#season 1’s time limit was handled much much MUCH better and it was a great show. so why would u think timing is the issue???

[sapphic-boyfriend]

“arcane just needed more seasons”

hey, so fun fact !! if the writing/narrative fucking sucks in the first place, it doesn’t matter how many seasons you have, because they’re all going to be bad.

if they were given more time, we would just have more bad writing. is that what u want?

hope this helps !! since some of you don’t seem to get that by now.

[doctorwhonerdadi3]

Ranking New Who Companions

What classes as a companion in Doctor Who is a difficult one for me to answer. On one hand I would say it's someone who travels with the Doctor, but then we'd be here all day listing out everyone that has been in the Tardis. So I have decided to limit it only to the characters who are the named companions for each Doctor. Simple right? Choosing who I liked more over each companion was a difficult one. As always this is just opinion based and honestly, my opinions for each of these companions changes regularly. That being said, I have made an attempt at ranking them.

Number 12: Ryan Sinclair

Ryan is, for me, probably the most forgettable of Whittaker's companions. It doesn't mean he is bad, I just don't enjoy him as much as the others. I've seen Whittaker's run a couple of times and I barely remember anything about Ryan other than he had Dyspraxia and sucked his thumb.

Number 11: Rose Tyler

Okay, I think Rose being so low down is controversial, but honestly... I don't like her. She is 19 when we meet her and very clearly a product of the 90s/2000s. She spends most of her time as a love struck teenager, who is constantly jealous of any woman who gets near the Doctor. It's strange because series 1 and Eccleston are my favourite of New who. Her 'lovestruck' phase really shines in Tennants first series. Either way, she is my number 11.

Number 10: Clara Oswald

I enjoyed Clara when she showed up as a Dalek in Asylum of the Daleks. I enjoyed Clara when she was in The Snowmen. But then it kind of stopped. Her run with Smith just didn't do it for me. She did better with Capaldi but I think that is mostly down to him actually letting her have a life as a teacher, go on dates, etc. It gave her chance to really shine.

Number 9: Graham O'Brien

I just had to google Graham's last name, that is how much I don't really like him. Dealing with bereavement is difficult, and being the oldest of your group is also a challenge. I think 'Rosa' was when Graham really shined. Idolizing her and then having to be the reason that she didn't give up her seat on the bus... Graham was actually a well rounded character in a series of none rounded characters.

Number 8: Yazmin Khan

Yaz had the longest run with Whittaker, probably down to her crush. She proved herself to be a smart woman, who could handle herself. When we first met her, she was training to be a police woman, which shows that she has the strength and courage to succeed. I enjoyed her as a companion.

Number 7: Donna Nobel

Okay, time to be controversial again. I love Donna, as I am sure everyone else does, but she isn't my favourite. She was heart warming and smart, plus she had a bit of a temper and slapped the Doctor. What more do you want from a companion? She truely was a mate of the Doctor, and after the 60th anniversary specials- she got the ending she deserved.

Number 6: Dan Lewis

What? I'm putting Dan above Donna, have I gone crazy? Probably. John Bishop cannot act. However... I really liked his character. She was chill. He had a wok. He was kind of resourceful. The only thing I didn't really like was how he outed Yaz to the Doctor.

Number 5: Martha Jones

I love Martha. I think she is truely underrated as a companion. She often gets overshined by Rose, which is annoying. Take away the ending where she married Mickey, I didn't like that, and you have an amazing character. Smart, resourceful, brave. Everything you need to be the Doctor's companion. This woman walked the Earth for the Doctor. She should have married Tom though.

Number 4: Ruby Sunday

Our new new who companion. I think part of the reason that series 15/Season 1 did so well was because of Millie Gibson's performance. She started out a little rocky, but she soon grew into a companion I loved. Her performance in Boom and 73 Yards really solidified her as a great companion in my opinion.

Number 3: Amy Pond

The girl who waited. Amy's run as a companion was beautiful. She had her boys and her spaceship and she was off. She did start out a bit shakey, trying to sleep with the Doctor the night before her wedding, but if you look at it from her character arc it makes sense.

Number 2: Bill Potts

Bill's death was heart breaking and was 100% the Doctor's fault. Shot through the chest and then turned into a Cyberman. Ouch. She was a fun companion and she brought a ray of sunshine to a rather dark Doctor who had just lost his previous companion. Also I love the Cybermen design for when she got turned into one. It was very classic who.

Number 1: Rory Williams

And finally we have Rory the Roman. Well deserving of the first spot. He waited 2000 years for Amy in the Pandorica. He loved her unconditionally from childhood. He was a nurse. This man was brave and strong all at once. I was heart broken when he got erased from time and Amy forgot him. Luckily he came back... Until he died again.

[animehouse-moe]

Jujutsu Kaisen Season 2 Episode 6: Shibuya Incident 2

I'm actually thoroughly surprised. It's a bit hard to explain, truthfully, but this episode does surprisingly well on the whole. But I suppose that is owed to the star studded staff that came out of the woodwork to work on this episode. Anyways, I won't spoil the fun, so let's get down to brass tacks before I let the cat out of the bag.

Mahito vs Kokichi. I would say I'm.... satisfied. Though I suppose that might be a bit of a crazy statement to make considering the fight. It's just... I'm not quite sure how to explain it. A lot of the added scenes were great, and it's not quite that they felt piled on, but that they weren't really put together well?

We got all sorts of crazy scenes and even a Gurren Lagann reference by the man himself. But how much is a pile of art worth, truly? How much motion, movement, shading can you imbue a moment with before it tips over the edge? I feel very strongly about how Vincent Chansard approaches animation with his OP cuts at times, and I just feel like that point's been reached with sequences here. I know, crazy thing to say, but it's just.... not quite lost the plot, but maybe the purpose?

Tengen Toppa Jujutsu Kaisen is cool, but it ignores the purpose of the original sequence in the manga. A do or die moment for Kokichi becomes a grand stand of overpowered individuals that stretches the fabric of the fight itself. Very Gurren Lagann in that sense, but this is Jujutsu Kaisen. I love the reference with Kokichi going on to stab Mahito, and I think Mahito drilling through to Kokichi is a cool change up. But the middle parts? While cool, end up excessive and misrepresented.

