#same shit different show

[golden-earcuffs]

please gmmtv, all i ask from you is a show with sing harit in the main lead where his character is fleshed out and not the comedic relief

[arachnaspi]

NOOOOO I FELL INTO THE TRAP AGAIN GODDAMNIT

ships between polar opposites who start out at each other’s throats but end up attached at the hip >>>

[starii-void]

going to chb must be crazy like imagine sharing a camp with

-one of the strongest demigods ever who's saved the world like at least 3 times, fought multiple gods & titans and WON (and is a tartarus survivor)

-the literal main architect of OLYMPUS who's also saved the world multiple times (also tartarus survivor)

-THE lord of the wild who's also close friends with the first two (and has helped save the world multiple times)

-an emo kid from the 1930s who again helped save the world and is also a tartarus survivor (TWICE)

-a son of apollo who survived tartarus with nothing but cargo shorts and sheer will (pun intended)

-the main designer and builder for the argo II, also the first hephaestus kid to have fire powers since hundreds of years ago (did i mention killed gaea? no? yeah he did that too)

-a girl who somehow charmspeak-ed gaea into falling back asleep (also side note daughter of super famous actor because why not)

-pretty much everybody is a two-time war veteran

-THE GOD APOLLO who just sometimes comes down to visit in the form of a teenage boy

-did i mention dionysus, god of wine madness and theatre

-also chiron, trainer of pretty much every greek hero ever

[larrylimericks]

14Jul24

England lost, but it’s no time for tears. It came Home when a photo appeared: The backs of two heads Who may share a bed, But have not shared a room in eight years.

[jade-bright]

At some point in my teen wolf au???

*new teen pack meet og teen pack*

Lydia: What is the worst thing you've ever experienced?

Stiles, family trauma, lost his spark back in high school, not being able to save the Hales, all the shit that happened in the show (or what he's dubbed, The Shit Show™): ...

Derek, blames himself for Stiles and Paige getting the bite and the Hales deaths (including Laura & Peter), The Shit Show™: ...

Jordan, having recovered his memories of being Camden Lahey after discovering he's a hellhound, remembers the abuse he went thru at the hands of his father and was a soldier in the military: ...

Heather, blinded after her failed attempt at a strong necromancer spell, watched her crush?/gf? die, became permanently blind (that no magic can heal) after bringing back Paige, The Shit Show™: ...

Paige: ...

Paige: Mr. Harris

Scott: What?

Paige, Heather, Stiles, Derek, Jordan (Camden): ...

Heather, Stiles, Derek, Jordan (Camden): Same

inspo x

[puzzlingphronistes]

The "you can crash on my couch anytime" to "can I live in your house and be your dog" pipeline is absolutely incredible. Remember when he got flustered at the idea of a sexy rat?

This is a man who calls dancing sinful. I heard him bark this morning.

[rennyrose]

I just finished watching TriStamp for the first time and after having only seen YOUR Livio up till now, it's safe to say I am Disappointed with TriStamp's version of him.

sobbing a lil bit

He's got until season 2 to figure his shit out, let's see where this goes

[cairos-wing]

Runt is the younger sister Troy needed and Troy is the hypeman Runt needed send tweet

(Also I have a new HC that the Overseer couldn’t see Blink’s face through the cog mask thing but could see wing tips and chin and kinda assumed Blink looked like Wolverine Hugh Jackman and they were totally gonna co-ordinate something less formal the moment “the right hand” was done hunting down the Inventor)

[dxxtruction]

"Louis acting like a pimp to Armand" And what is a pimp exactly? Quickly. And, oh so sexual trauma survivors can't engage in kink now without it being all about that? Pet names? They can't be submissive anymore? Consensually? Sexually healthy? Be serious. I'd hardly say there's much power difference between them during all this anyway, except that Louis is freer than Armand and it's been putting a strain on their relationship. Louis wants more from Armand, and less of this 'being his past' for them both, and so helping Armand with this could fix that. It's healthy to want to help your partners get out of a rough patch?

I mean, the whole exchange was very clearly set up as a "I want to help you" after such a great moment of vulnerability Louis feels just how much Armand is desperate for it. Louis called Armand so they could work out a plan together.

And the bit with the umbrella was Louis' way of asking 'are you willing to listen to me?' and Armand said yes by unfolding it. Louis goes on and explains, Armand is allowed to argue against it, but Louis makes his point. And then he gives Armand a way to make his own choice in it too. Armand's already decided 'I want you, more than anything else in the world', but Louis still asks after if he's sure of his choice, and with a name, Arun, that is the one of his fullest agency, running the point home. Honoring the situation Armand calls Louis Maitre - as a way of being like 'I'll do as you've said then'. To make this work he's going to have to give Louis some of the control, yes. But it's the first time such a role is ever established, and it was his choice to do it. So so what if they do it in a very suggestive way? They can't like doing that? I think it's them having fun.

