what not to do.

Alternatively, the teacher may actually be good at what they do but terrible at teaching it. In these cases, they just don't know how to get their lessons across.

It's not so hard for the student to surpass the teacher here, because the teacher had so little to surpass.

RELUCTANT MENTOR

The "Apathetic Teacher"

Jaded, misanthropic, and very likely a Deadpan Snarker, this is the teacher who's been in the job too long. Dislikes students in general — been there long enough to know they're thick and (usually) irritating.

Hates the school, hates the job, really hates the management — but because s/he's known virtually nothing else, s/he still sticks at it, putting her/himself through it year after year.

Sometimes, this person started out as a young, Enthusiastic Newbie Teacher, who got beaten down by rowdy kids and an uncaring system, turning the teacher jaded over time. There's usually one person who will find that their no-longer-gives-a-shit attitude makes them a Cool Teacher anyway, or at the very least an occasional confidant.

They're likely to seek solace in the bottom of a bottle.

It's often implied, if not outright stated, that even their home life doesn't offer them much respite, either.

In pretty much all Save Our Students movies, one of these (if not an entire school of them) will serve as a foil to the idealistic teacher.

If the school is an inner-city one, expect this teacher to be the one to make some remark about how they can't really expect anything from kids with this "background".

Occasionally, an apathetic teacher will be won over by the enthusiasm of an idealistic teacher and will start caring about the students too.

In psychology, these people are called "burnouts."

This kind of teacher is likely to hand out an Extremely Easy Exam.

Apathetic Teacher vs. Sadist Teacher

The key difference between Apathetic Teachers and Sadist Teachers is the former hate their jobs while the latter hate their students.

Sadist Teachers often seem to take a sick glee in torturing their students; the teachers this trope describes don't seem to take much joy in anything, least of all their work.

This is quite similar to the "read a lot" advice we constantly hear. So, you can also go through your favourite stories (literature, films etc.) and learn from how your favourite authors write the character you are aiming to create in your stories. If I wasn't able to include here the exact one you need, you can look through the sources below. Hope this helps & thanks so much for your kind words :)

Sources: 1 2 3 ⚜ More: Writing Notes & References

[terapsina]

Ask Game for us Self-proclaimed BOOK WORMS 📖🐛

Name the best book you've read so far this year.

Favorite fantasy book(s).

Favorite fantasy sub-genre(s). (high fantasy, urban fantasy, portal fantasy etc.)

Favorite science fiction book(s).

Favorite science fiction sub-genre(s). (dystopian, superhero, aliens etc.)

Favorite romance novel(s).

What kind of common romance tropes do you enjoy and what kind do you dislike?

Favorite queer fiction book(s).

Favorite detective novel(s).

Favorite classical literature.

Favorite historical fiction.

Favorite horror book(s).

Favorite thriller(s).

Favorite humor and satire book(s).

Which genre(s) are your favorite?

Favorite trilogy.

Favorite finished book series.

Favorite unfinished book series.

Do you read new and less known books or only the big bestsellers?

Where and how do you find new books to read?

The book(s) on your school reading list you actually enjoyed.

Favorite example of a Chosen One trope in a book.

Favorite heist story book(s).

Favorite Young Adult book(s).

Favorite Middle Grade book(s).

Favorite novella(s).

What was the first book you remember reading as a kid?

Goodreads or StoryGraph (or something else)?

How many books do you have on your 'to-be-read' list?

How many books do you have on your 'currently-reading' list?

Do you mostly read through e-reader; reading app on phone; on your laptop; a physical copy; or by audiobook?

Name your favorite author(s).

How often do you read by listening to audiobooks?

Favorite book narration voice actor(s).

Least favorite trope in your most favorite book genre.

Your absolute most favorite character(s) from any book you've ever read.

The only example of your least favorite trope being written in such a way that you enjoyed it.

How many books have you read this year?

Do you read reviews before picking up a book?

Did you ever want to be a writer?

When you get ready for a week long trip to somewhere how many books do you download/pack inside the suitcase?

Do you buy hardcover book copies for previously purchased paperbacks and library books you enjoyed reading?

Title of a book you own that's in the worst physical condition you have. Explain what happened to it. Post a picture if you want.

The book(s) whose stories have become part of your very makeup.

What book(s) would you sell your soul to get a TV or movie adaptation of?

I like _____, recommend me a book to read, please (insert a book, or trope, or character, or... anything you like before asking for this one).

What are the last three books you read?

Do you leave reviews for the books you've read? How often?

Do you prefer hopeful, humorous, very emotional or darker books?

What kind of book have you never read but always hope to find at some point in the future?

[anghraine]

I don't know if it's become more common lately or just grates more after years in academia, but I genuinely dislike the whole "this wildly popular and enormously influential work is fun and it's fine to enjoy it, but there's no need to fool yourself into thinking it's genuinely good and actual Art."

Thanks for the permission, perfect stranger, but I don't get all that invested in things I don't think are good, no matter how conscious I am of their flaws.