It's the dangerous game of giving an anime powerup, that does have me concerned as to how fights moving forward will be handled. Mahito's powers are limited, and he himself expresses that in S1 with the weakness of certain forms. His fleeing from Kokichi (which was horribly marred with ghosting and dimming) expresses the limits of his abilities incredibly well while providing an insanely well done original scene to the fight. This last piece with Mahito vs Kokichi though? It pays no attention to the limits of Mahito's soul, or the rules of his abilities. It extends past the reason and fairness that Gege put in place to provide a grand stand in the end. Is it cool? Definitely. Do I mind it being in the episode? If you're a manga reader, not really. For anime onlies though? Gives the completely incorrect intention with the character.

For reference, this is all that happens during that whole break in sequence in the manga.

Returning to the fight at large, it's pretty clear to see that the animation is carried through by a few of the key talents working on it. Not all sequences outside of the handful are terrible, but a good number lack any sense of pace or weight. I don't know if I'd be as harsh on them as I am if there weren't as many great cuts, but such is the way things go.

So, once more to reiterate, I'm rather satisfied with this stretch of the Mahito vs Kokichi fight. Undoubtedly carried by the star performers, the fierce individuality brought by each can clash with both one another and the source material at times to make the fight more than a little challenging to follow. Certainly far better than what I was expecting though.

Though respectfully, what is this? The difference in the hands between the cuts is rather painful, and just the way it is in movement compared to the re-used cut of Mahito's initial domain expansion from season 1 makes it feel so wrong. The epitome of S1's flirting vs S2's sexual harassment.

Talking the episode as a whole, before moving on to Shibuya itself, it was arguably the most consistent of the bunch we've gotten for season 2 so far. Sure, the lows stick out like even more of a sore thumb than before, but the highs are far stronger, and the character designs remain largely consistent throughout. I think my only complain is how out of place the background characters for Shibuya can look in comparison to how the actual cast is drawn.

Like... I just don't really know what to say. Did they even try to match the art style? Even worse is the fact that when they're dealing with characters that did exist in the crowd, in the manga, they're able to style them properly? Like, the above image of the people in the crowd to this one, would you believe that they're from the same series?

Aside from that, I don't really have any complaints with the rest of the episode? It's exposition heavy, but the character designs are surprisingly solid, with Kusakabe arguably being the best adapted from Gege's style. He is missing a lot of the real charm to his character that's expressed through his design, and much like Megumi his hair differs to the manga, but there's something about it that feels much more "right" than other first time designs. Does make me question just what went on with Yuko, Yuki, and the other characters who have been appearing for the first time through this season though.

Will say though, they've nailed the new cast of voices coming in. All have the right vibes and I'm really looking forward to seeing what they can do with their respective moments in the series.

This episode certainly has me less worried than all of Gojo's Past for how Shibuya will look. Gosso's involvement feels far less heavy handed, and while the individual freedom afforded by that may be detrimental at times, it feels like the far better decision for an arc like this. It won't be on Park's level, but I'm starting to think that there'll be potential, just have to see if things end up out of hand or not.

[thechanelmuse]

TW: rape

‘I May Destroy You,’ Michaela Coel’s gimlet-eyed exploration of trauma and its myriad ripple effects follows Arabella (Coel) — a funny, messy, sharp-as-hell London writer — after a dizzying night in which she’s drugged and raped by a stranger. At first, she dismisses the hazy memory as just an upsetting image in her head. Soon enough, though, Arabella reluctantly comes to understand it as the truth, and tries to work through that horrifying reality without coming apart. [...]

Not every part of Arabella has a direct line to Coel, but the series’ catalyzing experience, unfortunately, does. In 2016, Coel took a break from a marathon writing session for the second season of “Chewing Gum” to grab a drink with a friend, and was drugged and assaulted by a stranger. She’s been sifting through the emotional wreckage ever since to find some kind of clarity, if not peace. Now, with “I May Destroy You,” she’s doing it for all the world to see. “As a fellow android exploring what it means to be human,” says Coel’s friend Janelle Monáe, “watching Michaela be vulnerable on-screen as she walks in her truth gives me and so many the bravery to walk in ours.” [...]

Coel began writing “I May Destroy You” in February 2017, in between acting in TV projects like the “USS Callister” episode of “Black Mirror” and Netflix’s limited series “Black Earth Rising.” She took solo mountain trips and wrote draft after draft of what would eventually become “I May Destroy You,” spilling her stories and tangled guts onto the page, rearranging them into shapes she could better recognize. In August 2018, she spoke about her trauma publicly while delivering the Edinburgh International Television Festival’s James MacTaggart Memorial Lecture, a prestigious assignment the festival has otherwise bestowed on a cadre of white British television mainstays (as well as no fewer than three Murdochs). 

The majority of Coel’s speech, delivered to a room of the U.K.’s most powerful entertainment brokers, traced the constant racism and classism she endured on the way to that Edinburgh stage — a theme subtextually underlined by the fact that Coel was, and remains, the only Black woman to have that platform. She spoke about turning her solo play “Chewing Gum Dreams” into a “Chewing Gum” TV series (which aired 2015-17 on the U.K.’s Channel 4), a transformative time that taught her the technicalities of making television and confirmed just how disinclined certain white gatekeepers are to trust a poorer Black woman’s vision. Toward the end of the 50-minute lecture, Coel revealed her assault and elucidated the industry’s inability — or unwillingness — to handle such a human emergency when pages are due. As for her recovery, she said, “It’s been therapeutic to write about it, and actively twist a narrative of pain into something with more hope, and even humor.”

When it finally came time to translate it all to the screen, “I May Destroy You” was so close to her bruised heart that Coel took on the challenge of playing several roles throughout the series’ development: creator, writer, actor, producer, director. Netflix offered her a total fee of a cool $1 million to make and star in the show, but the proposed contract wouldn’t grant Coel even a tiny percentage of the rights. She hadn’t fully realized how much claiming legal proprietorship over her work mattered to her until the prospect of not being able to emerged, at which point it became crucial. 

Then, after some Googling, she realized that her CAA agents would also be profiting from the deal via the endangered practice of packaging. Stung and surprised, Coel walked away from both her agents and the offer. “I’m not anti-Netflix,” she’s quick to say now, “but I am pro-‘the creator, writer, director, actor should probably have a right.’” She’s hyper-aware of how much this project required of her, and how comparatively little granting her “a right” might cost a powerful network like Netflix. “That’s not quite fair, is it?” Coel muses. Creating the show, after all, took almost everything she had.