I struggle to find how Louis is being overly domineering here when really he's giving and offering Armand the most agency he's ever had. Same with finding it manipulative. The manipulation was more earlier in the episode I think, when he was stringing him along, giving mixed signals. He's no longer toying with him like that. Louis might be pushing Armand, leading him on to make a decision, but he doesn't mean bad by it.

But back to this pimp thing. I find it frankly offensive that this is where people are going with this. I get it, but to run with it being the case is, on many levels, wrong.

Louis told us episode 1 this was the only sustainable line of work to support his family and keep their standing, at the time. It was never his choice to be doing this either but his blackness allowed no other options. He did what he did so his family could stay in that house and maintain all their same comforts. It gave him privileges most black men didn't have at the time that he wanted to maintain and even have more of. Anyway, it doesn't and had never defined him the way 'being good at running things' had. And in that case he just likes having that kind of control where he can get it, which makes sense.

The world is what placed that kind of role onto him of what he was allowed to be able to run, not himself. And on that he actually treated the sex workers he employed well and respected them enough to give them more opportunity.** He recognizes they don't have much in the way of options either.

Louis employed sex workers, yes, but he didn't subject them to abuse, (like how Armand was)*. He didn't oversee things in a way that would go against their consent (see; episode 1 again)**. Sometimes a job is just a job. And Sex work is work.

Armand's particular past with sexual abuses may strike a particular cord with Louis, given all that, but the very last thing either is thinking is that Louis' pimping Armand out here. This is merely their decision as companions, and had nothing to do with adding another line in a laundry list of selling Armands body out to people at the command of someone else. Armand rescinds some of his control to Louis' wishes, because he wants him, and he trusts him, that's all.

If you aren't allowing Armand that choice, and are doubtful it's fully his, you're putting him right back in the box of being defined by his abuses. Putting him back into that space where he isn't given any agency over what he does. (Which is exactly opposite of what the intent of this scene is for)*.

*: (edit) added for clarity.

**: (strike through) numerous people are saying I'm misremembering these points so disregard it. (Thought he was siding with Bricks, it was the other way around). (Technically one aspect of those opportunities were for getting around the law). I don't have a perfect memory, it happens. Let's not get mad about it. Doesn't change much of the point which is that Louis, now, Louis then, was always considering more about the running things and for stated purposes. So I guess I'd say he may only have respected the SWers enough sometimes for what allowed him to do that, and there are moments he certainly expressed remorse over the fact, but he has a great deal higher respect for Armand that is genuine. It's incomparable. Please read my added notes in the tags, it should address most other concerns.

[wra-1-th]

the reason netflix cancelled dead boy detectives is because they're working on a show called alive girl agents btw

[whisperingn1ghts]

DOING THIS WITH MOONCHASER CAUSE I LOVE THEM 😖💕

[cinamun]

Sure, there's probably a mod to stop this but like, I don't remember sims getting visitors MULTIPLE TIMES A DAMN DAY talmbout

Like is this a bug? Is this a booty call? Bro she said hello in the club ONE TIME how do you know where she lives?

[reginamillls]

I think the deleted scene is simply showing you how much Buck is cared for by the people he chose to be in his life, and from someone who craved that care and attention for so long I just think that's neat that Buck has so many people now that do, and idk I'm just happy for him

[greenerteacups]

oooh please someday tell us what you think of GOT

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

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

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

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

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

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

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

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

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

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

[valzhangism]

i know i said i was happy about how mel's story went, but the more i think about it the less i'm sure about that. this is very much connected to how the themes of classism and wealth disappeared in s2, but mel in the beginning was the epitome of piltover. she wanted to advance piltover to prove herself to her mother. to "put piltover—" and by extension herself, "—on the map."

she wanted wealth just to have it. and i'm not blaming her for anything that happened, especially with hextech! she, just like jayce and viktor, could not have known what it would lead to. i mean yeah heimerdinger said so but who the hell listens to heimerdinger? but anyway i think mel changed throughout s1, much in thanks to jayce. by the end she's become more cognisant of the mistreatment of zaunites. she's the first to vote for their peace. she was a good person all along but now she knows how to act on it. it's also seen more in s2 act 1. when she covers her painting with gold, it's symbolic—she won't act according to what her mother might think. she won't let her desire for approval dictate her anymore.

so somehow i wish those themes were. continued, somehow? like again they were dropped not just with mel but the whole show and it makes her story a off to me. there's no meaningful commentary on war or classism or how her ideology stands opposite to her mother's. like some people have said, it feels like she doesn't have much agency, even if she is really cool. and that to me is a shame because agency felt like her thing. "to shape your own destiny" as she says to jayce in s1. i know her collaborating with the black rose (but not fully joining them) and learning magic is supposed to represent becoming independent from her mother, taking her own path, but some other aspects of her character were thrown away... the more i think about it the more i'm thinking they kind of #girlboss-ed her a little bit. maybe to sell another champion. i can't help but feel like even though i enjoyed seeing her on screen, the payoff didn't feel proportionally satisfying compared to her setup in s1.

[spywhitney]

How I sleep knowing I'll never trust anyone that hates Sydney but worships Richie: