#needs a new showrunner

[thena0315]

How Would You Rewrite SVU25?

With an unlimited budget, but still has to be 13 episodes

Bring back Detective Amanda Rollins(-Carisi) full time

Rollins considers taking the Sergeant's exam

Confirmation that Carisi officially adopted Jesse & Billie

Have the Carisi & Rollins families attend Nicky's baptism

Give Nicky a new name that isn't Dominick "Nicky" Carisi III

Have the Rollisi family move into a house

Explain what happened to Tonie Churlish and why she left the squad

Change layout of the squad room

Have better cases/plot

More courtroom scenes

Henry Mesner returns again

Calvin Arliss returns

Maria appears in more than one episode

Familiar old defense lawyers return (i.e. Calhoun, Buchanan Miranda Pond, etc.)

A Carisi gets kidnapped case

Have another Part 2/Part 3 to a few old cases during 1.0 & 2.0 eras

Noah has more half siblings out there, we all know it, given his paternal background. And one of them is in a group home and Liv considers adopting them cause Noah wants another sibling

Crossover with Law & Order and Organized Crime

Crossover with One Chicago

Crossover with FBI (it's possible, Upton was on the show)

More character development/background/plot on other characters aside just Liv

Guest appearances: Stabler, Cragen, Jack McCoy, Warner, Huang, Cassidy, Cabot, Novak, Greylek, Barba, Amaro, Kat, Muncy, Stone, Phoebe, Jefferies, Donnelly, Morales and Danielson

As annoying the Maddie arc was, if they had brought back old characters to help assist them then maybe it would have been better

EO meet up and talk in person and between their cases and episodes

An old SVU old case that Munch worked passionately comes up, leading current and former squad members determine to solve it. At the end they recall memories working along side him.

HAVE BETTER LIGHTING!!!!!!!!!!

[thedynamic]

The thing that is so important about iwtv is that like. This is bad people the book series, and therefore it is bad people the television series. Does this make sense? None of them are good people they are all monsters. Louis is the worst of them all because he clings so hard onto his humanity that he can’t even recognize the monster within. Armand tortures everyone he spends an extended amount of time with because he knows nothing else. Lestat is so fearful of abandonment that his very being becomes an active grenade that pushes people away. Claudia is the worst parts of her parents put together and spat back out. Daniel is so fucked up that he is welcomed amongst vampires before he is ever even turned into one. They are all liars. They are all monsters. And they are all evil because they are all vampires. There is no moral high ground for you to sit upon while watching this show by saying that one is worse than the next. The entire point is that they all deserve this and they all deserve each other.

[hamletshoeratio]

Colin telling Eloise that she's fortunate because she has never been in love when it's his other half's fault she had to walk away from "one of the only good things" in her life because LW put him in harm's way.

[likearolloftape]

still pressed about the fact that rhett is literally the ONLY substantive character who now knows about the hole/time travel but whose discovery (and impact) of this information we didn't get to see. cecilia, autumn, perry, billy, luke, wayne, joy. we witnessed this life changing shift for each of them and the profound effect it had. but not rhett. that's some fucking bullshit

[spooksier]

You get it!!!!!! I fucking hate how (not all but a lot of!) authors of newer media interact with the fandom :[ I was very interested in a qna writers of my current interest were holding some time ago but instead of interesting facts about the animation or some behind the scene stuff they were answering questions about people's headcanons basically (this is one of few reasons why I hope it won't get renewed, I just don't trust the writers to not fuck it up :[ (which is a very controversial take in the fandom so that's why I'm not stating what media this is about sorry))

i think people who show up to cast/writer/whatever qna's and start asking them for their opinions on headcanons or fandom discourse should be sentenced to 50 years hard labor with no parole

[laniidae-passerine]

catch me laughing in the club awkwardly because this season has a 19 year old blonde female companion from London, a space travelling left of law brunette queer boy who flirts heavily with the doctor, absolutely zero writers of colour and no mention of sensitivity readers…….and next season the new companion is a woman of colour. uh oh!

