#people can want compelling stories for villains... like lol

[xhellodollyx]

The Riverdalefication of the Chucky series is... something 😃

Listen i know some people dont care and go "oh its a franchise about a killer doll stfu" but like... god forbid some people want a compelling story/plot for the main villain, and instead its just dissolved to unfunny jokes and gimmicks that got old FAST.

I saw someone on Twitter mention this similar thing and brought up how the Chucky Hive Mind thing completely went NOWHERE last season, like everything goes to waste just for some injokes and gimmicks and its getting repetitive and boring

[habken]

If you're willing to share can you give a few reasons why you think Bakudeku works so well as a ship? (I also ship them and love your art!)

okay...

I think they just naturally fall into each other’s orbit. Living in each other's minds rent free 24/7. Their entire lives are so intertwined. Even when things were bad between them, there's never been a point where they haven't been part of each other's life in some capacity.

They've influenced each other so much you can see little habits they share and behaviours they've picked up from one another. Izuku acting more like Katsuki when he wants to win is the obvious one, but even little things like the way they think out loud and pinch their lips and stuff are similar.

I don't think it's right to undermine Katsuki's bullying and the falling out between them, but coming from a place where there's a lot of animosity and hurt and then having that turn into a relationship where they both mutually care for each other and challenge each other to do better and be better is really interesting.

I think that's part of the reason it's such a compelling relationship in general, not just in a romantic way. They start off at the lowest point - we see them at their absolute worst and then we get to watch as they mend that fractured friendship and build up a genuine and healthy bond.

To me personally, the trajectory of their relationship was evident as soon as episode two, when Katsuki chased after Izuku after the sludge villain to let him know how much he "didn't need his help." That's the point that I decided I was interested to see how their characters developed as the story kept going, and I think it was such a huge payoff.

I think it also made for a lot of interesting fanworks. In the earlier days especially, you really had to work at it to make things good between them. Canonically, their relationship really is a slow burn lol, so if you wanted to write something that followed close to the actual story, there had to be tons of build up. I've read stuff where the beats felt so similar to what happened in the actual series which is crazy. It's a ship that lends itself to deep and lengthy analysis and a lot of people ended up being pretty spot on because of that.

I also think what's special about them is how intentional they work to make things right between each other again. They want to know each other's feelings, they want to be rivals and fight alongside each other, and be neck in neck and constantly chasing after each other. They want to be close again. Izuku offering Katsuki an olive branch and asking him about his fighting style after their bout at ground beta and Katsuki finally grabbing onto it is such a turning point for their relationship. It's a conscious choice on both their parts to work towards mending what was between them.

And I could go on and on about Katsuki's character arc, but that's a different post lol. For simplicity's sake, his arc is about recognizing for himself where his weaknesses lie, seeing how his actions hurt and shaped Deku, and working not only on himself, but on repairing the rift between them that he caused. He works with Izuku, shares and keeps his secret, trains with him, and eggs him on more and more lightheartedly as the series goes on.

His choice to care for Izuku, let him into his life again, and make up for what he's done is really important. Nobody is really forcing him to atone for his past and it's his desire to do so despite the lack of external pressure that makes that change feel genuine and meaningful. Training with Deku to master his quirks, sacrificing himself for Izuku during their fight with shigaraki, apologizing to him in front of the entire class and letting go of his pride, choosing to call him by his given name, dying with Izuku's name on his lips, fighting the big bad and continuously repeating that when Izuku can't handle it, he'll step in for him - all of these things are so telling of the kind of care he purposefully put into their relationship, and the way he grew and changed throughout the story.

And I think that in light of everything else, the fact that they remain important to each other right until the end is what makes it such a beautiful relationship, no matter what context you want to see it in. They love each other! They can't imagine a world in which the other isn't part of their life, and they actively and continuously work to make that a reality.

They're soulmates that intentionally chose to be so.

[major-wren]

Eggman's programming

I know this has been mentioned before, but isn't it so weird that Eggman programs emotions and personalities into his robots??

People point out that this is really self destructive on his end because it can lead to some of his creations turning against him after building resentful emotions toward him, like Omega, Gamma, and all of the robots on Scrapnik Island.

My personal headcanon behind his thought process is that not even pure mechanical obedience can rival the loyalty a creation will have to its creator, or "father." It doesn't matter if you reprogram or rewire its entire structure to have its own free will if it's inherent personality, aspirations, and deepest desires will always be to make eggman proud of them, because of the way he's designed and conditioned them. They'll always return to him no matter how many chances you give them, because he's made it so that their biggest desire is to make him proud, even when given free-will or reprogrammed.

We see this most clearly with Metal Sonic, and Sonic will even tease him and take digs at him for it in the comics, telling him to "run home to daddy" (cringe). Clearly, even the characters in-story can see how eggman has raised all of his creations to depend on him for any sense of self worth or purpose. Truly evil, and I think something that's always overlooked when discussing eggman. People say he's not a respectable villain but I think this is really compelling and a unqiue way for a villain to function. Especially because his design is pretty dad-like to begin with, with the mustache, glasses, round body, and bald head lol.

It's so effective, that even when Metal Sonic gains even more power than Eggman through becoming Neo-Metal, he still only wants to take over the world to gift to Eggman. His influence even goes past his creations and gains loyalty from other aspiring inventors, like Dr. Starline.

Most of all, I think it's so effective because it's genuine. He really does love his creations, but simultaneously holds them up to impossible expectations and holds severe disappointment in them when they fail. I mean, think of it. Isn't it awful to design a creation that entirely depends on you for any feeling of worth or purpose, and to make it capable of love and such, only then to neglect and abandon it when it doesn't live up to your impossible standards? Just think of Scrapnik Island and the sheer amount of abandoned bots there.

I think after seeing Mr. Tinker and Belle, it raises the question, does Eggman deep down just want to foster these fatherly connections? To build childrens' toys and fun-rides and kiddy amusement parks, with his helpful heart-filled robot creations? He does often say that he only wants to take over the world in order to "enhance it" with technology, and that people just aren't cooperating. Maybe somewhere down the line his pure intentions got corrupted somehow into this extreme need for absolute control.

[chaos-of-the-abyss]

I hope you don't mind me asking this, but why do you like Celegorm? I love that you're vocal about how stupid the Feanorian woobification in this fandom is because people who claim that they did nothing wrong or that they're not villains clearly hasn't read the Silm, but while there's still a level of sympathy to most of them, Celegorm is just genuinely the worst and I can't figure out what there is to appreciate about him lol. I'm sorry if this comes across as a bad-faith question, I really want to know how you like him while not ignoring, trying to deny, or worst trying to justify (which I have seen FAR too many people doing) his canon actions

you're totally good anon! i'd be happy to answer this. just want to preface, i perfectly get where you're coming from and why people hate celegorm, because he is, as you say, the worst. he's horrible. he's done awful things to countless people -- and by no means is he the only feanorian to have done that, obviously, but celegorm's actions in luthien's story make him a type of squicky that's unique even among the brothers. he, hm. how can i put this. he deserves nothing. and yes, people who try to justify him are just wrong. stop reading the silm if you want a mass murdering sexual predator to be glorified ¯\_(ツ)_/¯

that said! the succinct answer is that it's all about the vibes lol. all the feanorians are awful people, but celegorm is, imo, that particularly entertaining kind of awful. there's a certain interplay between his successes and failures that i find unbearably endearing (derogatory). he is canonically charming and magnetic and charismatic enough to sway people with his rhetoric, and i love that. i love that he's opportunistic, clever, and sly, and pounces on the chance when he spots it. the fact that his speech in nargothrond is explicitly paralleled with feanor's before the flight of the noldor says a lot. i find it compelling that while, in many ways, celegorm is the most distant from his family -- friend of a vala, a great woodsman and hunter which are two things that neither his father nor his brothers are ever even mentioned around -- he is the only one among the sons of feanor to be directly, textually compared to feanor, and feanor during one of his most pivotal and infamous moments, no less. the guy must be a force of nature when he really wants to be. yet at the same time, he's endlessly reckless, arrogant, and shortsighted, and he does not get to get away with his actions. his plans flop (just like he will continue to flop until his karmic and also really fucking funny death in about thirty years' time, i'll get back to that), his intentions are discerned, and he gets thrown out in disgrace for treachery with the embarrassing declaration "a maiden had dared that which the sons of feanor had not dared to do" following after him. it's that particular blend of hyper-competence followed hand-in-hand by prompt abject failure and humiliation that makes him so appealing to me.

oh and. another thing about celegorm is that he has the added charm of being a fucking sore loser and a petty bitch -- trying to kill luthien even though she spares his brother's life when she'd be justified throttling him and curufin with her bare hands and i just. he's sooo funny. what is wrong with him. so many things are wrong with him. tfw you kidnap and tried to rape this woman and she does you an untold, absolutely herculean grace and kindness that you know damn well you do not deserve and your reaction is to try to kill her for daring to show you compassion. he's insane.

then. then then then then. he gets chased by own dog and runs away "in terror." you know you've messed up when your dog finally has enough of your bullshit and runs you down because he's fed up with all the terrible things you've been doing. not to mention his dog also dies fighting next to a man that he hates, using his last opportunity of speech to say goodbye to said man. like. beren and luthien's story leaves celegorm, as skilled and magnetic as he canonically is, in absolute shambles and it's hilarious. how does one recover from that you may ask. and i answer one does not recover from that.

but that's not even all. after that saga of blunders he hangs around for about three decades doing absolutely nothing of note, then in his attempt to regain some relevancy winds up having the most mortifying death ever. my dude you were the "let's ambush doriath guys" spokesperson. you campaigned for that shit. this was your desire. this is what you wanted. and you walk in there and the guy who's *checks notes* THIRTY-SIX compared to your one-thousand-something KILLS YOU. elves are not developmentally matured until they're a hundred. your killer is like thirty. this is, generously speaking, about an eight year old by your standards. a fucking eight year old kills you. yes i know dior was not actually a child at the time but the fact remains that celegorm quite literally has more life experience than the entire human race and he's done in by the son of a human. then to add second insult to first insult to extreme injury, two of your brothers are also killed in this battle and in the end you all don't even achieve what the fuck you came there to do. THIS WAS YOUR PLAN. how do you lose that badly. holy hell. if i were him i'd stay in the halls of mandos forever out of pure embarrassment. you simply would never see me again. you think i'm walking out into society and showing my face around the block when an eight-year-old ended my life? nah. no sir not me

plus well. on a more serious note, dior is luthien's son. luthien, whom celegorm thought he could control, whom he saw as an object to further his aims and to lust after. he's killed by the son of the woman he tried to rape, and there's nothing more fitting than that.

so! there you have the basic rundown of why i like what's explicitly laid out about celegorm in canon. he's an objectively horrible man, it's just that i find the way he goes about being objectively horrible extremely funny. but i also think he is ripe for exploration in the realm of speculation -- and that speculation enhances what we do know about his actions during b&l and after until his death. aside from the kinslaying at alqualonde wherein all the sons of feanor participate, we see him and curufin acting unambiguously villainous a good bit before the rest of their brothers -- at the very least, they are clearly more willing to do horrible things at the point of time of b&l when compared to the likes of maedhros and maglor. like, they are out here committing actions that no sane person can rationalize as being anything other than abhorrent. it's clear that they've already given up on the idea of being "good"; they've already given up on keeping their hands clean and they've already shed whatever qualms they might have had in the past.