With the BBC, a million-dollar paycheck might not have been in the cards, but more important to Coel, she didn’t have to fight half as hard to claim ownership. (As a matter of industry course, it’s far more common for British studios to afford creators rights to their work than it is for American equivalents.) They struck a deal, and Coel got to work.[...]

“When you’re restricted,” she explains, “sometimes that’s where you find great things: in the lack of possibility.” She attributes this rather Zen approach to Hugo Blick, the “Black Earth Rising” showrunner who showed her the value of keeping a cool, empathetic head on set. Blick’s ability to step away from a gnarly situation for even 30 calming seconds is one that Coel has worked to hone for herself, especially while steering a series with such fraught ties to her history. No matter how sideways things might go, she never wants to forget just how much she loves the collaborative act of building a television show, wild complications and all. 

Read more

From Forbes:

I May Destroy You’s Michaela Coel Rejected Netflix’s $1 Million Offer In Favor Of The BBC Because Of Ownership

The creative, who stars as Arabella and wrote all 12 episodes, started pitching the programme in the spring of 2017 with one of her first ports of call being Netflix who picked up her prior series Chewing Gum.

Though Netflix offered a generous upfront fee of $1 million (£800,000), the sum had strings attached, including full rights ownership away from the creator, something Coel pushed back against. Coel recalls a moment during the interview where she is speaking with a Netflix development executive on the phone, asking if she could retain even a very small 0.5% of the copyright to her show.

“There was just silence on the phone. And she said, ‘It’s not how we do things here. Nobody does that, it’s not a big deal,’” Coel recollected. “I said, ‘If it’s not a big deal, then I’d really like to have 5 % of my rights,’” Coel added, stating that she even went down to 2%, and then 1% and even as a final compromise to 0.5%.

Coel remembers that the executive said she would have to run it passed her superiors, before adding, “‘Michaela? I just want you to know I’m really proud of you. You’re doing the right thing.'”

“I remember thinking, I’ve been going down rabbit holes in my head, like people thinking I’m paranoid, I’m acting sketchy, I’m killing off all my agents,” Coel says. “And then she said those words to me, and I finally realized — I’m not crazy. This is crazy.”

Coel discovered her agents, Creative Artists Agency (CAA) were set to make an undisclosed amount from the series if she took the deal with Netflix. She reveals that the agency pushed her to take the deal prior to her finding out and their subsequent dismissal as her U.S. representation.

Taking the project to British broadcaster the BBC later in 2017, Coel found the corporation to be supportive with her maintaining creative control even with the explicit depictions of sex, sexual assault and drug use. Plus, as the broadcaster had to adhere to terms of trade, Coel had no problem with retaining the rights also. The broadcaster also brought HBO to the table as another co-producer to help subsidise a portion of the budget.

Read more

This isn’t about just “knowing your worth;” it’s about knowing the business (your business) and never settling just to secure “something.” A million dollar offer, no copyright ownership and no creative control is beyond disrespectful. Learn the business in whatever field you’re in and stay acclimated with jargon and new, current and old practices. Know your shit. 

It’s like when people say “Get a lawyer” to handle negotiations and look over your paperwork. You pay a lawyer to do a job, but it does not mean you should be oblivious to aspects of law and contract jargon among other things because “that’s what they’re there to do.” You can’t say someone (sometimes lawyers included) screwed you over after you’ve signed the dotted line. They’re protecting and looking out for themselves. Commit to do the same for yourself.

[crusherthedoctor]

Can you list anything you unironically like in the games (and cartoons and comics) that you don't like?

I won't bother mentioning music, since that goes without saying and is to be expected for a Sonic game... unless you're Chronicles.

Sonic Adventure 2 (mixed gameplay-wise, annoying story-wise) - While I prefer Sonic's SA1 levels for a number of reasons, I still think his and Shadow's gameplay in SA2 is fun on its own merit. I also don't mind the treasure hunting gameplay returning or how big the levels are this time around, since Knuckles and Rouge are still fast and not '06 levels of slow. It's mainly the gimped radar that creates the unfortunate domino effect of making them a problem.

- Introduced Rouge, one of my favourite characters for how playful she is and how she's a lot more nuanced and intelligent than you'd expect.

- Some genuinely good scenes, like Eggman's trap on the A.R.K and Sonic escaping from the G.U.N. helicopter.

- Had some good ideas going for it, like the Pyramid Base and the Biolizard as a scientific monster instead of an ancient one.

- Despite my thoughts on the backstory itself (or rather, its execution), Shadow has enough depth and subtle qualities and occasional unintended hilarity to stand out from the typical dark rival characters you see in media.

- The Last Scene's music in particular is one of my favourite cutscene tracks in the series.

Sonic Heroes (mixed gameplay-wise, loathed story-wise) - The gameplay is fun when you're not being screwed over by repetitive combat, overly long levels and/or ice physics.

- Boasts some of the most consistently Genesis-worthy environments in the 3D games, up there with SA1's and Colours'.

- The in-game dialogue that isn't the same tutorial drivel repeated ad nauseam can be interesting, funny, etc.

- Reintroduced the Chaotix, which provided me with another character I quite like in the form of Vector.

- Bringing Metal Sonic back in full force and front and center in the plot after a long absence (not counting cameos and the like) is a perfectly fine idea. Just... not like this.

Sonic Battle (decent yet repetitive gameplay, mixed story-wise) - Emerl's arc is compelling, and it earns the emotional weight of having to put him down at the end.

- While some characters are iffy (read: Amy), other characters are extremely well-handled. Shadow is probably the prime example.

- Gamma's belly dance healing animation is fucking hilarious.

- When I was young, and the game was first announced, I was really excited about being able to play as Chaos. This proved to be my downfall when it turned out he was arguably one of the worst characters in the game due to being slower than me during the writing process, but I still recall that excitement fondly.

Shadow the Hedgehog (comedy classic) - The sheer amount of legendary stupidity this game has going for it makes it practically impossible to actually hate. It helps that it's not quite as white-knighted on the same level as '06... usually. You know you're in for a unique experience when you hear a gunshot every time you click something in the menu.

- By extension, Black Doom never gained an unironic fanbase like Mephiles/Scourge/Eggman Nega did, which means I'm a lot more willing to take Doom's dumbass brand of villainy in stride. He even has a unique design... a terrible one that rips off Wizeman granted, but alas, even that is a step-up from Fridge Shadow and Bumblebee Eggman.