[bargarean]

everyone please take a moment to think about morph, and how beautiful it is that the character created only to be left to die is so loyal and caring and refuses to leave anyone. the way every day they see someone who's jaded and uninterested in connection and they worm their way into their life anyways. the bit in new exiles where they convince cat to hang out and any suspicion that it's a specific interest in cat is cut short when they see sage and insist on her joining as well, even when cat doesn't want her to. the white hot rage when mariko died, and them way later bringing her to be buried in MJ's universe. the time they got their ass beat so bad they became Crystallized and they were refusing to rest because they need to take care of their own. THE WAY THEY HAD THE CHANCE TO GO BACK TO THEIR HOME TIMELINE AND TURNED IT DOWN TO STAY WITH THESE PEOPLE THEY LOVE ? literally everything they do is with the end goal of protecting the people around them, making them feel better, just being There for them, and then you remember they were created to be a redshirt. and that's crazy.

[borgialucrezia]

just got reminded of david oakes personally telling me that neil jordan deliberately screwed over juan at the end of his arc and completely downplayed how he went beyond the intent of the characters at first, or to quote david, juan became a "victim" of neil's imagination lmaoo

[alicentflorent]

Emma D’arcy has better reading and media comprehension skills than condal and his entire team put together

[threewaysdivided]

How Different do you think Young Justice Season 3 would have been had Jay Olivia and Michael Chang returned?

[For context, we’re referring to this post where I broke down the major writing/directing credits for each episode of Young Justice Season 1 and found that former Teen Titans 2003 directors Jay Oliva and Michael Chang had handled over 75% of the episodes in Young Justice Season 1 before vanishing from the credits of all later entries, and this post where I summarise how those later entries actively destroyed the arcs, themes and narrative of the original season.]

TBH it’s kind of hard to tell.  I have a few ideas, but like I was saying in that first post, it can be unwise to pedestal one or two members of a creative team when there are so many factors that can impact the final quality of a work.

Here I think it’s important to mention what a director does.  In situations where the director and writer are separate roles, the job of the director is to adapt the script to a visual form – working with the writers/editors to make changes as needed.  Directors direct how scenes are constructed, presented, acted and “shot” – which affords them a great deal of subtle influence over the pacing, focus and framing of a story.  The visual language of film can do a lot to control what information the audience prioritises as important, and how they interpret/perceive it.  Unsurprisingly, when you have bad, fragmented or inconsistent directing, you end up with stories that lack direction.

While Chang and Oliva having such a presence in the direction of Season 1 definitely lent it some of their specific personal creative flavour, I also think a lot of the major benefit came purely from having two people (and likely others who formed part of the S1-specific creative team) who were experienced in working together and had direct input/oversight of more than 75% of the season from start to finish.  That kind of creative cohesion makes it easier to track and maintain the continuity and progression of a narrative.  Compare and contrast with Outsiders, where you have a rotating shift of three less-experienced directors and a huge revolving door of new writers, with no-one working on more than a single episode in a row, the same directors almost never getting paired with the same writer twice, and a general sense that the story was being produced episode-by-episode with very few people having a clear sense of what had come before or would follow after.

One of the challenges is that the declining quality from Season 2 onwards points to something being fundamentally broken in the creative process at DC Comics/ Time Warner productions.  Young Justice Season 3 was the straw that finally broke my trust in Detective Comics Comics but it came on the heels of things like the original Suicide Squad movie (see this Folding Ideas video for an excellent dissection of those production and editing issues) and the transparently marketing-driven disaster that was Batman vs Superman.  It feels rather like modern-day DC is producing the in-house equivalent of shovelware: underinvesting in the timing and budget that its creative teams need for proper writing, editing, revisions and post-production in favour of churning out superficially saleable high-profit-margin products to cash in on recognisable IP’s and existing fandom markets.  Faced with that kind of incentive structure and production-crunch it can be very hard for a single (or handful of) creative team members to make course-corrections.

That isn’t to say that good media can’t be produced under tight conditions, but doing so generally requires a well-thought-out creative plan for the project.  And unfortunately, that kind of plan is something Greg “I don’t write endings” Weisman is notoriously bad at both creating and sticking to.  This was one of the problems I ran into when doing my YJ: Invasion autopsy: while you can correct some of the surface level problems, the root issue lies in a core story that’s bad from base principles and fundamentally incompatible with what came before.  Again, this can be overcome if other production team members are given enough time and creative authority to review and revise that story-core, but that doesn’t seem to be the production environment S2+ was allowed.

With all that said, I think it’s safe to conclude that, under the circumstances, Young Justice: Outsiders was likely always doomed to be a mess.  The combination of a lack (or even discarding) of a clear show-bible to act as a guide, a lack of clear project-plan (or, at least, plan-communication) from the showrunners,and a lack of pre-/post-production time for other team members to figure out what story they were even telling is pretty much a guaranteed recipe for narrative failure.