my thoughts on why? this is by no means canon, but tolkien does seem to like giving the legendarium's major villains some sort of arc and some type of insight into what they become (melkor gets history, sauron gets history, maedhros and maglor get history), so i don't see why celegorm should be any different. and for me, celegorm and curufin, especially celegorm, give the impression that they fell into despair and disillusionment far before the other feanorians did. and their response was to accept that they have no way of going back to the people they used to be, that they've already been rightfully damned, and if they've come this far they may as well do whatever they can to achieve what they fell so low for, because what does it matter anymore? it's part of why i think celegorm sees maedhros trying to look at beleriand and the war against morgoth from a larger perspective than just the silmarils, and both disdains and pities him for it. they've already been doomed and they already can't hope to make amends. they should do what they're here for -- and while, in celegorm's eyes, maedhros isn't willing to do what needs to be done, he is. i think that sort of mentality is fascinating. in a way, it's a self-fulfilling prophecy -- maybe if celegorm thought there was any meaning to him being better, or even just any meaning in not being nearly as awful as he resolved to be, then he wouldn't have stooped so low. but he did believe there was no hope for him, he did believe that he could never be forgiven -- and in believing that, he did go past the point of no return, beyond which he truly, legitimately couldn't hope to be forgiven. also, i just personally like the "well i'm a terrible person so i'm going to act like a terrible person"-type villains better than "oh no i'm a terrible person it makes me so sad and full of despair"-type villains (looking at you, maglor). again, none of this is canon, but it's my reading of celegorm's character, and i think it sheds some light on why he's so awful in b&l and afterwards. in his mind, it's already over for him anyway.

i hope this answered your question anon! i like celegorm, and i enjoy his character, because there are shades of a sad tale behind his descent to being the worst, he's entertaining while he's being the worst, and most crucially of all, he gets his comeuppance for being the worst in an extremely satisfying way. i definitely wouldn't like him (or the silm at all) so much if he'd been, like, successful in anything -- but thankfully he is written by an author who knows full well what an utterly reprehensible character he is. and boy does tolkien not spare him from that karma. he is simultaneously a singleminded and relentless fallen prince, a repulsive monster, and the story's laughingstock (one of them anyway). honestly, none of the feanorians tickle my brain quite like he does. i love him and i would beat him with a shoe

[melrosing]

Do you think Jaime sincerely regrets what he does to Bran despite only thinking of it once?

ya of course. I think something that maybe needs to be said more often (particularly regarding Jaime’s POV but also broadly applies to others) is that you are not always going to see a character doing the workings that lead them from point A to point B. you have to fill in some of the gaps yourself and surmise the changes in thinking that have taken place offscreen.

The Jaime and Bran thing is a good example of this. we can gather from the scene in which the push takes place that this isn’t something Jaime wanted to do, but felt compelled to: he helps Bran up when he initially falls, and when he asks Bran his age etc a reader can gather when rereading the scene that this is Jaime trying to make time as he deliberates what he’s going to do next. then ‘the things I do for love’ is said with ‘loathing’. already we have plenty to determine that Jaime was not happy w this line of action, but felt he needed to take it.

then we get the AGOT-early ASOS scenes where Jaime comes across as a cut and dry villain and does nothing to help himself, half-jesting to Bran’s own mother about what he did and demonstrating no remorse whatsoever. shocking on first read but a rereader should be able to go back based on what they learn of Jaime later on and realise that he talks differently to what he feels, and maintains this darkly careless front specifically to avoid digging up his true feelings on difficult subjects. this is made apparent over and over again.

then there’s a big gap where Bran is neither mentioned nor thought about by Jaime, when suddenly right towards the end of the book he declares himself ashamed of what he did. so now the reader realises that Jaime has been thinking about what he did, even whilst we haven’t read those thoughts. and then looking at how the act was performed in the first place, we can realise he’s always been ashamed of what he did, has just been telling himself and others differently for his own complex reasons.

I think there are a lot of people who can’t accept that character work sometimes takes place off the page as well as on it, and a character won’t always declare every step they take in a new direction, but sometimes a certain line here or there will tell you that that work has been taking place. if executed well, this is just good writing: it’s boring having the writer spell everything out for you, good books should feel like you’re working with the writer to build the full story.

a lot of people do want it spelt out though lol, you see that a lot with discussions re Jaime, because I’d say he’s maybe the most ‘show don’t tell’ character in the series. and like I always say this isn’t fuckin Paradise Lost or whatever you do not need a degree to crack it but idk like. reading is a skill?? spend any amount of time in asoiaf fandom and truly u will realise that some people just. well they haven’t honed that skill yet lol

[jq37]

Seeing you describe your opinion on Wish (the movie itself) as "def do have oh boy" just has me curious now. What is it?

OK, so I let this sit in my inbox for a while because I planned to see Wish and I figured that it would be more fair to wait until I had a full picture of what the movie was before I started talking about it and...yeahhhhhhh having seen it my opinion has not changed. It's just intensified. 

MAJOR SPOILERS BELOW (lol, this got past 7k words)

And, fair warning, it's pretty critical so if you don't want to read something critical about this movie then this is your exit.

tl;dr: I think the movie Wish fails at basically everything it sets out to do and it's an absolutely awful 100th Anniversary movie for Disney. 

When I say it fails at everything, I mean EVERYTHING*. I'm going to break this into sections for organizational purposes. 

*The one thing I'll give it a slight pass on is the art style which I don't love but also wasn't like make or break for me. I would have preferred true 2D or a better implementation of the blended 2D/3D style, but if the movie was otherwise of the quality of something like Spiderverse or Puss in Boots, the animation wouldn't have bothered me. Like, I watched S1 of The Dragon Prince with no problem. I can forgive janky animation--and it wasn't even super janky. Just odd. What I can't forgive is literally everything else about the movie. 

Characters

How is this movie so full of characters and yet devoid of characters that matter? There are a million characters in this movie and basically only two of them matter: The King and Asha. But neither of them are compelling in any meaningful way.

There's a lot of to do about the last batch of Disney protags being very same-y in a quirky, all fluff and no substance way and I don't really buy into that. I don't think that Raps, Anna, Moana, and Mirabel are palate swapped carbon copies of each other. They have unique backgrounds and struggles and motivations. I feel like they're all quirky, sure. But they all also have an identity BEYOND being quirky. 

I do NOT get that with Asha. I don't feel like I have a good idea of what makes her tick at all. Like, she's kind. She wants her grandpa to get his wish. She wants to be the King's apprentice so she can help people. The queen (we'll get to her) exposits to us that she cares about people. But being kind isn't in itself an entire personality. The way Mulan is kind (defying the law to spare her father the ravages of war in his old age) isn't the same way as the way Cinderella is kind (making clothes for her mouse friends and protecting them from the cat). Asha just has a generalized want to help people, which is an admirable trait, but doesn't give us much to latch onto. It's so telling to me that in a movie called "Wish" our main character's wish is just, "To have more than just this" And yes, Disney princesses wanting "more" is literally their whole thing, but it's always more specific than that. Mirabel wants to prove herself to her family. Rapunzel wants to experience life beyond her tower. Even Snow White--the Disney princess with the flimsiest story--wants to find her true love. That's a concrete motivation! Asha doesn't feel real to me as a character. It feels like the thing that drives her is that the plot needs to happen and that's it. 

The other important character in the movie is King Magnifico who was supposed to be a return to form for Disney in introducing another classic villain but he just fails at that so hard. The idea that he could stand toe to toe with any of the OGs like Lady Tremaine or Scar or even the latest villains like Dr. Facillier or Mother Gothel is laughable. He just doesn't have any gravitas. And his characterization is so odd. You can tell that they were trying to give him a "reasonable man doing unreasonable things for a good reason” backstory (both because of some images in the film and some stuff in interviews I read) but then they just...don't actually give the backstory? Like, they imply that the backstory exists but I don't remember them going into it at all. Which like, he doesn't NEED a tragic backstory. He can just be doing what he's doing because he's evil. Ursula didn't need a reason to want to rule the seas. She's just a boss bitch and she wants power. I don't need to dissect that any further. BUT if you tell me there’s a reason your villain is doing something, I need to see that reason. I don't understand why they would include that in the movie, just to do nothing with it. 

Beyond that, he's written in such a weird way. Like, despite the "maybe he has a point" angle they seem to want to go with, he's very obviously a self-absorbed ruler--like he'll say things like, "Yeah, I am super handsome" to his wife--which immediately dumps him into the camp villain category. But he's doing the controlling things he does in the movie of his own accord to get people to stick to the status quo he set up. Fine. That's a fine thing for a camp villain to be doing. But then, at a certain point in the movie, he just uses a forbidden magic evil book (which he has for some reason) that just fills him with evil, green magic and makes him 100% unhinged all of a sudden. And that's just...boring? Like, anything interesting you might have been able to do before that point about power and control and how sometimes you make a wrong choice with good intentions is just gone at that point. It sucks because there were a lot of right answers here. You could just make him evil because he's evil. That works. You could have him be seriously convinced that what he's doing is right and be willing to do whatever he needs to do to keep things that way. That works. You could say that he started out trying to be morally upright and then slid into enjoying the praise and control just a bit too much--and I think maybe that's what they were going for. But it does not come across that way. He just seems like a dick to the point where you're kinda questioning how he's pulling any of this off. Asha asks him one question and he flies off the handle. How does everyone not know he's an asshole if it takes so little to fluster him?

So I don't like our main hero or villain. But there are still SO MANY CHARACTERS in this movie. 

You've got Asha's SEVEN FRIENDS. Yes, SEVEN. they're based off of the seven dwarves, which is cute enough but do you know what happens when you give the hero seven sidekick characters? None of them get developed at all and you have to treat them like a unit. Only two of them matter at all--Dahlia (her best friend and the one who actually does more than just make dumb jokes or, worse, nothing at all) and Simon (the one who betrays them--more on that later). There is no story reason for them to have shoved in this many sidekicks. Especially since she also has…

Her animal sidekick, Valentino. Who is a very cute goat until he gets sprinkled with stardust and boom. He can talk. Which immediately made me like him less. Flounder he aint. The whole joke with him is that he's a baby goat with a rich, deep, baritone voice. That's it. Almost every joke he makes is either about that or his butt. Boo. 

Then, there's the Queen--Queen Amaya--who is such a NOTHING character. There's no effort made to build up her relationship with the king so that her flipping on him later has an emotional impact. I have no idea what she cares about or desires. When she shows up, she's basically acting like the king's secretary, which is weird. I don't think that's what a queen does. There's a moment during a later song when she joins the "revolution" and it just has zero impact because again, it's like, I don't know who you are in any significant way! She seems nice, and I would love to live somewhere ruled by someone boring and benign, but that makes for an awful movie character. 