- Despite being... well, Shadow the Hedgehog, some of the environments would fit right in with any other Sonic game, like with Circus Park, Lava Shelter, and Digital Circuit. Even the Black Comet levels look pretty cool.

- This game understands amnesia better than IDW does.

Sonic '06 (what do you think?) - The obvious one: Shadow's character was handled pretty well, even if it came at the cost of everyone else being a dummy and being forced to interact with Mephiles.

- Like SA2, there are some good moments, like the Last Story ending sequence with Sonic and Elise.

- In the greatest form of irony ever, I like Solaris as a concept and design(s), and its backstory has potential to serve as a parallel with Chaos without being a complete ripoff. Iblis sucks, Mephiles sucks, but I'm fine with Solaris.

- Introduced legendary characters like Sonic Man, Pele the Beloved Dog, Hatsun the Pigeon, and Pacha from The Emperor's New Groove.

The Rivals duology (apathetic outside of Nega-related grumbling) - There were some cool zone ideas in both games that were sadly let down by the restrictive and limiting gameplay. I particularly like Colosseum Highway for thus far being the only full-on Roman level in the series instead of merely having a couple minor hints of Roman, and Meteor Base for the unique scenario of the space station being built into an asteroid. These level concepts and others deserve a second chance IMO. (At least Frontier Canyon got a second chance in the form of Mirage Saloon, amirite?)

- Ifrit has a better design than Iblis. Not saying it's amazing, but the Firebird motif it has going on is a lot more interesting for a fire monster than the Not-Chaos schtick they had with Iblis.

Sonic and the Secret Rings (a very frustrating gaming experience) - Erazor Djinn, A.K.A. Qui-Gon Djinn, A.K.A. Dr. N. Djinn, A.K.A. I'll Take It On The Djinn, A.K.A. Not From The Hairs On My Djinny Djinn Djinn, is one of the best villains not associated with Eggman in the series. He's a Mephiles-type character done right, and there's actual weight and reason to his actions, however sinister or petty.

- I don't have strong opinions either way on Shahra as a character, but the Sonic/Shahra friendship is sweet and well-handled.

- The ending is one of Sonic's greatest moments. The sheer contrast between how ruthlessly he deals with Erazor and how comforting he is towards Shahra speaks volumes... Still gonna make fun of the mountain of handkerchiefs though. (Before anyone lectures me, I understand the significance of it and can even appreciate it from that angle... doesn't mean I'm not allowed to poke fun at it. :P)

- Another game with some redeeming environments. I love the aesthetic of Night Palace, and Sand Oasis looks gorgeous too.

Sonic Chronicles (my personal least favourite game in the series) - Uh...

- Um...

- Er...

- I like Shade's design?

Sonic Unleashed (overrated game and story IMO) - The obvious two: the opening sequence and the Egg Dragoon fight deserve all the praise they get.

- Seeing Eggmanland come to life was an impressive moment to be sure. While part of me does feel it didn't quite measure up to what I had in mind (ironically, the Interstellar Amusement Park ended up being closer to what I had in mind), it still looks badass and works well for what it is. I also don't mind the idea of it being a one-level gauntlet... key word being idea.

- Obviously, the game looks great. Not a fan of the real world focus (real world inspiration is fine, but copy-pasting the real world and shoving loops in it is just unimaginative), but it can't be denied that the environments look good.

- This game pulled off dialogue options a lot better than Chronicles did, since they didn't rely on making Sonic OoC.

Sonic and the Black Knight (just kind of boring all around) - Despite my gripes with the story (Merlina wasn't nearly as fleshed out as her unique anti-villain status deserved, which ends up severely undermining the ambition of the plot in more ways than one, and the other characters go from being useless yes men for King Arthur to being useless yes men for Sonic), I will admit it provides interesting insight into Sonic's character.

- Like '06 and Secret Rings, the ending is very nice... well, aside from Amy being an unreasonable bitch ala Sonic X at the very end.

Sonic the Hedgehog 4 (apathetic) - The admittedly few new concepts sprinkled within had promise. They may not have been as fleshed out as they could have been, but level concepts like Sylvania Castle and White Park, bosses like Egg Serpentleaf and the Egg Heart, and story beats like the Death Egg mk.II being powered by Little Planet, all could have been brilliant had they been better executed.

SatAM (apathetic outside of SatAM Robotnik-related grumbling) - I'm not a fan of the environments on the whole due to them looking too bland or samey, but there are some exceptions that look pleasant or interesting, like the Void.

Sonic Underground (apathetic) - The character designs make me feel better about myself.

- Does "large quantities of unintentional meme material" count as a positive?

Sonic X (mostly apathetic outside of Eggman's handling) - Helen was a better human character and audience surrogate in her one focus episode than Chris was throughout his entire runtime.

- Actually, most of the human characters not named Chris were legitimately likable. Including everyone in Chris' own family not named Chris. Hilarious.

- Despite arguably having the most Chris in it, I actually don't mind the first season that much, partly due to slight nostalgia from seeing it on TV when it was new, but mostly because Eggman actually acted like a villain for the most part, and certain other characters weren't quite as flanderized yet. It's season 2 and onwards where things started going off the rails IMO. (Incidentally, Helen's episode was part of season 1...)

The Boom franchise (apathetic) - Along with Chronicles, the games provide yet more proof that just because someone isn't SEGA/Sonic Team, that doesn't mean they're automatically more qualified to handle the series.

- The show had some good episodes here and there, and Tails' characterization was probably the most consistently on-point out of the cast.

- Despite not exactly being favourite portrayals for either character, even I'll admit that many of Knuckles and Eggman's lines in the show on their own were genuinely funny.

Archie Sonic (pre-reboot is mostly terrible, post-reboot is mostly... bland) - Whenever I doubt myself as a writer, I think back to Ken Penders, and suddenly I'm filled with a lot more confidence.

Sonic the Comic (apathetic) - Fleetway isn't a comic I tend to recall much of aside from how much of a loathesome cunt Sonic is, but IIRC, Robotnik's portrayal is pretty good. Different, but good.

IDW Sonic (stop pissing me off, comic) - Putting their handling aside (and being too obviously "inspired" by MGS in the latter's case), Tangle and Whisper are good characters IMO.

- Same goes for Starline, before he was killed off-screen and replaced with Toothpaste Snively.

- Execution aside (noticing a pattern?), the zombot virus was a fine concept on its own and an interesting new scheme for Eggman.

- I get to remind myself that I've never drawn scat edits and posted them publicly on Twitter.

[3pirouette]

Fic: Great Rivals (1/1)

Title: Great Rivals

By: TriplePirouette/3Pirouette

Spoilers: Full MCU, very specifically Black Widow

Disclaimer: They're not mine.

Distribution: AO3 Anyone else please ask first :)

Story Summary: “So, I have the nuclear code. But, there he is: Captain America! Finally, the Red Guardian’s time has come! I grab hold of his shield, and face to face, it’s a test of strength. […] This shield, you know, that he carries with him like a precious baby blanket, you know? I use it to my advantage. I take it and I push him out the window. I make my escape.”

“What year was this?”

“I don’t know. Like ’83. ’84.”

“Captain America was still frozen in ice then.”

“Are you calling me a liar, Ursa, huh?” – Black Widow, 2021

Humor. Steggy. Set, oh, I don’t know. Like ’83. ’84.

Steggy Week Day 4: Favorite Headcanon

A/N: This is it. This is my new favorite headcanon that this really, actually happened and you can’t convince me otherwise. Spoilers for Back Widow. If you haven’t seen it, RUN. I will wait. I am absolutely in love with Bumbling-idiot-family-man Red Guardian. Also, based on canon and my understanding of the time travel rules (I’m going by Outlander/Doctor Who rules and until they state otherwise, you can’t stop me), this is 100% possible in the current MCU timeline, even WITHOUT the multiverse.

I started writing this pretty much right after watching Black Widow, then decided to use it for Steggy Week 21, Day 4: Favorite Headcanon.

Also, YES, Peggy and Steve would be quite a bit older when this happens. As in their 60’s. But I see no reason why a super-soldier Steve wouldn’t be able to pull this off with no problem. Plus, since we have no confirmation of when they have their children, I’m going with they have teenage/college age kids at this time. Timeline is just SUPER vague, so fill in your own head canon.

~*~

Steve stopped what he was doing, wiping his hands on the dishtowel before picking up the phone. “Hello?”

Her sigh through the phone line was not a good prospect. “Darling? Are you busy?”

“Just working on dinner,” her replied carefully, moving back to the roast and the rub he was trying to get to stick to the outside of the uncooked meat. “Why?”

“I’m afraid I’ve a large favor to ask.” The phone line garbled for a moment and he could hear her yelling across the room. “No, I said three tac teams, and keep their distance!”

Steve put down the seasonings and stepped back from the roast, cradling the handset between his ear and his shoulder. “The kids will be home soon, and I’ve got a roast on the counter. My time is limited, Peg.”

“Mr. Jarvis is on the way over,” she mumbled, the sounds of her shuffling papers on her desk clear. “I’m sure he can very well handle both those things.”

Steve washed his hands, intrigued. “And what, exactly, is it that you need me to handle?”

Her laugh was mirthless. “A very large, very angry idiot.” Her sigh was softer. “I’m afraid you’ll miss family dinner, but it’s wheels up in twenty at the base. And bring the shield.”

Steve looked toward the basement where he hid it. “The shield? The one Howard made me as a joke?”

“Yes. The shield.”

~*~

His briefing in the jet was marginally useful, at best. The man was known as The Red Guardian, a super soldier of unknown origin, working for the KGB. He wasn’t usually considered a serious threat, and even though he could be extremely dangerous, was often easily outwitted.

Peggy and SHIELD had managed to figure out that they often trotted him out as a decoy. Large, boastful, and loud, he attracted attention wherever he went, and caused enough damage to keep authorities busy. He wasn’t a tactical soldier, but that didn’t mean he was easily deterred.

Steve landed in California and was brought to the swanky hotel by SHIELD Agents who filled him in on the latest. “He’s on the tenth floor, in the suite.” The young man said as they pulled up to the scene. “The president and his team are safe, but I’m afraid the Guardian has one of their briefcases. We’re still trying to verify the contents.”

Steve stepped out of the truck and moved to the back, gearing up and filling the belt and pockets of his black tactical suit. Most people didn’t know he was alive, and even though he was showing up with a red, white, and blue shield strapped to his back, he and Peggy had decided the suit shouldn’t ever make a comeback while he was still frozen. “What could be in there?” he asked as he put an earpiece in.

The young agent shrugged, clearly frustrated himself. “Could be President Reagan’s menus for the next three days, could be the round of bills he was set to talk about at the capitol tomorrow, or…”

Steve didn’t like the way the young man paused. “Or?”

The man tried not to look nervous as he said it. “It could be the nuclear codes.”

Steve didn’t waste another second as he pushed forward, knowing what could possibly be on the line. The political climate with the Soviets was tense, and both sides seemed to have their hands hovering over those figurative buttons, ready to start the end of the world at any second.

The agents and police parted like the red sea around them, and Steve swiftly made his way into the building and up the stairs as quietly as he could. He did odd jobs for SHIELD here and there, anytime they need a little extra muscle or the job was particularly dangerous, he stepped in.

He hated missing Family Dinner night, though.

He slipped onto the tenth floor and heard the man’s bellows from down the hall. He was laughing, telling some sort of joke to the SHIELD agents that had him cornered.

The man had a suit of bright red and white, similar to the one he once wore in that it called to those around him, brought attention, and tried to be a symbol. The Guardian swung the briefcase in his hand, causing the agents to back up a step.

“Now, why don’t you just let me leave and we can all have nice day, hum?” The Guardian asked, teasing the men as he moved more and more aggressively.

“Why don’t you pick on someone who can handle you?” Steve asked loudly, stepping into the room, shield drawn and at his side.

The Guardian turned, a smile widening across his face. “Captain America,” he growled, his excitement growing. “Captain America!” he bellowed, as if triumphant, while pumping his fists in the air, one still holding the briefcase.

“I’ll be needing that briefcase,” Steve said, loud and serious.

The Guardian laughed, smiling as he sauntered closer to the man. “My great rival, finally here to challenge me!” He sighed as if his greatest wish had come true. “The time has truly come.”

Steve wasn’t exactly sure what this man had heard, or why he seemed to know that Steve was Captain America so far removed from the War- SHIELD had worked desperately to keep his existence under wraps and to keep the figure of Captain America out of the public eye as much as they could. Steve couldn’t quite figure out why he seemed so excited.

The Guardian did a little skip jump in place, almost a two-step as he got closer and closer. “I have come to steal your nuclear codes. The time has come for the Soviet Union to rise!”

