#nor is it a crime

[klaipeda-witness]

when you're in an impractical cup contest but your opponent is the mugs they use on ds9

[thottybrucewayne]

I think what I want to get into with the "Anyone can do harm." thing that I keep beating yall over the head with is that literally anyone, anyone at all can do harm it's not "in your DNA" to be an abuser or written in the stars that you'll be a predator. Whatever image you have of an abuser in your head, drop it and replace it with your favorite person in the world and you'll probably be closer to the truth than you realize. It's easy to address harm when it's coming from someone you already hate. I see it happen all the time. Someone you couldn't stand for no real reason does something heinous then all of a sudden here comes the avalanche of "I always knew they were a fucked up individual." No, you didn't. There is no possible way you could have known, you just already didn't fuck with them before they started doing something you could use to justify your hatred of them. I'm guilty of it too! I'm petty, mean, vindictive, and yes! I'm way quicker to believe something bad about someone I hate versus someone I love because I'm human. Still, y all gotta learn to move past that initial "Well, they were always nice to me!" gut feeling and understand that nobody truly knows anyone and anyone can be capable of anything. Even victims. Even you.

[edwinisms]

it’s actually so wild to me that this fairly quirky YA type show gave both of its main characters deaths that can, in one way or another, solidly be considered hate crimes. they were both flat out murdered as a result of being A) gay and effeminate or B) brown (south asian, specifically) and you could argue whether or not those kids thought of it that way in the moment or whatever but the bottom line is that they would not have been in the situations that killed them if they weren’t of their respective minorities. like legitimately that is a ballsy choice for this kind of netflix show, let alone for the two Main Characters, and i respect it big time

[eliounora]

my pet peeve is those "historians thought they were very good friends" jokes, like obviously for sure there are homophobic historians, but the study of same-sex desire and relationships of the past is also quite complex and you can't often go and simply label people's relationships or identities of time gone by, and sometimes it's more complicated and elusive than "they were a couple" or even "they were in love"

[nelkcats]

Wrong Ticket

Danny bought a plane ticket to travel to Goshen, Indiana to visit his father's family. Apparently his aunt was very excited to meet him, and Jazz was excited to send him away from the lab after his accident.

She was worried that she would have to spend a few days scouting colleges, and Danny would be left home unguarded (she wouldn't make that mistake twice, her parents didn't count as good guards and Danny would be too bored since he was on school holidays), so the invitation from their uncles was like a miracle fallen from heaven.

Unfortunately for Danny, his family didn't check the ticket after purchasing it, and therefore they didn't notice the error where "Goshen, Indiana" was changed to "Gotham, New Jersey," so when the airline called his flight, Danny didn't notice his destination. He practically fell asleep a few seconds after entering the plane.

Danny wished he had been paying attention when a few hours later he found himself stranded on the streets of Gotham with nothing but his luggage and a little money. Though that last seemed more of a risk than a benefit if he took into account the way they watched him as he passed.

As if that wasn't enough, it seemed that something strange was starting to happen to him, there were moments where his backpack would slip from his grip, almost as if he was walking through it, and others where he felt invisible. This did not go unnoticed by the denizens of Gotham, who were assessing him with clear interest.

Red Hood, who had noticed the guy (possibly meta) stumbling into his territory, sighed and offered him a temporary place to stay. Danny, who just met the strange guy in the red helmet, was relieved to have temporary lodging, though he would probably look for another place the next day. Just in case.

[lottieshauna]

MARI WEEKEND DAY 1: Mari: a summary (insp)

[alicentflorent]

People are shading Rhaenyra over being angry about constantly being harassed about bringing daemon back but let’s not forget that he groomed her, emotionally manipulated her and since the usurping had started to become physically abusive to her. Daemon is important to their war efforts because he has caraxes and is the only one willing to willing to get his hands dirty by directly committing war crimes but Rhaenyra is still struggling with questioning every aspect of the relationship she thought that they had and if he can still be trusted to be loyal if she chooses to end the relationship

[jacob-blogs]

So the shooter gets killed and we're just supposed to be okay with that??

Like any other assassination attempt is like, oh we got the guy we're taking him into custody. But no this guy is dead and we're supposed to be okay with the message that "you shoot at a president, you die" as if trial by judge and jury isn't supposed to be the standard for heinous crimes??

[greenerteacups]

oooh please someday tell us what you think of GOT

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

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

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

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

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

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

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

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

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

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

[jay-wasreblogging]

At first I was like 'LMFAO HE FUNNY ASF WHY HE DOING ANGELS VOICE!!' cause bruh ain't no way he devious like that 😂

Then I got confused because ??? Wait is he fucking around or being serious right now? Huh?? Like I genuinely did not process that it was anything mentally/psychologically related until Watson started pleading. 😐

[wiisagi-maiingan]

OBLIGATORY DISCLAIMER THAT THIS IS A JOKE but I don't get why people watch true crime videos on youtube where people's suffering and deaths are turned into entertainment when videos about tiktok and influencer drama can give you the exact same feeling of horrified fascination.

[hapless-raining]

My crazy theory is that my worsening mental health and current illness is just one of the stages of my transformation into Rodion Romanovich Raskolnikov

[awesomecooperlove]

JUST A REMINDER TO THOSE WHO STILL BELIEVE BIG PHARMA’S GOAL IS TO HEAL PEOPLE…

🙏🏻🙏🏻🙏🏻

[astraystayyh]

[sasperine]

i love how the quote “your worst sin is that you have destroyed and betrayed yourself for nothing” is often cited as a sort of aphorism when in context it's just rodya hard projecting all his problems onto poor sonya. like please do not take any sort of advice from a man who unironically compares himself to napoleon. he is not qualified

[brethilach]

euughh just saw someone say that Celegorm kidnapping Lúthien to force her into marriage was "out of character" and just. I understand the urge to smooth the edges off your blorbo's flaws or whatever but if you've gotten to the point where you genuinely believe the author's portrayal of his own character isn't in line with canon then I think you just misunderstood what you read