However, assuming that a pair of Oliva/Chang-like directors had been on the revival team, with input into most of the episodes, I think we might have at least seen some improvements to execution:

Firstly, we may have seen better cohesion and focus.  In the multi-layered onion of bad storytelling decisions that is the later seasons, the outer layer that many people seem to have bounced off is that it’s hard to care about what’s happening.  YJS2+ are boring and badly paced on rewatch, and a not-insubstantial part of that is bloat.  There is a plague of random new characters, exposition and world-details that don’t meaningfully contribute to the narrative (and for the record, I should clarify that ‘narrative purpose’ is a lot more than just ‘plot advancement’ – the problem here is that these elements are actually purposeless to the point of being distracting), scenes and ‘jokes’ that overstay their welcome due to a lack of proper substance, and ‘twists’ that exist for expectation-subverting ‘shock bait’ rather than moving the story. 

At a surface level, the later seasons desperately needed someone to ask: both ‘what is the focal point?’ AND ‘what is the purpose of this moment/scene for the story?’ and actually make Greg Weisman give them a coherent answer beyond ‘just trust me, it’ll be totes smart when you (read: I) figure it out later’.  Like I’ve said before, there’s a lot of fat that could have been trimmed; shallow scenes that could have been reworked to serve characterisation and themeing, ‘references’ that could have had their screen-time reduced to passing easter-eggs, and other wasted time that could have been better allocated to developing a core cast of ‘focus characters’ with an understandable dynamic to help anchor the broader character web in a relational status quo.  Considering what we saw of Season 1’s character-focus, and Oliva and Chang’s previous involvement in Teen Titans 2003 (which was also very good at prioritising, reinforcing and maintaining characterisation/ character dynamics) I think some improvement in story-focus, especially towards characterisation, could have been achievable.

The other gain we could have potentially seen is more sensitivity and tactfulness in the presentation of certain story beats/ characters.  For this I want to highlight framing:  whether something is respectful or offensive comes down less to the inclusion/exclusion of particular elements and more to the way in which those elements are presented to the audience – the priorities, assumptions and worldview revealed by the delivery.   

Let’s do a couple of case studies just to get our heads around the idea:

For Example One, we’re going to make the point by jumping straight in the deep end of sexual assault and fanservice in media feel free to scroll to the next paragraph if this is a no-fly topic for you.  Our contrasting studies will be The Millenium Trilogy (a noir series I’ve previous referenced in contrast to the YJ revival) and the shounen anime Sword Art Online, both of which contain assault and rape scenes.  Millenium’s depictions of assault keep the perspective on the victims, focusing on the pain/ powerlessness/ degradation/ anger they experience during and after the violation, and examining their reluctance/ aversion to reporting these crimes, while maintaining a respectful detachment towards describing the acts themselves.  In contrast SAO contains an infamous scene where an arc villain attempts to rape the female lead, while the camera fixates on the fanservice of her breasts quivering as he tears her shirt off (in addition to a concerning amount of other fanservice scenes where female characters are penetrated, groped or “peeped on” in ways that are clearly nonconsensual and unwelcome).  From this we can conclude that the issue isn’t inherently with sexual assault being present in a story – how it’s framed makes the difference.  The Millenium Trilogy respects the autonomy of its female characters, using assault scenes as an important narrative device to confront the audience with the violence of systemic sexism and condemn the cowardly entitlement it enables as part of its wider critique of misogyny; Sword Art Online degrades, objectifies and disregards the autonomy of its female characters by using narratively unnecessary sexual assault as a vehicle to ‘reward’ its target audience with fanservice.  What matters is how the subject is handled: is the sexual assault of women treated as a serious problem in need of criticism or as a guilty-pleasure ‘treat’ for boys to enjoy?