I almost wrote "lastly, there's the star" because I totally forgot about Asha's mom and grandpa. They're in this movie too but even though Asha's whole motivation at the start of the movie is getting her grandpa's wish granted, we never get a good idea of what their relationship is. They have like, one quick scene at the top which tells us nothing, then they're in a crowd scene later, then Asha has dinner with them later the same day and that's it. And, again, we get nothing significant. Compared to something like Mulan where you have a good idea of what Mulan's relationship is with every member of her family by the time the military order comes in or Encanto where between the musical number at the top and the first group scene, you get an entire picture, this is really weak. Again, so weak that I completely forgot that they were even in this movie. 

And NOW lastly, there's the star. Who is like, cute enough but he really makes me annoyed because I've seen the original concepts and they would have been so much more interesting! That's the case for the queen too, so I'll talk about both of them together here. 

I am sorry to inform you if you didn't already know but the queen was originally supposed to be evil too.

She was supposed to be a part of an evil power couple with Magnifico and how dope would that have been? We've never gotten that from Disney before. Imagine! Disney Villain Song Duet! A Hot couples costume for next Halloween! An actual relationship that's developed in this movie! But nope. They unflavor-blasted her into the paper thin, placeholder of a character we have in the movie. 

And the Star went through a couple of concepts. One, was the spirit of her dead grandpa, taking a younger form, which isn't my fave one but it at least would give her a relationship with this person who is supposedly an important person in her life, something we don't have in the movie right now. My favorite alternate concept is that originally, the Star was supposed to be her celestial love interest. And listen, anyone who's followed me for long enough knows that I am a big advocate for platonic relationships and FRONTING platonic relationships. I don't think that a story needs a romantic relationship to be compelling and I think forcing one in almost always makes it worse. But there is NO central relationship in this movie to carry it. Asha has too many friends for any one of them to make a serious impact so it's not a friendship story. Her mom and grandpa are nothing characters, so it's not a family story. She interacts with the star a lot, but that's basically just her talking to herself because the start doesn’t talk. So nothing is really there to latch onto. If they'd decided to go with the romance angle, it would have forced them to focus on at least ONE relationship and it would have been a nice way to throwback to classic Disney movies from the past. Much better than just sticking her with SEVEN WHOLE USELESS FRIENDS. Literally, all they provide is backup vocals in the fight song. Special Dishonorable Mention to Gabo. Man I hate that dude. 

So, to recap this section, Asha's personality is only sketched out in the loosest possible way, King Magnifico is entirely half-baked, and there are so many side characters that no one can form meaningful relationships with each other. And it's really a shame because (1) they very easily could have pared down the cast and (2) very recently Disney put out Encanto which handles a large cast beautifully. There are a ton of Madrigals but I can tell you what the deal of each and every one is. This could have been done well and they fumbled so hard. 

Concept

OK, so next up is the general plot and concept. This story takes place in the city of Rosas which is ruled by King Magnifco. It is supposedly a paradise, but much like a YA dystopian novel, it has a twist: When you turn 18, Magnifico takes your wish away from you and puts in in his wish room with the promise that it might be granted at one of the monthly wish granting ceremonies. Once your wish is taken from you, you are "unburdened" and you're "free" from having to pursue it. You don't even remember what it was. 

There's a kernel of something interesting there. A ruler making his subjects docile, placid zombies that won't challenge him by taking away their ambition? That's interesting. People willingly giving away a part of their heart to dull the pain of trying and failing? Interesting. Someone doing this with no ill intent, but rather genuinely thinking that this half-existence is better than the heartbreak of the alternative? Interesting!

But the actual implementation of this idea? Ughhhhhh. 

So first off, just logistically, Magnifico grants one wish a month more or less (Asha says once a month and in his villain song, he said he granted 14 wishes "last year"). So like, realistically, most of these people have to know their wishes will never be granted, right? Because of like...how math works? Asha acts like it's a big shock when she learns that most wishes won't be granted but like girl...math. 

Secondly, there are two moments that are meant to imply that having your wish taken away turns you into a shell of yourself. Asha's friend (who betrays her) Simon is said to be all sleepy and more boring since he turned 18 and had his wish taken. And then, later in the movie, we see two new residents have their wishes taken, and they look a little disturbed after it happens. But, here's the thing. NO ONE ELSE IN THE MOVIE ACTS LIKE THAT. Asha's mom and grandpa act like normal people. So do all the other characters. It’s not consistent enough to establish that this is what’s on the line. Does taking your wish away make you a robot or not?

And does everyone just have one wish? I know I could fill a full sheet of paper, front and back, with things that matter very dearly to me. If you took away my wish to write for TV someday, that would still leave my wishes to travel the world and get a comic book adaptation of one of my novels and a whole lot of other things! Does taking your main wish away make you lose your ability to form new wishes? Logistically, how does any of this work? And you can't just say, "It's a metaphor. Don't think too hard about it," because there's a scene where the citizens start asking these questions. Like, "What happens if we have a new wish than from when we initially made it?" As if having unnamed side characters ask the questions first will alleviate the need to answer them. It's not lamp shading at that point. You're just being lazy. 

Also, this is more a me thinking about the implications too hard than an actual plot problem but if he's taking the wishes at 18 I feel like a lot of peoples' greatest desire at that stage in their life is, "I want a romantic partner." And if the central conceit of this premise is that once your wish is taken, you stop wanting to pursue it then the city of Rosas is gonna have a population Collapse problem very soon. 

The characters--especially Asha--get so emotional about wishes. It's like they're giving a My Little Pony: Friendship is Magic speech every time they talk about it (except MLP has MUCH better writing). It's bizarre to see Asha's mom get her wish back and be like, "Oh my wish. My precious wish!" when she doesn't act any differently than a normal person before or after she has it back (Sidenote: She says this and she's holding the wish ball but we never see what that wish is and that's maddening. Why do I know what the dream of every patron in the Snuggly Duckling is, but they didn't show that? Ridic.) It almost is like, being in contact with a wish ball is a quasi-religious experience that drives the characters’ actions (Asha and the King are both totally enraptured while singing together in the Wish Room), but because we, the audience, are very much not in contact with the wish balls, we're not getting ANY of that. 

Anyway, to recap this section: the central premise of how wishes work and how taking them affects people is not treated consistently or explained well, which makes the stakes feel very undefined and sloppy. 

Pacing

This has to be its own section, because it's the thing that baffled me most when I watched this movie. So, here's the setup. Asha is going to interview for the internship with the king. She wants to help people and she has the secondary motive of wanting to try and get her 100-year-old grandpa's wish granted because he's not getting any younger. 

Here is the entire sequence: Asha is led into the interview by Queen Amaya. Asha is awkward but makes a good enough first impression that Magnifico is moved to show her the wish room (for some reason). They sing a duet about the wishes where they’re both dazzled by the Wish balls. During the song, Asha finds her Grandpa's wish and after the song, she asks him to grant it. He looks at the wish and says while she has good intentions, it's too dangerous to grant--as are most wishes. She asks why not give them back then and he immediately flies off the handle and starts ranting about how HE decides which wishes get granted and what everyone deserves! 

Their first meeting and him showing his true colors happens in the SAME SCENE. It's like 7-10 minutes and they just RUSH through all of that. And it's like, why? Did they really need to get to that dumbass star song (we'll get to that) faster? 

I know that he isn't a twist villain so we don't need to keep the fact that he’s the bad guy under wraps. And, the way the story is structured, she needs to learn what he's doing before she can rebel against him. But it's not gonna be a big, impactful moment if you're rushing from beat to beat like this is an essay that's due in twenty minutes and you started five minutes ago. 

And it really makes you wonder, if Asha can blow the whole lid off this conspiracy within ten minutes of meeting this guy, why is this not happening more often? Between how obviously smarmy the King is, how paltry the wish granting system is, and how easily Asha was able to start asking questions and get him to blow his top (something that happens again later when the citizens start asking question–it literally drives him into his villain song) I don't believe that this wouldn't have happened earlier (Sidenote: Finding out that it HAD happened earlier and that Asha is the latest in a line of failed apprentices who questioned him? More interesting premise). 

So to recap: I have no idea why this movie is paced like this but it's not doing it any favors. 

Humor

Humor is very subjective so you can take this with a huge grain of salt but I think this is a deeply unfunny movie. 

The jokes fall into about three main categories:

(1) Quirky Humor: This is like Asha babbling and tripping over her words. The scene in the trailer where she's like, "Is my face drooping?" is a good example. It's not really a joke but it's clearly an attempt at humor that I don't think meets the mark. It's also in the songs with, for instance, the animals or the King saying slang that doesn't match how they talk or you'd expect them to talk at all and it just feels deeply incongruent, not funny. 

(2) Referential Humor: This is probably what bothered me the most because it was just so so very eye-roll inducing. And listen, I love a good reference. Enchanted is my favorite movie of all time. I don’t begrudge them for putting a few references in their 100th Anniversary movie. But ugh. There is a scene after the king's gone crazy where he's destroying wish bubbles for power and he's like, looking at the wishes and making a quip before he crushes them. And for the second one he goes, "Oh you want a nanny for your kids? Definitely  POPPING this one!" And he might as well have looked at the camera and said, "Get it? Get it?" and it took 6 months off my lifespan. (Sidenote: He he does a direct ref with the first two wish bubbles--Peter Pan and Mary Poppins–and then he just makes a general ref to the concept of true love with the last one and it's like, come on at least rule of threes this if you're gonna do it. Commit to your awful bit!)

(3) Kiddie Humor: This is where things get especially subjective because maybe a little kid would find this stuff really funny and they are a part of the target audience so that's valid. But it doesn't add much substance to the movie. This is like the goat being like, "I found a secret passage with my butt" or leading a chicken choir or singing the line, "So that's where all the balls of gas come from" while sticking his butt in the air--a lot of these have to do with the goat and his butt now that I think about it. 

I think I only laughed at one thing in the movie that was meant to be at least partially funny--when the Queen interrupts the fight song and everyone is like "Oh shit, we're busted!" before she starts singing along. 

So to recap: Sometimes a movie has a weak story but it's super funny and that makes up for it. This is not one of those movies.

Music

This is the one thing I already knew before I watched this movie: The music in this movie is bad. 

Like, fullstop, no qualifications bad. Not bad for a Disney movie. Not bad for this story. Just bad.

I was a little confused by the choice to pick a pop artist instead of someone who specializes in musical theater style music for this project, but a more pop-y musical doesn't automatically mean a worse musical. Sure, maybe it's a weird choice to pay homage to the past 100 years of Disney movies, but it could be good. I love Six the Musical.

But that's the problem. The songs aren't just unfitting. They're not just un-Disney. They're fully BAD. They feel so half-baked and God, I've never been so assaulted by slant rhymes in my life. Like, this bothers me to the point where I have to go through the entire tracklist. I can't just make a blanket statement, I have to show you what I mean:

1) Welcome to Rosas: This whole song sounds like someone listened to “Where you Are” from Moana (the "consider the coconut" song), “Belle” from Beauty and the Beast, and “The Family Madrigal” from Encanto and was like, "I could do that". And then they couldn't. It's not really catchy and it's pretty repetitive. Super forgettable. 

Worst Line: Honestly, this song is too boring to have a worst line. 