The man paused, almost unnaturally still, and then without warning charged at Steve. Steve held his ground, the man running into him and his shield with fantastic speed and strength, pushing them both back until Steve felt his back connect with then push through the plaster of the wall behind him. Steve pushed back, launching The Guardian off of him with his shield and pulling himself out of the wall. He saw the briefcase skid to a halt to their side, but turned his attention back to the problem before him.

The fight that ensued was sloppy, but serious. The man had no technique, which set Steve back on his heels. He wasn’t ever sure where the next punch or kick would come from, because the Guardian wasn’t skilled and the motions didn’t make sense. He managed a few good hits, including one that Steve was sure had broken bones in his ribs when The Guardian ducked, spun, and managed to catch Steve in his side.

But Steve was still a scrappy kid from Brooklyn that learned quick, and he found that The Guardian relied far too much on his size and bulk, and was not used to fighting someone who wasn’t incapacitated after a few hits. Steve started ducking his blows, his smaller body moving faster and the shield helping him to block as he finally started to understand the way the man threw his weight around.

The Guardian let out a frustrated bellow as another punch missed, but was quickly silenced by a well-timed punch by Steve across his jaw.

The Red Guardian paused, stepping back, and smiled as he ran his hand over his jaw. “We are matched!” he growled out, slow and dark. “No man is match for my power, my strength, but you!” He laughed again, this time his eyes narrowing with calculation. “You are truly the only adversary to give me challenge.”

The Guardian charged again, and Steve stepped out of the way, but the Guardian swung his arm out and picked Steve up, spinning him and slamming him hard to the ground. Steve rolled and lifted his shield, just in time to block a punch from the Guardian. The man yelled in pain, the vibranium absorbing the power and his knuckles cracking hard against the metal.

Steve swung his legs around and swept the Guardian’s feet out from under him, setting the man on his back. Steve jumped back up, intending to punch him, when he saw the man reach out and pull the briefcase back into his hands. He rolled and jumped up, a few feet away now.

“No, no, no!” He teased, swinging the briefcase at Steve. “I have the codes.”

“He doesn’t have the codes, sir.” Came the fuzzy voice in his ear.

“What?” Steve asked, straightening up and pressing his hand to his earpiece to set it deeper and get a better sound.

“He doesn’t have the codes, Sir,” the agent in his ear repeated. “He has President Regan’s food and housing preferences. Nuclear codes are still secure.”

The Red Guardian, however, hadn’t noticed Steve wasn’t talking to him. “I have the codes,” he teased, swinging the briefcase back and forth, “And your forces will be no match for the wave of blood that will take over your land when we are victorious!”

“What about…” Steve didn’t get to finish the question, one eye on The Guardian’s boastful dance that was supposed to be taunting and one ear on the voice of the agent.

“SHIELD headquarters just radioed in, reported that the Soviet Union’s actual attempt on the Able Archer files was unsuccessful. Director Carter says, and I quote, to let him go and please get home for dinner.”

“Copy that,” Steve replied. He stood tall and let his shield drop, lifting his head in challenge to the other man. “Let’s get this moving along, Guardian. I’ve got a roast in the oven.”

“A roast—” The Guardian looked confused at first, then he started laughing, great big guffaws that almost doubled him over. “Funny man. And Apple Pie for dessert, hum?”

Steve eyed the corner of the room where the Shield Agents were still standing and tipped his head towards the exit. The leader questions him silently, but Steve signaled again and he watched as they left.

The Guardian didn’t miss a beat, even through his laughs. “Ahhh, yes. You clear the field. Now is time for real fighting.”

Steve braced again as the man ran at him full speed, letting the shield take the brunt of the impact and then turning swiftly, locking an arm around the man’s neck. Steve hoped to choke him enough to get him to pass out, then make a quick getaway. The Guardian, however, was not a slight man, and finding the right spot to put pressure on as he flailed under him was proving more difficult than Steve thought.

Steve managed a sharp knee in the Guardian’s kidney, dropping him to his knees, and just when he thought he hand him, The Guardian managed to flip him over his head.

They both stood, taking a deep breath. The Guardian stepped closer, laughing, and grabbed hold of Steve’s shield with two hands like it was a steering wheel. “A test of strength, yes?”

The man started pushing, and initially Steve pushed back, causing an impasse where they were simply straining against one another, but then Steve managed to get a glimpse behind him to the wall of windows the man was pushing him towards.

He’d seen what was under those windows.

It wasn’t great, but it would do.

Slowly, he let up the pressure he was exerting on the Guardian, the man smiling triumphantly as Steve started sliding back. Steve called up every ounce of acting talent he had, from the USO show to pretending he couldn’t lift Mjölnir, to every time he’d had to make up an excuse to his children about why Peggy was missing Family Dinner night, and scrunched up his face like he was pushing as hard as he could.

“What?” The Guardian asked, “You cannot best me in just strength?” He chuckled. “I am bigger, and I am stronger, Captain America!”

Steve couldn’t believe those stupid radio plays were going to come in handy, but having been forced to listen to them by Peggy, the cheesy line that popped into his head was too good to not use. “You may be stronger than me, but you’ll never love your country more than I love America, Red Guardian! Truth, Justice, and the American way!”

Steve remembered, just a moment after that, when he was falling out of the ten-story window, that the last part hadn’t been the Captain America Adventure Hour, but rather from the Superman comics. He didn’t think the oaf would notice.

He spun and twisted, putting the shield under him just in time to make contact with the solid concrete of the courtyard. He rolled slowly, the wind knocked out of him, and made it to his hands and knees.

He looked up, just in time to see Red Guardian triumphantly waving his briefcase full of lunch menus before disappearing into the hotel.

He slowly pushed himself up off the pavement, standing tall and feeling the sharp pains of broken bones and a battered body. He was met by the SHIELD Team, who seemed astounded he was alive after that fall.

“Sir, are you- should I call an ambulance?”

“I’m fine,” Steve replied, moving carefully back towards the base of operations. “Just get me on a plane home.”

“The Director…” the agent mumbled, nervous. “She said to let him go?”

“He thinks he has what he wanted. He shouldn’t bother you again.” Steve winced and shifted, biting his lip as he felt a rib pop back into place. “I’d like to get back to the plane as quickly as possible, please.”

“Yes, sir.”

~*~

Peggy heard the bike’s motor cut out and met him at the back door. He was tired, but smiled and met her lips with his, anyway. “Sorry you had to miss dinner.”