Moving to a gentler and more home-field example, let’s compare how pregnancy is handled in Young Justice Season 1 vs Outsiders.  It’s easy to overlook in the wake of the brick-to-the-face that was “you got a baby in there!” but Season 1 also included pregnancy as a plot-beat; Queen Mera announcing the news that she is “with child” during the episode Downtime.  However, there’s that difference in framing:  after it’s announced, Downtime quickly moves past the physicality of Mera’s pregnancy to focus on why it’s narratively important - because Mera and Orin are the royals of a hereditary monarchy and their child will be first in line to the throne of Atlantis.  Despite this being her only episode in Season 1, Downtime also gives Mera multiple characterising moments outside of child-bearing; introduced her first as a Queen and teacher/mentor to the students of the Conservatory, and later demonstrating her power as a battle-mage during the Manta-trooper attack – her pregnancy being almost a footnote outside its narrative-relevance.  By contrast, I think the reason that “baby in there” line from Amistad gets memed so heavily is because it highlights Outsiders unnecessary fixation on the physicality of female characters being pregnant, in addition to a disproportionate tendency to depict female characters as married, pregnant or mothering in the absence (or even at the cost) of narratively meaningful plot or character development – reducing these characters to little more than “pregnant sexy lamps” (as @mimeparadox so eloquently put it in their recent review of similar issues with the Gargoyles revival).  Again, the difference is execution: where Season 1 used pregnancy in a character-specific and narratively-relevant way, Outsiders not only assumes but enforces it as the expected path for female characters – sacrificing both characterisation and screentime for a subtler form of fanservice: one that reinforces and validates a specific worldview of gender (and which has been increasingly revealed to lurk beneath the surface of performative ‘feminists’ like Eric Schneiderman and Joss Whedon).

At this point, I think it’s worth noting that Jay Oliva and Michael Chang are both Asian-American men (i.e. less likely to be blinded by privilege a problem that Greg Weisman has always struggled with), that Chang himself was lead director on TT2003’s anti-bigotry episode Troq and that TT2003 on the whole is often praised for its respectful depiction of female characters (and also Victor’s cyborg status).

Given this, I think similar direction could have resulted in more respectful depictions of non-white and disabled characters.  As it exists, the revival at large (and Outsiders in particular) has a HUGE issue with unnecessary and disproportionate violence towards and villainization of characters-of-colour in a way that inadvertently reveals the bias of the creators; shock-value violence towards marginalised characters being treated as more acceptable and less needing of commentary because they clearly weren’t expected to be as relatable or worthy of empathy as the “main” characters.  Different direction could have seen some of the more needless violence removed in favoured of equally-shocking-but-more-narratively-purposeful elements, some of the narratively-justified violence reframed in a way that was more empathetic to the personalities and bodily autonomy of the victimised characters, or - given more time for revision - used to make a critique of in-story bigotry by presenting the disproportionate targeting of marginalised protagonists as being the product of systemically prejudiced antagonists (rather than casually-bigoted producers).

Similarly, I think better direction could helped respect female/femme characters more.  From Season 2 onwards Young Justice has an increasing problem with the male gaze in how it frames and poses women; Outsider’s borderline-fetishistic obsession with depicting late-term pregnancies again being a particularly egregious example.  Many of these scenes either didn’t need to be included (hence the meme-potential of wasting screen time on a toddler explaining how pregnancy works to a mature audience) or could have been made more narratively meaningful by prioritising specific characterisation over generic ring-fingers and pregnant bellies.   This male gaze issue was at its most insulting with Halo; even if different directors couldn’t change the incredibly disrespectful character-design decision to vacuum-seal a nonbinary, hijab-wearing minor inside a boob-socking, ass-grabbing, wasp-waisted super-suit, they could have worked to preserve Halo’s modesty and gender identity with posing and camera choices that minimised the attention drawn to Halo’s sexual features, and presented their body-language and posture in a less-feminising way.  

This likely wouldn’t have fixed the underlying biases baked into Outsiders’ plotlines but I think there was the potential to soften the execution to the point that they could have felt more like a “missed the mark” than the farcical offensiveness that we got.

That said, I don’t think anything could have truly saved this series.

As I said at the start, I think the thing that ultimately doomed Young Justice was the lack of a long-term story vision; the ego and overambition of showrunners trying to build a story that runs on teasing twists, mysteries and future-resolutions while also openly wanting it to go on forever.  Those two elements are fundamentally incompatible if you want a satisfying experience, and without a clear guiding plan you can’t expect the underlying creative team to successfully find a story’s identity during a rushed pre-production.  You can’t provide direction if you don’t know where you’re going.  It would be like trying to invent an entirely new plane and build it as it’s taking off: a crash is inevitable, the only question is the extent of the damage.

At best, I think we could have seen another Invasion-level non-story: a few isolated good character moments bogged down within a season that, while not overtly offensive, was still thematically confused, overstuffed with characters, driven by contrivance and insulting to the intelligence of anyone actually trying to follow the narrative.  A slow zombification, riding out a few extra seasons on plausible deniability, rather than Outsiders’ rapid crash-and-burn seasonal rot into an offensive cash-grab parody of itself.