2) At All Costs: This is the duet that Asha and Magnifico sing. Before I saw the movie, I thought it was going to be Asha singing about a wish and Magnifico singing to his wife to set up the eventual rift between them but that was before I realized that this movie doesn't believe in relationship building. Some of the movie's worst musical sins are on display here. Turns of phrases that seem like they were written by AI and bizarre syntax. 

Like what does, "You pull me in, like some kind of wind" mean? That's not what wind does. Why would anyone ever say, "Felt this? No, I haven't" instead of "I haven't felt this?" That's so awkward. 

Worst Line: "Leave you here, I don't wanna. I wanna [promise as one does]." My feelings about this line could be a whole other essay, but I've been writing this for 2 hours already so I have to move on. 

3) This Wish: This is the big "I Want" song and it fails on several levels. It fails in comparison to all the songs it’s standing in the shadow of--like the last “I Want” song we got is, I believe, “Waiting on a Miracle” and man! How can you not feel for Mirabel after watching her go through everything she goes through at the start of the movie and it getting topped with her being excluded from the family portrait? You see all the build up (including the implied build up from before the movie started) and you see why it's all bubbled up to the point where she has no choice but to sing about it! With Asha, there isn't a whole lifetime of angst that's bubbling up to make her sing this song. Everything that's happened to her has happened over the hour of like eight hours tops. She meets the king, finds out about the king, realizes the whole system is bad, and then gets into an argument with her family who's drunk the Kool-Aid and doesn't wanna hear what she has to say (which makes no impact on us because we have no idea what their relationship is). That's it. It doesn't feel like the movie has earned the song.

And then with “Waiting for a Miracle” the music itself is plaintive and soaring. Like, I just paused writing to listen to it and I couldn't help but sing along and pour a little of my actual IRL "I Want" energy into it. It's a song that feels very real. “This Wish” isn't any of that. And it's not the actresses' fault! She's pouring her whole heart into it and she consistently does all movie. But the song is just, bland. Like I said, "I want to have more than this" is too weak a hook to hang your whole song on–especially when it’s the song that’s supposed to be the thesis of your whole movie.  

Worst Line: "So I look up at the stars to guide me/And throw caution to every warning sign." That's not a thing people say and also it doesn't mean anything. If anything, it sounds like she's saying that she's being extra cautious at the warning signs! You can't just throw words together haphazardly and expect them to retain their meaning!

4) I'm a Star: This is, imo, the worst song on the whole track. A friend of mine described it as sounding like a song from a preschool science show and that's exactly it, but there's more to it than that. 

First of all, a big part of the reason this song exists is to set up the fact that humans are made of stardust because that's a plot point in the climax. But there didn't need to be a song about that. That would be like if Frozen 2 had a song about how water has memory. But like, OK. If the song was a bop, it wouldn't matter that it was superfluous. Haus of Holbein in Six does NOT need to be there, but I enjoy it! I do NOT enjoy this song however. 

This is something I alluded to earlier, but this soundtrack in general and this song specifically sounds like it's trying to do LMM's schtick but poorly. And I know some people don't like his whole style of music (I personally like it) but love him or hate him, his style without his skill? Awful. The presentation of fun facts in the middle of a fun song makes me think of his "Look it Up" in “Shiny” or "That's true" in “A Winter's Ball”. And there's a part where a turtle (we'll get to the talking animals) sings "See we're all just little nebulae in a nursery/From supernovas now we've grown into our history/We're taking whys right out of mystery, closure/Now we're taking in all the star exposure" And it really sounds like someone doing their best to emulate Lin's flow in things like Mirabel's aside to Mariano in “The Family Madrigal” or any number of songs I could name from Hamilton. But it just falls so flat here. It sounds so preschool and cheesy. And not preschool in a fun way. Backyardigans would never. 

Also, this song is sung by a bunch of talking animals (the Star gives them the ability to talk) and I find them so obnoxious. They say stuff like, "Did we just blow your mind?" with the "boom" sound effect and I hate it. Maybe kids will like them, I dunno. I refuse to get into it further. 

Worst Line: This song completely misuses the word allegory, which I hate, and it rhymes it with "excitatory" which I hate more (and I am saying this as someone who has made peace with the fact that Schwartz rhymes "nasty" with "flabbergasty" in Disenchanted) but there is only one line in this song that can be considered the true worst line because it's my least favorite line in the whole movie. A dumbass, stoner-sounding deer named Bambi (boo) sings, "Ooh, I'm a star! Watch out world, here I are"

They rhyme the word star--not a hard word to rhyme at all--with HERE I ARE. 

I firmly believe someone should go to jail for that. 

5) This is The Thanks I Get?!: This is the much anticipated and extremely disappointing villain song. There's just no gravitas and it's not clever enough to be very fun. It's just kinda bopping along which is eh, kind of fun at best, but like everything else in this movie, doesn't leave an impact. A musical number doesn't have to be obviously sinister like “Be Prepared” or, the holy (unholy?) grail, “Hellfire”, to be impactful. “Mother Knows Best” is bright and filled with false cheer but it still works because we can see the manipulation that Gothel is doing and she spins Raps around in mental circles to keep her docile. This is just an egotistical rant--and not even in a fun, Gaston kind of way! (Sidenote: Gaston is a good example of a villain who is preening and pompous and kind fo campy, but who you see why he’s beloved AND he can be menacing when the scene calls for it). 

Also, it's so full of weird slang that Magnifico doesn't use at any other point in the movie. "Peep the name", "Ungrateful much", "Mmm, are you sure you're not the prob?" It's like he suddenly got possessed by Urban Dictionary. It's bizarre. 

It also comes weirdly late in the movie, which isn't a complaint, just an observation. 

Worst Line: I think "peep the name" is my least fave but, because I already said that, the opening lines of this song are, "I can't help it if mirrors love my face. It's genetics! Yeah, I got these genes from outer space" and that's such a weird thing to say. I got these genes from outer space? He wasn't even there for the star song so what the hell does he mean by that?

6) Knowing What I Know Now: I feel like this is the song that had the most potential. But for all its build, it never builds to anything. It starts and ends so abruptly (which is the case for multiple songs on this list). We don't really get to know any of the characters well except for Asha so them joining the revolution has no impact. The Queen turning on Magnifico really doesn't have much impact. 

(There's a line in this song where a character sings, "I was sweet but now I'm something else" which is so funny because we literally know nothing about her except that she surprises people when she's in a room which, lmao, me too. Fully forgot you were in this movie, girl). 

Worst Line: "The good in him, I've watched it melt". There's technically nothing wrong with this line but I hate it because melting with regard to emotion is never, "Oh, his goodness is melting". It just hits the ear so wrong. You can watch the good in him disappear or fade or vanish. Not melt. Hearts melt. 

There's also a reprise and a credits song but I have talked about the music for too long as is so to sum up, there is not a single song on this list that I will ever purposefully listen to for enjoyment ever again and there are a few lines that I feel calls for someone being forced to go to whatever the musical version of the Hague is to explain themselves. 

MISC

This is just a section for things that annoyed me that didn't fit anywhere else. 

There's a moment where Asha sees Star which is a star that has fallen to earth and is shaped like a star and she's not able to put together than he's a star until she looks up at a ball of yarn that's tangled in the trees and sees that the yarn is shaped like a star...which again, Star is ALSO shaped like a star! Baffling. 

Gabo at one point makes a comment to the effect of, "Wishing on a Star? Grow up Asha, this isn't a fairy tale." And it's like, dude shut up. Your king is a sorcerer. This movie isn't funny enough to pull off that kind of wink to the audience. 

The actual funniest part of the movie is when a talking mouse (not a thing that usually exists in this world) runs onto the Queen's shoulder during a big speech in front of a crowd and not only does no one notice, but she has no stronger reaction than if a messenger was telling her that her dinner was ready. And not in an underreaction for the purposes of a joke way. Like, in a they forgot to write in a reaction for her way. It's so unintentionally hilarious. 

They specifically set this in the real world–off the coast of the Iberan Peninsula–but I didn’t get any of that influence in any significant way here. It could have been any generic island town. Rosas sounds like a Spanish name and “Welcome to Rosas” there is some dancing that looks like traditional Spanish dancing. But on a whole, it feels pretty bland. When I think about studying abroad in Spain, one of the big things I think about are all the moments with food–patatas con bravas, pan con tomatae, paella, and so so much coffee. The only food I remember from this movie are the novelty cookies Dahlia is always baking. Which is wild to me because their last big musical was Encanto and you could feel the cultural influences in every scene and it was seamless. This wouldn’t even bother me if that hadn’t made a point to set it in a specific part of the real world and call it out. 

A lot of the dialogue is super expository in a way that both makes me think the writers think we’re stupid and that they realized at certain points that they forgot to establish things but instead of fixing the script they just shoved in a line. Like, to the first point, there’s a part where Magnifico crushes a wish and it’s very clear that he’s getting a high from it. But instead of letting the moment stand he’s like, “Oh yes. Who knew crushing wishes would feel so good? I must continue to crush wishes so I keep feeling this good feeling,” and it’s like…why did you need to say all of that? Old Power Rangers episodes have their villains monologue less than that!

This movie opens on a storybook–just like Snow White–and it has a voice over of Asha narrating the history of Rosas as the pages flip. Not a bad idea–until you push into the scene and realize she’s telling all of this to…her grandpa? Who is 100 years old and lived through all of this? What? Why not have that scene be a kid flashback and the story is being told to her? Or have her be doing the little kid thing of telling a story to an adult? Either way, that would help establish their relationship which is ostensibly very important to this movie. Or, wild thought, just have her be telling this story to kids! Like Mirabel explaining all the Madrigal gifts in Encanto! Like, if you’re gonna take cues from that movie, at least go all the way so your movie makes sense. 

It’s very unclear how Star’s magic works. It seems like he mostly just gives wildlife the ability to talk. I thought he was just granting wishes but he never does that to any of the humans. And I find it hard to believe that the wish of every animal (and mushroom)  in this movie is just to be able to talk.

Easy Fixes

And all of this is compounded by the fact that this isn’t just any random movie or even any random Disney movie. It’s the *100th ANNIVERSARY*. You only get one of those and this is what they wasted it on. My hopes were really high here! I was expecting a lot of love and care to be put into this one, but it just fell absolutely flat. It feels so rote, so by the numbers, so lacking in care. It feels like the shell of an outline of a movie that relies on the fact that we know what a movie of this sort should be and can fill in the blanks. 

And the worst part? The absolute worst part?

IT WOULD HAVE BEEN A REALLY EASY MOVIE TO FIX. 

Like, I’m serious. If you watch this movie, you will be able to, off the cuff, name tons of things that would have solved problems without breaking a sweat. 

For instance, just cutting her friend group down from seven to two would have helped immensely. If she, Dahlia, and Simon have a Three Musketeers relationship, then when he betrays her to the king, it actually means something now! 

For a bigger but still obvious change, why not have Asha have an existing relationship with Magnifico? So then this story can be about her losing faith in this relationship she’s had for a long time after she’s seen behind the curtain and become jaded over time and not a 7 minute “Don’t Meet Your Heroes” speedrun.

And making it clear what taking a Wish from a person means–and following through with that portrayal all movie–would all be a game changer. Show that Magnifico’s magical wish granting still leaves the people hollow. Show that Asha is a vibrant, bright person amongst a sea of robotic adults. Show me some worldbuilding! 

Also, just hire a musical theater person to do the music. Seriously I can’t believe I have to say this? How is there not a single good song in this movie? There are DCOMs with more bangers than this. Almost every song in High School Musical is a bop. How are you getting outshone by High School Musical?

And these are just changes that preserve the bulk of the story as is. This movie could have been even better if they’d change the direction to go with some of their scrapped ideas!

This is just a movie that absolutely baffles me. I wouldn’t think it would be possible for a movie with this high of a profile to be this bad. You would think that even accidentally they’d have to get SOMETHING right. But they really don’t. I can’t recommend this movie, even for a fun-bad watch. It’s like eating unsalted saltines while you have dry mouth. Just watch a better movie. And here are three movies I think are more in the spirit of Disney’s 100th anniversary than Wish:

(1) The Princess and the Frog does literally everything that this movie is trying to do but better. You’ve got a movie that used a 2D style in the 3D era. You have integration of cultural elements–in this case New Orleans in the 20s. You have a classic princess story with the classic trappings: romance, villain, fairy godmother. You have a rocking villain song. Hell, you even have a wishing star motif! 

(2) Encanto is the latest Disney movie of the modern era to have that classic Disney magic, imo. It sidesteps a lot of the classic Disney tropes–no princess, no serious romance (Delores and Mariano end up together but it’s very much a side thing), no villain beyond generational trauma–but it still feels musical and magical and full of character and life. It shows that you can keep the big emotions that we expect from Disney even with more modern sensibilities. 

(3) Enchanted is my favorite movie of all time so I’m biased, but I still firmly believe that it stands as a better movie in general and tribute to Disney specifically than Wish. THIS is how you do an homage. The whole plot is a loving roast of all the quirks of classic Disney movies, but it’s also a sincere story that stands on its own. It has references to old movies, but they’re integrated very naturally. And it’s funny enough to get away with things like a character mid-musical number being like, “What the hell is happening? Why is everybody singing?” without it feeling like lazy, “Well that just happened” humor. And the music is so good! 

(A quick note on the music btw: Most of the songs in Enchanted are musical theater style songs but there’s one song near the end called “So Close” which is like a pop ballad. And it totally makes sense why they’d depart from the musical theater style in that moment in context but, even if it was jarring and totally unfitting for the movie, it’s still objectively a strong song. Out of context, it would be a great, sad, romantic song. And if the music in Wish was all like that–good but unfitting–this would confuse me less than it does.)

Anyway, I would shell out a LOT of money for a making of documentary for this movie in the style of the Frozen 2 one because as writer and a fan of a lot of Disney’s past stuff, it is completely beyond my comprehension who a team of accomplished people get together to create the 100th Anniversary project with their vast resources and produce this. It just doesn't feel like a movie with any serious care put into it. Which is separate from quality, btw. I don’t like the movie Raya very much but I think it’s obvious a lot of care went into it and I respect this. Wish feels like a movie that was made to fill some kind of contractual obligation and it makes me sad because I really wanted to like it. 

[coffeenonsense]

I usually try to stay in my lane most of the time (mostly bc I am far too old for fandom drama) but what the hell, it's friday, let's put that lit degree to use:

the way people are playing morality politics with fiction is really starting to genuinely irk me and I think some of the responses to ascended astarion are a perfect example of why this type of thinking is actually hugely detrimental to one's ability to meaningfully engage with fiction and also to the future of art.

astarion is one of the most well-written complex characters I've seen in recent years bar none (and I'm clearly not alone given the explosion of his personal fandom lol) and he has a truly compelling, emotionally resonant character arc whether you ascend him or not

If you keep him a spawn, you get a deeply touching, realistic character's journey to healing and personal growth where he learns who he is after the experience of his trauma and depending on the player's choice, explores his relationship to sex, romance and intimacy

If you ascend astarion, you get an equally emotional and well-rounded character arc where he chooses the power that allows him to have the desperate freedom and safety he's wanted, but in the process eschews any hope of real healing or personal development, and again, depending on the player's choices, restarts the cycle of abuse by taking cazador's place.

These options offer vastly different paths for the character and experiences for the player, but while yes, ascended astarion is the evil ending, and yes, ascending astarion is a tragedy, and a fucking incredible one (not only do you have astarion reigniting a circle of abuse but you have the narrative weight of KNOWING he could have actually overcome his trauma...hats off to the bg3 team tbh) but that does not mean ascending astarion MAKES YOU AS THE PLAYER EVIL

Ascend astarion because you love tragic story arcs, ascend him because you want to indulge in a master/slave vampire fantasy, don't ascend him because you want a healing character journey, don't ascend him because you want a sweet romance; all of these choices carry the same moral weight for the player, which is to say, none, because they are an exploration of fiction.

I know I'm saying this to the villain fucker website but it bears repeating; just because someone wants to engage with evil, fucked up characters or content does not mean they support evil acts in their real life, and furthermore, exploring dark, taboo or tragic concepts safely is part of what fiction is for. It enables us to look at those things from a distance, work through difficult feelings and develop greater understanding of what makes our fellow humans tick — and before you get it twisted there's also no moral issue with exploring fucked up media bc you're horny or just, because. You can take it as seriously (or as sexily) as you want.

It's starting to really concern me how many people not only do not get, but are violently opposed to this concept, because equating what someone likes in fiction with their real life moral code and actions is an incredibly dangerous and let's be honest, immature way of thinking that not only stunts your ability to engage with fiction but ironically, hampers your ability to deal with complicated issues and emotions in real life.

I don't know what's driving this trend (though purity culture is certainly playing a role) but it's definitely something that's not just impacting individuals but contributing to the commercialization of art, where we get games and stories and tv shows and books that regurgitate the same safe, mass marketable plotlines and character archetypes over and over and over again so corporations can squeeze out as much profit as possible.

Anyway, remember kids: There's no such thing as thought crime, reaching for morally pure unproblematic media is directly contributing to the death of art, and this is why funding the humanities is important.

[a-simply-simping-simp]

SEGA WHEN I CATCH YOU SEGA SEGA WHEN I CATCH YOU

So mad so mad so mad so mad so mad at SEGA why why WHY must they do this to me. Imagine falling in love and then KILLING that same love. Hahahahahaha imagine being a kid when it happened. HAHAHAHAHA IMAGINE HAVING ALL OF YOUR FRIENDS JUST WATCH YOU SOB AS YOU HOLD THE TRIGGER TO SHOOT YOUR LOVE. HAHAHAAHAHAHAHAHAHAHAHAAHAH IMAGINE ALL THATS LEFT OF HER AFTER YOU EXPLODE HER WITH AN ENERGY CANNON IS A SINGULAR SEED. IMAGINE NOBODY EXCEPT ONE PERSON REALLY COMES TO SHOULDER YOUR PAIN AND TEARS. IMAGINE NOBODY THOUGHT THAT MAYBE A CHILD SHOULDN'T HAVE TO SHOOT HIS NONOFFICIAL GIRLFRIEND. IMAGINE-

Anyway, all greiving aside, I miss her.

I joined the Sonic fandom in a kinda odd way ngl. At the time, I was stupid and a fresh middle schooler and it was extremely popular to make fun of the sonic franchise cuz it was a whole meme and stuff. I also made fun of it cuz I thought I was supposed to. But I realized it was stupid to make fun of something I haven't even seen before. So I wanted to educate myself on it. Coincidently, I saw a video. It was by CourtneySNT about her first ever sonic fancomic around that time. I really enjoyed it actually. Sometimes I go back and rewatch it. Anyway, in her comic, she had introduced Tails to the screen and I fell in love with the fandom. Grant it, her depiction of tails at that moment was the polar opposite of what he's actually like, but still. It compelled me to watch Sonic X, The Adventures of Sonic the Hedgehog, Sonic Boom, Sonic Prime, A bit of Sonic Underground, and just...Sonic the Hedgehog. I also watched a few gameplays and a lot of cutscene movies of the videogames as well as parodies and fan content. So...yeah.

Now it's just a Sonic Prime Nine analysis/rant below lol

Also, since I mentioned SONIC PRIME, I might as well rant about it. NINE. WAS. SO. PERFECT. He was well written, well scripted, and well developed. Everything about nim was chef's kiss. His story was literally just a what if. What if Sonic never met Tails? Well, number one, he wouldn't be named Tails. He'd make his own name. Nine. Also, he became cold and distant because he expected others to treat him the same due to his two tails. Perfect character already but then they fleshed him out some more and introduced this...guy named Sonic.

He didn't know Sonic at the time nor did he really know...anybody. So when this blue loser comes waltzing into his house unannounced, he obviously gets hostile. Why? Well, one, because a rando broke into his casa. But also because everyone he met was hostile to him first. Crazy. Then this guy seems to be friendly. A first. So, Nine lets down his ice cold walls and trusts him. Let me emphasize that. NINE TRUSTED SONIC. Remember that. It is SO important.

So, Nine goes along and helps this guy for no real reason other than the fact that he considers him a friend. Now, you'd think he also helped to stop the egg council, but he really never had bad blood with them in the first place. He isn't in the resistance nor shows any resentment. He's Nine all on his own, with or without the council. In fact, he probably doesn't care if they rule because he wanted to be alone anyway. But he helped. Why? Because he wanted to help his FRIEND.

This goal warps when Nine discovers an empty realm called the grim. He can have a fresh start there with him and sonic. Just the people he cared about. He asked Sonic to go with him because he wanted to share his dream with him. He wanted Sonic to be a part of it with him. But Sonic undermined his dreams. It'd be one thing if he simply disagreed with it or gave a good, justifying, and well explained reason for refusing, but instead he didn't explain himself well. Sonic entitled himself to the prisms, assuming him getting home was everyone's priority. I don't mean to villainize him because this was simply reckless and unknowing behaviour, but still. Nine got upset that his FRIEND was trampling on his dreams as if they didn't matter nearly as much as Sonic's.

So, he "betrayed" Sonic. I want to bring this to everyone's attention. Nine had critisized Sonic because he recklessly didn't think about what woukd happen to everyone else if he DID bring back his home. Like, nobody knows jack squat about the prisms. Sonic, Nine, Shadow, even the egg council was lost when it came to those big shiny rock things. It shines and made our universes. That's all they knew. So, with that in mind, it makes sense to be concerned. Like what if it kills us? What if it destroys our world in order to bring back yours? They only exist because of the prism being destroyed, so if you fix it, would that kill them? Idk, I feel like this was mentioned once and never brought up again and it makes me mad. Such potential.