“No, you were right.” He stepped into the kitchen, setting the shield by the door and sitting to take his boots off. He moved slowly, gingerly. “He was a very large, very angry idiot.” Steve leaned back, tossing his boots to the floor. He closed his eyes and sighed. “That’s not as easy as it once was, you know.”

“I know, my love.” Peggy smoothed his hair and dropped a kiss on his head as his eyes fluttered shut. “Did you sleep on the transport?”

“No, couldn’t.” He sat up, cleared his throat, and started pulling apart the zips and snaps to his tac uniform. “The kids asleep?”

Peggy set her mug down and helped him shrug out of the long-sleeved top. “Hours ago. It’s nearly two in the morning, you know.”

“Didn’t realize it was so late. Came right home. Why aren’t you asleep?” He asked, glancing over at the clock that was ticking away the middle of the night.

She let her hands rub over his shoulders. “Couldn’t. Kept wondering what that brute had done to you and Howard won’t let me back on base until tomorrow.”

Steve shook his head. “How does he even know I’m alive, anyway?”

Peggy laughed, moving over to the sink and pouring him a large glass of water. “Quite the opposite, really. I’m told no one can convince him you’re supposed to be dead.” She brought it over and watched as he drank the whole thing down in greedy gulps, little rivulets falling over his chin. “He seems to think you are great rivals or some such, and if he isn’t the one to kill you, then you can’t be dead.”

Steve held out the glass and Peggy quickly refilled it, watching as he took slower sips this time. Steve finally took a pause to take a breath. “But he wasn’t… he wasn’t even…”

Peggy laughed and sat across from him, sipping her own tea and wrapping her robe tight around her. “I know. It’s why I stand beside my assessment of him as an idiot.” She hummed happily. “How did you fare?”

“Fell out a ten-story window. Haven’t done that in a while.” He winced and shifted his ribs. “Maybe a cracked rib or two, but nothing that won’t be healed by morning.”

“Good thing Howard was lying when he said that first shield was all the vibranium he had.” Steve nodded and they were quiet for a moment, still gulping away at the water like he was dry as a desert. Worry fell over her face, but she knew better than to coddle him. “I do think he’ll continue to be a problem.”

Steve winced again and rolled his shoulder in the socket. “They’re using him as a distraction. If they think it works, he’ll be back. How’d the tac team fair?”

“They stopped the data breach before it could happen, but we lost half a data storage facility to fire and two agents were wounded.” She smiled at him, switching gears. “Are you hungry?”

He rolled his neck and smiled. “Starved, but I can fix something.” He reached out and put a hand over hers. “Go to bed.”

“No,” She took his hand and kissed his knuckles, a smile on her face. “No, it’s already warming in the oven. I had the tower call down when you landed so it could be ready.”

“Peg…” He was somewhat chiding, but smiled when she pulled the dish out and set it in front of him. “You didn’t have to.”

“And you don’t have to come out of retirement to save the world, and my ass, on a fairly regular basis, but you manage it and I’m very grateful.” She kissed the crown of his head once more before settling back in front of her tea. “I can manage to wait up for my husband and make sure he gets dinner.”

“Were the kids disappointed?” He asked, putting an impossibly large spoonful of mashed potatoes in his mouth.

“No, not terribly,” she smiled softly. “Though I do think they were a bit amused that it was you and not me that missed family dinner night for a change.”

They were quiet as Steve made his way around the plate, finally cutting into the slices of roast. He moaned as he chewed. “I might be really tired, but this is just amazing. That new rub I found…” He stopped when he saw Peggy grimace. “What?”

“Mr. Jarvis threw yours out and started from scratch.” She tried to be delicate, but Steve frowned anyway. “I believe the words he used were ‘abomination’ and “disgrace,’ respectively.”

Steve chewed thoughtfully. “Well, it’s good, and I can try that—"

Peggy set her hand on his wrist, dead serious. “Cinnamon has no place on a roast, Steve.”

“It’s supposed to bring out the—”

“I will divorce you.” Her deadpan delivery slowly melted into a smile for both of them. “Please stop experimenting.”

He shrugged, knowing it was a losing game. “Do you think if we keep telling Jarvis that I’m trying to cook, he’ll make us more like this?”

“I believe if we tell Mr. Jarvis you’re still experimenting in the kitchen, he and Ana will take the children and run.”

Steve finished what was on his plate and smiled. “We haven’t had a vacation just the two of us in a while, wouldn’t be the worst thing…”

Peggy laughed and gave him a gentle smack across the shoulder as she took his plate from him and set it in the sink. “While I agree we should be planning a getaway, I would very much like to keep my children.”

“Yeah, I guess so,” Steve teased, stepping up behind her as she washed the dish. He wrapped his arms around her and let his head rest on her shoulder. “I do kinda like them.”

Peggy tuned off the tap and set the dish to dry. “Yes, agreed. We shall keep them.” She turned in his arms and kissed him gently. “Now hit the showers, soldier. You’re quite filthy and I will not have you in my bed like this.” She pushed him away and turned him towards the stairs. “And this time I’ll thank you to not put the filthy tactical gear in the same dirty linen basket as my good blouses. A garbage bag will do very nicely.”

“Yes ma’am.” He saluted over his shoulder to her, smiling as he marched up the stairs.

She locked the door and shut the kitchen light. She hadn’t wanted to pull the shield out of retirement, but something about the way it sat, glinting in the moonlight in her kitchen, gave her a warm feeling.

[writingwithcolor]

Including diversity where there may be little

Including diversity where there may be little: Black Radium Girls as example

post-scriptvm asked: [ask clipped for length]

I have an interest in the ‘Radium Girls’, groups of women who worked at studios in America from the late 1910s onwards painting radium onto clock faces, and later took their companies to court for the horrible impacts the radium had on their body. 

I want to make a musical, just for fun. I’ve decided to use a fictionalized version of events, with composite characters based on multiple different women, rather than one of the real-life groups and the actual women from them. It will be mostly set in New Jersey, in the roaring 20s. 

Neither of the two real-life groups I know of had any Black women in them, and I can’t see any Black women in any of the big group photos of the dial factories’ employees. But I know there’s a lot of Black history and culture in that time and place bc of the great migration and stuff, so I feel like if I’m not going to use the real life ladies, I should probably take the opportunity to also make some of them Black, bc making a whole cast of white ladies in the name of potentially wrong ‘historical accuracy’ seems like a bad thing.