And, in a way, I’m kind of glad that Oliva, Chang and the other Season-1-only creative team members didn’t come back for that.  Because, even if it would have resulted in a more palatable product, it would have come from forcing a group of marginalised creators to salvage a privileged dude’s mess.

I’ve spent far too many words over the last few years trying to unpick the layers of why Young Justice is such a narrative failure post Season 1 and now I feel like Benoir Blanc.  Because these problems are a glass onion and at their clear centre, Greg Weisman is an idiot.  He’s a demonstrable bigot, who had a publisher back away after he trashed their franchise with misogynistic queerphobia.  He’s a sex-obsessed loser who tried to launch a Not-Safe-For-Work production company writing Gargoyles Parody Porn while wearing an eye-patch and pretending to be a ‘fan collaborator’.  His writing reveals a consistently toxic attitude towards abuse, consent, boundaries and power dynamics.  Based on some of the creepier things he’s said/written, he could be potentially unsafe for certain fans to be around.  And even setting all that aside (and it’s a lot to set aside) he’s just obviously a hack: he claims things that are neither present in or even supported by the text, he promises future developments and fixes/explanations that he rarely if ever delivers, and he uses those holes as a springboard to pitch separate-purchase side-content that also seldom delivers, in a way that suggests he either has no idea what he’s talking about or is intentionally lying to grift his fans.

And, look, this problem is far from exclusive to Weisman: it certainly didn’t start with him, and it’s not even exclusive to the arts.  Across industries we are currently realising that we’ve let privileged guys who can talk a good game coast by on an assumption that they were qualified to hold their positions of influence, even as we held them to far lower standards of scrutiny than we would equivalent people of any other demographic.

Young Justice was never going to survive long-term (any more than the Gargoyles revival is) because the creative load was always resting on that rotten core.  I think we as a fandom were very lucky that Season 1 had both a sincere creative team and the production schedule needed to overcome it and give us something as good as they did.

I wish we could have seen that quality continue. But, at the end of it all, I’ll make peace with the disaster we got.  Because it was at least a somewhat honest reflection of its lead creator, rather than enabling him to keep failing upwards on the back of his colleagues' contributions.

So yeah. Better directors would probably have resulted in better surface-level polish... but you know what they say about polishing turds. No matter how much sugar they added, Outsiders couldn't be turned into a brownie. You'd still be being fed crap.

And frankly, whether it’s his characters, his audience or his co-creators, I’d rather not continue the pattern of letting Weisman shove the burden of dealing with and correcting for his bullshit onto less-privileged people.

[rearranging-deck-chairs]

the thing with doctor who i think is that it gets better the more you know. maybe this is true of all writing but i only know doctor who so we'll focus on that. but i think it gets better the more you know this is why my fic is not very good. i dont know many things. i think if you have a background in like, just any field you can use you can make your doctor who stories more interesting. like linguistics maths physics and music are things that come to mind for me that i would like to know to make my doctor who stories more interesting but i think it can work with, like, almost anything. biology stuff also works well adds a lot. sociology stuff history. if you know how to sew really well or youve worked in meat factories. just, if you have deep knowledge about something this will enrich your doctor who stories (again, might be true for literally every writing)

but also things you can know that are just lived and not books. like i said with that post about different countries' doctor whos, every country would bring its own history and values and perspective to the stories. but also like for example the class stuff or the queer stuff you see with rtds stories like anything a writer Knows will make their stories more interesting

and thats why doctor who could literally be so good If They Diversified Their Fucking Staff. in every sense of the word. you need disabled people, trans people, racialised people, people with different religions but you need people who know other things than writing too! which i get is difficult because theyre mostly working in their fields and not writing but like there are writers who are not or have not only ever just been writers. or just get writers with some weird fucking hobbies!

even in the most basic way even if you keep your entire show white christian able-bodied man, if you have more of those you will have better stories. it will still suck! but like, less than if you only have 1 guy writing right? thats not a novel concept artists know this writers know this thats why they work together. and i get that making tv is very complex and theres a lot of interests and a lot of choices being made that arent even to do with the stories but i find it so frustrating to think about how good doctor who could be if they let other people in to put their knowledge and their perspective in the stories

[kayvsworld]

unfortunately i miss the mcu so much </3

[diaz-fox]

maybe a controversial opinion but if netflix are happy enough to cancel shadow and bone, they should cancel stranger things too and no i will not elaborate

[landonkirbyappreciation]

I miss Landon so much. I don’t miss S3-4 of course but I do miss the days of S1-2 when we got to see Landon, the real Landon, every week. I still can’t believe what the show became and what they did to him. I’d been so hyped back in the first seasons for what was to come, and expected to see so much more of Landon’s story for many more years. He deserved so many more seasons worth of exploration for his character and to finally get to be happy. And I do still imagine him getting to be happy after season 4, but I shouldn’t have to imagine it because we should’ve gotten to see it. Ugh I just need Landon Kirby back so bad.