Anyway, after the situation, Nine goes back to the grim to make his dreams come true by himself. Because the one person he TRUSTED broke his trust. So, after a bunch of irrelavent stuff happens, Sonic goes to the grim after making a deal to Nine. Nine lets him into the grim and Sonic starts to preach to Nine about their friendship. Nine listens and almost starts to trust him again, maybe thinking about his actions and how they might not have been the best. How their friendship could maybe be salvaged. Why? Because Sonic said he woukd sacrifice himself to save Nine too. But then an entire army shows up to beat Nine into a teeny tiny pulp. Grant it, Sonic did not call them to the grim. But then he imediently sides with them in taking Nine down in an all out war. After saying he'd sacrifice for Nine too, he pulls an uno reverse on him. Trust broken. Again.

So now, he wants to trust nobody. Why? Because Sonic broke once too many. So he starts fighting. And fighting. And fighting. Like he's been doing his entire life. Who is he fighting? Someone who he thought was his friend. Someone who claims to be his friend. Someone who he thought he wouldn't need to fight. And he's clearly breaking his own body in desperation while doing so. Nobody really said anything about it either btw. Like, he's literally hurting himself and Sonic, his "friend" didn't even try to stop him because he was hurting himself, but because he was huring others and taking the prisms. I understand of course because he's hurting your friends, but his own pain wasn't even a slither of his drive.

Anyway, the ending sucked personally. It was anticlimactic. Nine gives in just because and then Sonci goes home, mystery never discovered, and yay we're done.

[ca-suffit]

I think an important thing to remember when discussing Lestat as a queer icon (since it's a topic on the blog lately) is the fact that he's a queer horror icon. That man was never going to be a good man lol. It's exactly how Dr. Frank-n-Furter is a queer icon despite also being a villain and problematic. It's important to see people that we could relate to or admire in some aspects also be completely terrible, to avoid conflating someone you like with someone you who is good/should be imitated. Especially in the context of domestic violence and abuse in queer relationships. I wish this nuance was more present in fandom, because I don't like how people either treat Lestat like he's just a regular queer icon (as in, they ignore the part that makes him a horror to deal with), or diminish his queerness.

I'm also looking forward to people claiming Louis as a queer icon, I have hopes that it will become a more widespread topic as the show simmers, because I also think that Lestat being heralded as a queer icon in the show comes from decades and decades of him being considered one outside of it. This is the firts time (to my knowledge) that Louis has been compelling to the general public, so I guess with time he'll gain more weight in that discussion. I know it might sound too optimistic, given how black queer characters are usually treated, but I'd rather feel like we can go somewhere with this than feeling dejected.

I would write so many things about Lestat's and Louis' queerness and how they differ and interact and affect their lives and the narrative if I had the time. I'd also like to read/hear more about how Louis' queerness interacts and overlaps with his identity as a black man, so if you (or anyone) have any recs I'll gladly take them.

I think the discussion and even the portrayal of DV in queer (and interracial) relationships is a *huge* one for ppl to sidestep and has been one of the most disappointing things here tbh. we *haven't* seen that explored much in queer stories and it's so fucking *common* irl. there's a *lot* to explore there in so many directions, but ppl skip over that all the time just bcuz they don't want anyone to be "mean" to lestat. u can like things and still discuss and criticize them. as u said, look at the rocky horror picture show and the impact that's had. a lot of queer existence in general is always being "other" somehow, and that's why horror is such a good genre for it. to strip that away bcuz u just wanna play rupaul's drag race with lestat is....I mean, ppl can do what they want on their own, but this collective bullshit of forcing others to conform to this too and thinking ur "right" for doing it is a majority of the reason this fandom sucks. most ppl don't even hate lestat tbh, it's these fans that are the problem. nobody lets anyone meet the story where it's at.

I def think, regardless of what the show ends up becoming as a whole, that amc louis has made a huge impact as a black, queer character in major media. I hope ppl continue to analyze him and be inspired by this character and keep it all rolling forward. nobody expected this to be as good as it was at portraying louis and we're blessed af to have jacob in the part too.

god, I don't remember all the good posts I've seen about louis anymore. I tried to even look but I think most were out of the tags and long ago too. I remember a rly good one talking about claudia's relationship to louis and how he prbly wasn't allowed to play with grace's dolls as a kid, so claudia was kind of his "permission" to do that. it also gives a slightly different perspective to claudia's "doll-like" existence, since this was not something explored in louis in the books or 1994 film.

I feel like, if u or anyone is unfamiliar with james baldwin, reading his stuff will give some irl perspective to amc louis too in various ways. equal in paris is a good S2 companion. I think rolin jones even said giovanni's room was an inspiration for S2 too.

[aemondsbabe]

I'm so sorry this is quite big 😭 don't feel like you have to read it all.

Thank you so much for answering my ask about what you thought of the episode, I so adore speaking with you about it because you're genuinely sensible about things. <3

I completely agree with you, on everything! I see so many people calling Aemond all sorts of things; misogynistic, power hungry, evil, villain, and so on. But I think that's such a... shallow way of seeing things, isn't it? It upsets me to see it, I feel like they don't consider the bigger picture when saying that about him, don't consider his story or everything else that happened.

I think the look on his face, how he was damn near tears, when Alicent touched him says so much, shows so much of how he's truly feeling in that moment, it's like his mask slips a little; as you said, I feel like a bigger part of his actions come from how hurt he is by her and her own actions towards him, directly and otherwise. How she blames him for the war and still holds affection for Rhaenyra, as we've previously talked of. I agree that he maybe does feel compelled to punish her, and with reason; as you said, to him it looks like abandonment; abandonment from the only person who was ever on his side, damn, of course that would hurt and get him reacting more with his feelings than his mind. But overall I'd still dare say Aemond loves his mother quite a lot, so much about him revolves around her; and as Ewan himself has said, it's something Aemond wants, he's seeking that approval, that love, he wants to make her happy and proud; but ultimately he's going about it the wrong way, yet the only way he knows.

Also yes! His scenes with Aegon definitely feel like brothers bickering, I would never say that he hates his brother, much less that he meant to kill him. I just agree with all you said about it!

And yes, again lol, I also think the way Aemond presents himself to the "public" is not who he is at all. And this is, again, literally something Ewan has said on multiple occasions (I mean, what else do people need to believe it at this point) how Aemond feels this need to put up a ruthless and cold facade to protect himself, to keep himself from appearing weak because if he's all powerful, no one can hurt him - and honestly, I think it makes a lot of sense given what he's gone through and especially given the glimpses we get of the real him during his vulnerable moments (that I too, deeply wish we got more of). Because even if the writing of the show is not perfect, I do think that this is what they, and especially Ewan, are trying to show with Aemond.

I think a lot of people fail to see that, and sometimes they almost make me believe it too :'), so I thank you for reminding me that he's not inherently evil or uncaring.

- Lyra (I feel like some kind of identification is long overdue 💀)

first of all, never apologize for a long ask! i love long asks!! my favorite thing is hearing other people’s takes on things and sharing opinions and building off of what each other has to say so genuinely, i love this shit!

i agree with everything you have to say! honestly most of my opinions of aemond are based on what ewan has to say about him in interviews because (sadly) the show isn’t giving us much to work with. that’s why i try not to hold it against people who are against him (or anyone else for that matter) or who don’t see the dimension that is there — shitty writing will build a shitty audience.

so much of the show and who the characters are lives in subtext and requires people to read between the lines, which, when done well and utilized sparingly can be quite interesting and entertaining! but it almost feels as if there’s too much grey area while being too little at the same time — i feel like my hand is being held in the wrong places, if that makes sense.

also! your ask made me realize that there is suuuuuuuch a parallel going on between aemond and how young!alicent was in season 1 when otto got sent away!!

like at that point in time, alicent had no one at the red keep she felt she could trust fully. her father is gone, rhaenyra has lied to her, and she’s been played like a pawn onto viserys. she’s alone, or at least feels that way. that’s also when we started seeing her lashing out a little, granted in small ways but still — lashing out.

now if we look at aemond, i think he’s in a similar position. he feels he can’t trust his mother anymore because she’s “abandoned” him for rhaenyra and is upset about luke. he was never close with aegon so that’s out the window. helaena is upset with him about aegon. he can’t trust criston because criston is in bed with alicent (idk if aemond knows that but the man isn’t dumb and alicole weren’t exactly subtle) and is loyal to aegon, at the end of the day.

everyone that should conceivably be there for him isn’t — whether that’s actually true or his own insecurity. he can’t even go back to the madame anymore because aegon ruined that. he’s cornered and he’s lashing out.

and it’s such a fantastic parallel between him and his mommy, aw! 😂😅

anyways, thank you lyra!! i so enjoy hearing from you 🩷🩷🩷

[bthump]

there's this thing going around on twitter of "evil anime characters" or whatever which includes Griffith, a couple villains and a couple completely normal guys that didn't do anything bad, and people keep saying that they're comparing the normal ones to a rapist and I just find that stance on Griffith's character so diminutive. The entire Berserk fandom seems to be completely unwilling to engage with his character in any way that isn't hating him over one scene. I feel like Miura really missed the mark on the eclipse rape for many reasons, but when it comes to Griffith, making him do what is universally recognized as one of the worst things you can do to someone else, which writers (including Miura) often use as shorthand to indicate someone is irredeemably evil, just invited fans to despise him completely. It's just frustrating to see his character, which I find very interesting and compelling, being reduced to a generic cruel caricature because of a poor writing decision. It's like people blame Griffith himself as if he's a real person that chose to do what he did instead of thinking of why he was written to do that and how it affects the story. I fear we have death of the author'd too close to the sun and now everyone in fandom treats characters like people instead of devices through which someone tells a story. Idk I don't have a question or anything lol, this is just something I think about and wanted to commiserate over I guess? I love your metas btw!!

Thank you! Yeah I kinda feel this.

I think there are different cultural expectations in terms of how rape is treated in media, both in North America vs Japan, but also in like the mid 90s vs now honestly, that make the Eclipse rape not as character-breaking a scene in context.

But at the same time considering the amount it's been downplayed in NeoGriffith's narrative, as well as iirc Miura mentioning that he has regrets re how far the Eclipse went (though this might be in reference to killing everyone else off lol, I don't quite recall the complete context), I do think it's kind of become the elephant in the room in a way that feels legit pretty awkward lol.

And yeah it's definitely a major part of why the English-speaking fandom is so bonkers about how they react to Griffith lol, and it's frustrating that people refuse to like, read the story beyond that.

Idk, basically yeah ia that it's annoying lol. Thanks for the ask!