I really do think Lord of the Rings is, by and large, a beautifully-written and well-constructed novel. The idea of respecting its trailblazing qualities but insisting that Tolkien is objectively a poor novelist or weak prose stylist is not actually my perspective on it at all. I have criticisms, some more serious than others, but do I still think it's a great work of art? Yes. I think Tolkien is actually incredibly skilled stylistically and shifts between registers and styles in a way that I find really impressive. The obvious point of contrast for me is the Narnia books, which famously he disliked, but which I enjoyed well enough as a kid—Aravis was one of my favorite characters growing up (and she still rules!). But the shifts between registers of style in the Narnia books feel so forced and artificial to me next to Tolkien's far more elegant and controlled handling of shifting registers in The Hobbit and esp LOTR.

I actually feel pretty similarly about the Star Wars original trilogy (blasphemy to some, lol). I think The Empire Strikes Back is, despite occasional misfires, really truly brilliant artistic cinema. I recently watched Flash Gordon, which has similarities of genre and inspiration and came out the exact same year as ESB, and as enjoyable as it is in, uh, realizing its own artistic vision, there's no comparison to ESB. I've seen reviews that can't resist the urge to get in digs at Star Wars even while calling for re-evaluations of Flash Gordon and other 80s schlock (even Starcrash!) and it just seems an absurd degree of snobbery to me, all the more in the context of cheesy movies that owed their existence to Star Wars taking tropes and genres seen as fun but essentially unserious and making beautiful films out of them.

I've even experienced this "it's enjoyable and influential but not great art" snobbery with works that are generally well-regarded. In grad school, other students were genuinely taken aback that I thought Pride and Prejudice is truly one of the greatest novels written in the eighteenth century and one of Austen's best novels. I'd encountered and been annoyed by the whole "oh, a truly discerning, sophisticated taste will prefer Persuasion or Emma" thing, but it didn't even occur to me that it would be at all controversial for me to think P&P is a spectacularly brilliant novel, all the more in the context of its time. But I've encountered quite a bit of discomfort with the idea that P&P is actually great art and not just enjoyable wish-fulfillment in an accessible style. And meanwhile, I'm like ... no, I really do think it is superior in characterization, structure, pacing, style, and cohesion than most English-language novels of its era, including several by Austen herself.

[impactrueno]

Beetlejuice and Lydia (everyone grown and consenting of course) are similar to the dynamic of Nelson and Lisa yes?

oh you went for the throat with that one LMAO

i know why you're saying it but no, i don't think so. i guess it highly depends on which beetlejuice and lydia we're talking about here.

"to be loved is to be changed" is a fav trope of mine that i like to see applied to antagonistic characters because i'm a huge sucker for redemption arcs. i like to apply it to nelson and lisa, but i've also been applying it to cartoon beetlejuice's friendship with lydia because this works platonically too! and in a very sweet way i think. they might've introduced me to the concept actually, now that i think about it.

there's something very comforting about a character who's antisocial or generally disliked by everyone and hates everyone back...but has a soft spot for the one person who can stand them and sees the good in them despite their rough exterior. this person can be anyone; a friend (their only friend most likely,) a younger sibling, adopted or found family, a lover, a secret crush, hell even a loyal pet. seeing characters gradually change for that one person because they realize they don't want to let them down or just by positive influence, is SOOOO GOOODDDDDD

ok but circling back to your question. i know you said grown and consenting implying like a romantic thing but the only ones i could see having anything remotely close to a romance are movie bj and lydia and they...don't really have that type of dynamic at all. i don't think, at least. i haven't actually given it much thought. i've been seeing them a particular way for 20 years and now the sequel comes and flips the whole thing on its head so i'm trying to process that still. i've been working with their dynamic as close to the movies canon as i can, and in canon lydia doesn't see any good in him, actually, probably the opposite lol. he saved her daughter and kicked rory's ass but she still wants nothing to do with him. so they're out of the question for that type of dynamic.

so let's talk platonically because, again, it's a dynamic that works for any type of relationship imo. i think musical bj is a great candidate for "to be loved is to be changed" but not with lydia....because this lydia doesn't really care to "fix him" or anything. she's a bit wicked herself, so i'm thinking if he became "good" she would find him boring and wouldn't want to hang out anymore LMAO

so that leaves cartoon bj and lyds, which like i said, pretty much introduced me to the concept. i think lydia and lisa are very similar. bj and nelson are also both the type to laugh at others misfortune but kick your ass if you mess with the people they care about, while being softies on the inside. lydia and lisa both try to keep bj and nelson in line because they care about them (in lisa's case she's also controlling,) but sometimes they can be let down because of how untamable they can be sometimes. "to be loved is to be changed" but you can't try to change the one you love. the concept is only worth doing if the person who changes does so organically on their own, sometimes even without realizing. by the time they realize things are different, it's already too late, they're already too devoted to this person who somehow managed to make them less of a piece of shit.

to sum up, yes they are similar, specifically in the cartoon, but not in a romantic way. and yes i have a huge soft spot for this trope