[marley-manson]

good things about Bug Out:

- Hawkeye nervous about performing a delicate proceedure he’s never been trained in and snapping at people, always one of my favourite things

- Hawkeye freely and emphatically telling Margaret he’s terrified when she points out he’s not acting scared

- uhhhhh Hawkeye’s parasol

bad things about Bug Out:

- it’s a bad episode bront

- Potter

- “This is the US army, if we want land, we don’t buy it we take it!” with 0 condemnation from the narrative.

- the military march version of the theme complete with asian stereotype riff

- WHY does Margaret stay with Hawkeye, and why does Hawkeye only offer one token protest????????? she is useless here.

- even more emphatic WHY DOES RADAR STAY???? Hawkeye doesn’t even say a word, he’s just like ‘k cool’ when Radar says he’s staying too, wtf lol. He should be picking him up and throwing him into the nearest truck, not buying him a drink at Rosie’s. it’s so arbitrary and stupid, clearly a nonsensical plot contrivance for the sake of like, padding the 2 parter out with the bar scene

- Potter makes Klinger give up all his dresses, no reimbursement or anything, and then it turns out to be pointless in the next scene anyway

- bad attempted dramatic references to wartime rape esp when we got Rainbow Bridge to compare it to. Rainbow Bridge is good because it’s a brief acknowledgement of harsh reality that’s accepted as a risk. Hawkeye makes a quick joke that I’m fine with bc it serves as an ic expression of nervousness, then we move on. In Bug Out Margaret brings it up in a serious enough way suitable for the tone, but Hawkeye dismisses her concern for some reason, telling her “there’s no reason to be afraid,” before the conversation shifts away onto him. Then the more slapstick-y panic at the end (like this scene features Radar trying to hide behind a pole, c’mon) includes Margaret screaming about being ravaged ft a dismissive Hawkeye joke (”tell them you’re with me”), and later exaggerating the danger they were in to Frank. And it also bugs me that Margaret specifies “female prisoners” when Rainbow Bridge acknowledged male rape. It’s like it’s trying to be a serious moment to draw attention to the danger of the situation, and then falls flat on its face.

- the overall plot doesn’t really make sense? is it just a coincidence that a bug out drill turned into a bug out rumour that was denied and then turned into a real bug out? considering they bug out like twice over the course of the show that seems pretty improbable lol.

- honestly I find the humour in this episode mostly bad. more racist jokes than usual, a few homophobic moments (Potter calling some singer a sissy, BJ’s “I’m staying with you but don’t get me wrong” no homo, everyone calling Frank Alice), and an offputting tone that doesn’t successfully balance its humour and its drama imo (see that paragraph about rape up there for an example)

- oh also why tf does Klinger immediately tell Frank about the bug out thing, without even mentioning the fact that it’s just a drill? I get that Klinger can’t keep a secret, that’s a fairly consistent thing, but why immediately go to Frank and Margaret of all people? Did he intentionally want the camp in an uproar? Why, if so? If it’s a prank we should’ve had a scene where he laughs about it, but nope.

- Hawkeye parking the car to wax poetic about the MASH good lord. serves you right that it stalled out. I don’t necessarily think it’s that ooc since it wasn’t positive, just ‘we spent a lot of time here, lots of ppl died here, hmm’ but i do think it’s dumb as shit and I don’t think Hawkeye lacks that much self-preservation

- no good gay jokes either :/ literally the best we got is Hawkeye saying, “You finally realized I have a beautiful body” after Margaret says she’s staying, which is the mildest of feminizing jokes.

It’s funny honestly, I remembered disliking this episode for Potter and the pro-military flavour and the lack of decent gay jokes, but upon rewatching there are so many more aspects to hate in addition to that

[deadlylittlemiho]

Really annoyed at all the homophobes review-bombing this show and making it harder for those of us with genuine criticisms -_-