[theconstantsidekick]

no because, supernatural is absolutely a train wreck. it's a colossal accident that is happening in front of you that you can't look away from. it is homophobic and non-sensical and downright laughable at times but you know what? I love it. I absolute love it.

season 1 was absolutely beautiful. you don't understand, really, you don't. they had a piss poor budget, you can see that in every frame. but does that stop it from being fucking beautiful? no. it is stylised and ambitious and a fucking visual treat.

and this is like the first fucking episode. the shots have so much character! and that's nothing to say of the characters themselves. from the first fucking scene you can clearly distinguish sam and dean's character clear as day. their motivations, their dreams, their hopes, all of it. it's established so well. their dynamic is unmatched. does it also have a lot of garbage? yes for sure. because what in the name of hell was that episode with bugs? what glue were they sniffing when they green lit that one? no seriously... I wanna try some.

but then they recovered, cause they did faith. my god, what an episode. WHAT AN EPISODE. that motherfucking reaper haunts my every waking hour

like yeah, I love me some baby dean and baby sam going on their small scale ghost hunts while learning deep lessons about who they are as people and what they want from life.

also that 'laugh I nearly died' needle drop? where sam sees jess? god tier editing, GOD TIER.

then they came back with season 2. and here is my most controversial opinion that should not be controversial at all, season 2 is the best season of supernatural to ever supernatural.

what is and what should never be, hollywood babylon, heart, nightshifter, and the whole fucking season actually. not a single miss in my humble opinion. and that finale? THAT FINALE. beautiful, magnificent. ground breaking character writing, everything comes full circle while simultaneously opening up new plot lines to explore.

and my god, yellow eyes is an epic villain. he is a very viciously written villain like, he's... my god. it ain't a walk in the park writing villains, believe you me patient readers, villains are harder to write than the protagonists, always. well, at least the compelling ones are.

now season 3 suffered because of the writer's strike, but didn't miss much either. like yeah some of the hits don't hit as hard as the season 2, but hey, mystery spot, time is on my side, ghostfacers, bedtime stories are nothing to laugh about. those episodes are fucking solid, like most of the season. and there is so much raw emotion is sam's need to save dean, it just makes my weak winchester brothers loving heart throb a little too hard. also...

need I say more?

does the show did look little more washed out and boring? yes. but it's cool, cause we're moving on to season 4.

listen, I kinda just wanna leave all my season's critique at this. i mean, yeah this. this is it. this is the long and short of it; castiel. i don't think i need to get anymore into it

so season 5 is just—

i'm kidding. obviously i'm gonna talk about season 4, at length.

listen, being able to introduce angels this late in the game and then have them be a such perfectly hidden players is a masterstroke of genius. it just is. i am a writer guys... apart from the relentless fanfic as well lol. and when i tell you, introducing a new big player which is also (not so) secretly the next big bad and playing it off as smoothly as they did in season 4, is beyond hard. but the biggest home run these fuckers hit is castiel and the best part is they weren't aiming for a one lol. and oh oh, the way they use their very VERY limited budget to show wings with just flashing the fucking light? CINEMA! that's fucking cinema right there man. i work on film sets, i am telling you, this is the smartest filmmaking choice they make on the entire show. it adds so much visual intrigue while being so awfully easy to execute. BRILLIANt.

now i cannot talk about supernatural without talking about the deancas romance of it all, which i understand not everyone can see or wants to, which is fine. to each their own. you consume art the way you want to, i don't care much as long as you can acknowledge that castiel and dean's friendship was just some of the best written television that mankind has ever seen. is that too grand a statement? yes. does that make it any less true? no.

they even brought back the moody lighting.

and then there's the episodes this season, most of which are home runs in their own regard. just like beautiful writing, the character development for cas, for dean, for sam, even the late john winchester is wild. anna is a wonderful addition, so is uriel, and alastair? they don't make villains like him anymore, they just fucking don't. AND THAT GODDAMN PLOT TWIST AT THE END? man! the finale was just... too good. Chuck's introduction is absolutely wonderful, even if they ruin him by the end but that happens a decade later so wtv, who cares? But,,,, Jimmy. Fucking. Novak. That's all. that's the tweet. yeah. i'm gonna end the season 4 fan fair with jimmy.

moving to season 5.

subjectively speaking, this is my fucking favorite. this season is a writer's dream while also being their goddamn nightmare. so many WONDERFUL characters to play with and such a grand plot but you get to see it all on a very small, consumable scale which is just... it's too smart for me to not mention. i won't start naming the plot points and neither will i name my favourite episodes because what even is the point? all of it was fucking perfect. you don't understand how hard it is to develop characters to such an extent that they become so familiar to the audience that they know their next move before you even put it on the screen. and supernatural had that. they tied everything together with so much care and consideration, just... AAAH so good.

a special shoutout goes to endverse!cas, crowley and death this season. you all know it in your bones that those three were just the absolute scene stealers. especially death's introduction... immaculate.

they did lose a few points for not being as aesthetically pleasing as the past few seasons but hey, gabriel was enough to make a smooth recovery.

but this... this is the end of the road for me people. season 5 is where it should have ended. in no way shape or form am i saying that there aren't a few good episodes here and there after this, because there are. i think season 5 was so fucking solid, tied up so many goddamn lose ends and then just put a cute little hell shaped bow on top and i just... yeah. this was and should have been the end of the road. do not get me wrong, i love me some jack kline, charlie bradbury, kevin tran, rowena macleod and eileen lahey but were they worth the bullshit ending i had to sit through? not really.

i absolutely think if there weren't more episodes of supernatural I would never have become a destiel fan, because i started shipping them when dean made cas a mixtape in season TWELVE! but my god, the good times were so scattered amongst the horseshit that even when i found those hidden gems, they were so fucking drenched in the stink that they lost their value.

the worst of it all is that, i cannot explain to you what supernatural means to me in a million words, because it is a part of me, heart and soul. i fucking AM castiel. i am a gay little angel you hear me? i love this show. i do. i'm glad it went on for however long it did but i feel like once in a while i need to write shit like this or read shit like this to remind myself of the show that it used to be. of it's beautiful cinematography, of it's clever little storytelling techniques. of it's wonderful cast. of how epic their song choices used to be.

FUcking RENEGADE? iconic. wanted, dead or alive? cannot hear the song without hearing sam's off tune goat bleating that he called singing along.

i need to remind myself of how afraid i used to be of lucifer. of how much i cried while watching dark side of the moon; when dean and sam burst the crackers, and how i learnt the lyrics to knocking on heaven's door just because of that scene.

sometimes i just have to walk through memory lane and look back at gabriel's death, the good one, the only one. it was so fucking meaningful. i have to think of "we are making it up as we go" to be able to breathe properly because those moments were so fucking beautiful.

fuck the big ones, i even remind myself of the small ones, of dean's handwriting being in all caps, just like him. of sam's fucking huge laptop with that weird blue black sticker in the middle. of castiel's tie, that just was the right shade of blue, and hung all wrong but just naturally enough to add so much more to his character than any fucking dialogue could. every small little detail of supernatural that made it so damn supernatural. i miss it all.

idk. i'm rambling. whatever.

[z-eusie]

i finished blood of zeus and i'm going to try and formulate some of my thoughts on it here. i'll preface this by saying i really enjoyed the first season (it had some flaws, and there were parts i didn't like, but overall the story was interesting and i liked most of the portrayals). spoiler warning for season 2 ahead!

i had quite a few gripes with the show this season. it very much so felt like a set-up season (which is fine), but it also made the show feel very slow. one of my biggest complaints was actually about heron as the protagonist - i didn't mind him in season 1, but in this season, he felt so flat, boring, and irritating that i genuinely tuned out most of his scenes. his role in the story made sense in the first season, but now, everything feels much bigger than him and he has no reason to be involved in all of the godly drama. get him out of there lol. he has no understanding of the politics of olympus and is mortal, but he can shoot lightning and zeus liked him so he deserves to be a contender in who gets to lead them? HUH? (an oversimplification, i’m aware)

my second complaint was ares. i've seen a lot of people reiterate my feelings, that it was frustrating to see him portrayed so negatively, that his storyline with persephone was bad and that his antagonism was infuriating. which i also agree with. i think my biggest issue here is not that he was an antagonist, but that his motivations for antagonism were weak at best. ares sided with hera in season 1. he should NOT be able to parade himself around olympus the way he did this season - hera had to go into hiding and even poseidon was removed from the overall plot because of their deeds. but there seems to be no repercussions for ares, which is flaw number 1. flaw number 2 is that his reason for hating heron and being a general jerk is that he isn’t a bastard and deserves more renown than any of the others. i think it would have been FAR more interesting to make ares’ storyline centered not on his sense of superiority, but actually his jealousy (kind of the way wrath of the titans did it. in that film, he was jealous of perseus and the love zeus had for him). ares being jealous that, despite being zeus’ ‘heir’ in this context, and one of his few legitimate children, he didn’t have his father’s love, and he loathes heron for it. you don’t really get that sense from him in this show, and i think it would have been far more compelling for his anger to have come from envy instead of pride. the persephone stuff i just can’t even touch on because why.

my third complaint is actually about demeter and persephone - demeter in particular. her being the villain is so frustrating, but i can’t exactly be surprised. i knew the moment that this show portrayed hades and persephone as a loving couple with a romantic origin that demeter was going to be villainized. but the way they did it is ridiculous. she’s not a grieving mother - she’s pure evil. the storyline with the cordyceps was fucked (and also… really insignificant, somehow). but i think the part that aggravates me the most is that it completely ignores why demeter froze the earth the first time. she did not do it to be spiteful, or out of anger. she didn’t do it to punish anyone. she was a grieving mother, a mother who had lost her daughter and no one in the world seemed able to help her, and her grief manifested in dying crops. in this show, she’s just vindictive, cruel, and genuinely terrifying, and i cannot stand that she is once again being villainized in one of the FEW greek myths that actually centers a woman’s emotions and does not belittle them.

fourth - i love hades and persephone, but their little scheme was so wishy washy. hades as an antagonist felt half-baked, and the fact that no one on olympus actually saw this coming is a miracle because everything hades did felt really dumb and obvious. i feel like there were a hundred different ways the two of them could have gotten what they wanted. i also loathe the idea that zeus cheated his way onto the throne - i’m glad the show didn’t actually blame him for it, that hera took the fall, but i think that the fates work a little more powerfully than that - and that cheating wouldn’t be possible in this circumstance. zeus did earn the throne and he deserved it, and i will die on that hill. (my other complaint is hades and persephone’s design. blond persephone is the bane of my existence lol and hades looking like an older ares was… sigh).

a few other things i didn’t like: the way the story of typhon unfolded. at first i thought they were implying that typhon was just. plain old defeated by all the gods together, and i was frustrated, but they sort of fixed it by stating zeus was the only one who stayed to fight him. however, the lack of focus on zeus in this story means that they’re ignoring the personal stake zeus had in needing the eleusinian stone under his control. it was also weird that they implied then that there was no king of the gods until AFTER typhon, which is… a long time, actually.

the gorgo plotline also felt kind of unnecessary. seraphim’s arc could have easily been about his mothers instead and we could have felt the same level of sympathy but alas.

there were some things i really did like though! and those are as follows:

athena and hestia. zeus trusting the two of them with the very stone that gives him his power was beautiful, and i love how hard the two ladies fought to keep it safe. hestia wrecking the keres was incredible (and also hilarious to me. anyone who read my fic ‘mnemosyne’s curse’ will know that hestia scorched the keres in that story.. and then did in blood of zeus which was amazing haha). the inclusion of hestia in the story was nice. and i really loved the way the show portrayed athena’s intelligence - not just in combat or in solving problems, but she was quite emotionally intelligent as well which was a nice touch.

i liked hera’s attempts at reconciliation. i think they could have been more detailed, but her defending zeus at his trial broke my heart and i loved the way she handled the conflict. poseidon as well - his willingness to admit that zeus should have been king, and him backing out of most of the conflict for the throne was a very interesting touch i didn’t anticipate but really enjoyed.

zeus in tartarus. i mean, i didn’t actually like it because it broke my heart but him repenting and still ending up in tartarus was painful and i cried a lot i’m not gonna lie.

zeus kid solidarity - watching them work together and fight was incredible, and i adore all of their character designs so much.

melinoe and zagreus. if you know me you know i’m a fiend for the underworld family and seeing them was so cute. i just wish melinoe’s design was spookier, but alas, all of the gods seem to be very ‘pretty’ so i get why they didn’t.

every scene with zeus. his leadership shining through, his quiet acceptance of his fate, his humbleness. y’all can say what you want about him, but he proved in this season why he deserved to be king, and his absence clearly drove everyone else to some horrible acts as well - meaning what they condemned him for is not something only he is guilty of (what gaia said at the end). i will defend that man to my dying breath, and it pains me to see him this way but it’s also so good.

i am very excited to see typhon as the villain next season. i’m hoping this means they will set zeus free to help them defeat the foe only he was brave enough to stand up against uwu

[befuddledcinnamonroll]

Last Twilight - final thoughts

Well, this isn't a fraught topic at all today, lol.

Normally I wait a bit longer before writing about my final thoughts, but I have a lot spinning in my mind right now and want to get it out.

Disclaimer - this is just my subjective opinion. I cannot speak to having a disability like Day or a trauma like Mhok.

To start, overall I greatly enjoyed this show. The acting was fantastic, the story was compelling, the romance was romancing. I do have some mixed feelings about the last few episodes. I know some people liked it! I know some people feel very let down. But I hope we can all use this as a chance for respectful discussion.

Disability representation and how we talk about it

One thing I do think it is important to remember, is that the disability experience is extremely different for different people. And there are a number of people with disabilities who are working on recovery, or looking into options for reducing the impact of their disability. This can be a very controversial thing. One example is the Deaf community, and the very different perspectives on things like cochlear implants.

As we talk about Last Twilight, of course people can disagree with how the story went, or the timing of events. But I would caution people from saying that Day's experience as a blind man is meaningless, or that the story was pointless, because he regained his sight in the end. Because that can be a very invalidating thing for people who have been through similar experiences.

To me? It honestly felt realistic for Day to get another donation. He's wealthy and privileged. He also had gained a sense of contentment while still blind, and knew he could live a good life that way. And I think all of his past experiences still mattered, because it was part of his journey to being who he was at the end.

Do I also want more representation of people with disabilities, in all ways, shapes, and forms, living amazing lives and kicking ass? Hell yeah!

Day's mother

I've written a bit about my feelings on Day's mom before, so I'm not going to go in depth. I did see some people saying this was about culture, and that she was acting in accordance to how a lot of parents would in her situation, who are a part of that culture. I don't disagree with that. My issue is that she started at point A, she was suddenly at point B, and we saw nothing of how she got from A to B.

I do think, in terms of disability representation, showing more of her journey in accepting Day's autonomy would have been worthwhile.

Day & Mhok's relationship

This is where I have more of a struggle with this show. To be clear, I don't think Day is a villain, and I understand how terrified he was of being seen as lesser by the person he loved. I don't even have an issue with a breakup, just some of the aspects of it.

A lot of what happened felt rushed for these past two episodes. I may have felt better about it if there was more space to dip into nuance. Considering how the time was spent in earlier episodes, this was so fast paced.

I mostly have an issue with Mhok being treated as 100% responsible for their break up - and for him apologizing and thanking Day for doing it.

I used to actually professionally train people in Conflict Navigation, and I've spent a lot of time with people on some of the key components when successfully dealing with conflict.

Btw, we deliberately didn't call it Conflict Resolution, because a lot of conflicts don't get resolved. And that's ok! It's learning how to work within them, if you want to maintain a relationship.

But a really important part of resolution is that both parties need to understand the role they played in what happened. It's not fun or comfortable, but it's an essential piece to moving through it.

And I get that Day & Mhok were both young, so not having the best approach to conflict at that time makes sense. Day being impulsive makes sense. (Though I maintain that scene should have had a few more minutes to it).

But when they are back in the same space, (after Day blocking Mhok's contact for 3 years, yikes?), when they have both grown and matured, and yet Mhok takes all the blame for what happened back then - to me, this reads as the setup of a relationship where Day will get mad, and Mhok will continue to take full responsibility to keep things smooth.

And honestly, it again feels infantalizing of Day to say that because he is the one with the disability, he was the one who was 100% correct in everything that he did. If he is going to be treated as a fully independent autonomous person, that means accepting the role he played in what happened. His perspective was valid, he still has to own his piece of their relationship falling apart, and him doing nothing to address it in any other kind of way before going straight to breaking up.

Again, not saying Day was wrong. I'm saying for a healthy future relationship, he needs to own his part in things, and not just agree that Mhok was the problem.

Privilege and status

My final quibble is that the early episodes did such a good job of showing how Mhok and Day were both in disadvantaged situations - of very different kinds, but it was a connector between them. Mhok was struggling due to his status as someone from a poor background, and his status as an ex-con. The way he and his sister fought to make ends meet after the parents passing away, and then the trauma of his experience of losing his sister. The struggle to find work, to be seen as worthy, as someone who is still a part of society regardless of having been to prison.

But this all slipped away through the story, until at the end the only thing that mattered was Day and his journey. Which was important! But Mhok had his own journey, and it matters. His trauma was significant, and it deserved more than being treated as an excuse for Day to leave him.

Final final thoughts

Oof, ok, needed to get that out! I think a big part of why I disliked Mhok being fully blamed is that I just love the guy so damn much. If only men like that really existed, lol.

But what incredible acting by Sea & Jimmy, they worked so hard. I adored Night & Porjai as side characters, and now very much want a one shot spinoff of their honeymoon, where they stumble on to a secret spy meetup and shenanigans ensue.

P'Aof is a very talented director, and there were some great visuals in this show. I've never seen such erotic hand touching in my life.

Well, at least it never gets boring in BL land!

[mustbemosstaken]

I know this has been said before but the people bringing it up in the art stream has put it back in my brain (Also please keep in mind this is very /lh and just my opinion based on how I interpret the story of Fable SMP as a viewer):

Y’all don’t want a Rae villain arc, you want an arc where Heyhay can play a villain. A villain arc for Rae would go against literally all of the character development that has been established for Rae.

And you can’t even have the argument of like “oh well the angst of if he’s corrupted and then comes back later to see how he hurt people” because WE HAD THAT. WE HAD LIKE A WHOLE ARC OF THAT WITH THE WARDEN.

Even outside of the Warden, you’ve got that whole Among Us AU where we get to see Rae being evil?? We have villain Rae guys what more do you want?!? Villain!Rae is a fun idea for an AU, but narrative wise it does not work in canon at all-

I agree that Heyhay would play a great villain, and would probably find a way to make Villain!Rae really compelling. But Rae has been built up in such a way that to have him suddenly “go on a villain arc” would just like,,, wreck any of his previously established arcs?? At least from my interpretation of Fable so far, the overall arc with Rae as a character, regardless of gods or anything like that, has always been about a man coming to love himself through learning to love other people, and through that, a lonely man finding a family. S1 Rae at the very beginning is a lonely, broken man with no regard for himself or those around him, driven purely by research, who is forced to take a mentoring, and then pseudo-leadership position, and forced to care for and eventually come to love the people around him, who he now views as his family. A family he never got to have beforehand.

That’s why the relationship with c!Jamie is so important to Rae in canon. Jamie is the first person where Rae really had to step up and be there for someone else. Thats why he cares so much about c!Athena, because Rae really had to find it within himself to save them and be there for them. That’s why Banner Fam, or the Breakfast Squad, or even eventually Broters means so much to Rae because he didn’t have that family when we started the story. To have him go on a villain arc and hurt the people around him would narratively break all of that. It would pull apart all of those relationships at the very foundations, and it would be really hard to repair them from a storytelling perspective.

The only way I could see it being done is if Rae was to go “evil” to protect the people he cares about, but as long as those characters are still in the picture they’re the kind of people who wouldn’t let Rae do that to himself. Hell, the man had a full breakdown because he punched his best friend one time, you think he’s gonna murder someone or something?

And like,,, it’s not even like we don’t get to see snippets of these things in canon. We get to see elements of Rae losing himself to anger and desperation in order protect others. We get it when he replaces his eye in S2 and he goes all mad scientists, or when he yells at Ulysses in S3 because he genuinely believes he needs to step up because this man is a threat to his family. Hell, we even see the angst of “his family thinks Rae is evil and is scared of him” because THATS LIKE MOST OF C!JAMIES ARC IN EARLY S2???

Season 2 really is a treasure trove of theoretically “villainous Rae” content. His betrayal of Aax’s trust with the eye surgery, the Jamie memory arc where they do view Rae as evil, delving into more and more dangerous and morally questionable Telchin medicine to help c!Athena, and then the entirety of the Warden arc where he’s actively hurting those around him and taken over by an evil goddess, like it’s all there. We have that guys!?!

This ended up way longer than I thought it would lol, but I don’t know, I just constantly see people in the fandom and in HeyHay13’s twitch chat being like “oooh villain Rae we desperately need villain Rae in canon” and I just personally don’t get the appeal from a storytelling perspective. Maybe I’m just too caught up in wanting characters to be happy lol. Let my poor little meow meow have peace and love his boyfriends and not have to be evil again.

Anyway, uh… TLDR Mosstaken doesn’t like villain!Rae except for when he does I guess lmao /j

[kirkwallguy]

Meredith was impactful to me as a villain because she's just a. Human. A person. Who went through a trauma of her sister killing people because she was afraid of the templars, and she corrupted herself into hatred of magic and mages, which can draw a very discomforting parallel between Hawke and Bethany.

When it's a big powerful blighted "god" who wants worship and acts and speaks like a disney villain (in datv most of antagonists do that 😭) it's just nothing to deliver. Elgar'nan (what I've seen so far) is extremely dull and bland and doesn't inspire any curiousity and I'm a bit bored if I'm being honest. It would be more interesting if there was an intricate story behind or a GOOD characterisation (Flemeth) when I look at Elgar'nan I want to see some solemnity not a disney delivery

YEPPPP, meredith is my favourite villain because she feels so realistic. maybe we don't have mages and templars in real life but someone powerful letting their trauma shape them into a bigot who uses their influence to harm a marginalised group is super common. maybe it's just because i live in a country where there's a crazy rich and powerful blonde woman making my life worse due to her personal issues but it hits! it feels relevant!

i haven't actually seen much of the gods so far but it just feels like the stakes are too high for them to be compelling? you need to be more than a little traumatised for a "destroying the world" plot to have any nuance. i know making morally grey villains became a little overdone in recent years but past a certain point you need to ask yourself whether your villain can be replaced by a natural disaster and have the exact same impact. in origins, the blight and the archdemon are natural disaster villains BUT they have loghain to balance it out, he feels like the 'real' villain until he stops being a threat and you can start focusing on defeating the actual world-ending threat. dav really needed an extra 'political' villain with the same general concept that you overcome towards the end of act 2 tbh. maybe they do and i just haven't met them yet but i doubt it lol