My question is, should I? [ask clipped for length]

I wouldn’t be surprised if there were African American radium girls. Speculating People of Color/Women of Color’s involvement is far more realistic than portraying everyone as white. Go for it! 

Perhaps look into what other races were predominantly in the New Jersey area for inspiration, too.

Hidden History

This section features just a few examples of PoC in lesser known historical settings.

The histories of People of Color are highly and actively erased. Women of Color especially get their stories left to footnotes in the textbooks. You hear about certain amazing women again and again, but there’s so many others that don’t get their time of day.

Hidden Figures (book and movie) is a prime example of that erasure and lesser known history. To summarize: It’s “the powerful story of four African-American female mathematicians at NASA who helped achieve some of the greatest moments in our space program.”

Here’s another example:

Photo of female firefights on Pearl Harbor, 1941. Identities unknown

It would be nice to know more about these women, and i’ve seen inquiries from people requesting info from anyone who may know. This struggle to find details is a prime example of that erasure in itself.

Enemies in Love: A German POW, a Black Nurse, and an Unlikely Romance by Alexis Clark

The book pictured above is the true story of a Black nurse and German Prisoner of War who fall in love during World War II. They face many hardships (disowning from his family, racism, and shunning from towns) but stay together for their whole lives, marry, and have children (One of their sons highly informed the writing of the book!)

This book discusses the discrimination the Black soldiers and nurses faced. They struggled to even be allowed to serve their country, and were treated worse than POWs.

Video: The Unlikely Romance of a Black Nurse & German P.O.W. in WW II 

Research

Research “[RACE] + Firsts” and find many more examples of little unknown bits of history where they’ve been involved. 

First doesn’t mean it came without limitations, discrimination or hardships. But they happened, and many sooner than you’d think.

Explore beyond what you know about whitewashed history and learn the true stories of People of Color.

Making it “realistic”

People will question how “realistic” it is to feature a Black women in this position for the time period, unfortunately. It doesn’t hurt to provide an explanation until we get to a place where diversity isn’t interrogated when it shows up.

Giving her backstory. 

You can briefly explain the journey to the job, such as shortages due to a war. Take a look at those real world firsts for inspiration. 

Especially take a look at the specific region of the story. What firsts were there? Any government power influences? How did PoC break barriers to make the strides they did?

Use the web, but also go beyond. Seek books, historians, artwork. Search those “footnotes” for that one sentence mention. (That’s actually how the writer of Enemies in Love found their story. Just a quick sentence and a search for the story began. It helped that she was a journalist!)

Relationships with Peers: 

“I will cut off this right arm of mine before I will ever work or demand the ballot for the Negro and not the woman.” - Susan B. Anthony

White women weren’t, historically, welcoming to Black women. For example, white sufferists insisted Black women march in the back of the protests for, allegedly, both their rights.  You’ll need to decide how your Black woman is treated in this situation. 

You might face the following from peers, superiors, or others:

Hesitation to work or interact with her

Curiosity and intrigue (The “Other”

Unsure of how to approach or be friends with her  

Microaggressions

Blatant racism 

Your musical doesn’t seem like it is meant to focus too heavily on the hardships. It begs a mention, but just how much is up to you.

Call the Midwife, period racism example

Call the Midwife (BBC) is set in East End London, Late 1950s, early 1960s. The show features a Black midwife named Lucille Anderson. There’s a shortage on nurses so Caribbean nurses were being called in to support the growing population. 

Call the Midwife is from a midwife, Jennifer Worth’s, memoir, so it’s based on history.

Check out this short clip: Nurse Lucille Anderson - Call the Midwife 

Lucille on Call the Midwife (Take notes!)

The show handles racism and microaggressions very well. It’s not overdone.

Lucille is accepted by her peers and is especially close to one of the girls.

There’s an episode where she actively faces blame and discrimination during a case. It’s a major story line of the episode. 

She does face occasional micro-aggressions where she is othered, but it is not every single time she is on screen and not every episode. 

Her peers talk to her about her experiences and in the case where she had an aggressive family member to deal with, they tried to protect her by reassigning her from the family. Lucille asks to handle it her way and they respect her decision.

Lucille can mostly perform her job and have peace, and is treated kindly by patients.

She has a personality, a romantic life, family & friendships.

It’s about 90% allowing her to exist, 10% navigating racism/microaggressions. That’s a comfortable, realist balance for such a story and setting. 

If you want to check out how they handled these issues for yourself, the show is on Netflix as of this post (2020). She’s introduced in Season 7. (I highly recommend watching this show from the beginning. I cry like every episode, and the diversity of several ethnic backgrounds picks up a lot mid season!)

I’ll kick you three scenarios for your Black radium girl:

Peer Acceptance, Initial Hesitation 

awkward friendliness & initial hesitation, perhaps more fear of the unknown vs. hostility

Upon having interactions and talking to her, they become comfortable and accept her. It could take just one simple conversation. Perhaps they’re more used to listening to Black music or have Black staff who work for them, but haven’t had an equal one-on-one experience with WoC without a power dynamic or service involved. Now, with a Black fellow radium girl thrown in a similar situation as them, they could develop kinship.

This might not describe every one of the woman at all. Others might be just fine with her with no awkwardness.

Types of racism experienced: 

some micro-aggressions (likely ignorance from peers)

no major racism experienced

Most Peer Acceptance, Racism From Some Peers

Most peers have no problem with her, even if they have their initial awkwardness. 1-2 more aggressive racists who don’t want her there. 

Sometimes everyone else gets along, but there’s that 1 bully and their minion, and they feed off each other. If the BS isn’t tolerated by the other girls, it could shut them up to make peace or at least behave themselves. It’s likely someone like this would remain hatefully stubborn, but would grimace from the corner if outnumbered.

In the case you create a situation where someone is hostile to the Black girl but learns better: real apologies and efforts should be made if this occurs. It also doesn’t excuse their past behavior. Read our posts on redemption arcs for more info. We’re not fans, personally.

In an intense racial situation, it would be nice if the girls (with sense) protected and defended her instead of standing idly by. They’re strong enough to rise up against the agencies who poisoned them, so they can fight for their fellow radium sisters if one’s being targeted. 

Types of racism experienced: 

several micro-aggressions

maybe 1 major incident 

Peer Acceptance, Racism from Other People

Radium girl acceptance within, but experiences racism from others she interacts with on/off the job. 

The Call the Midwife example fits this one. Lucille’s peers are comfortable with her. It’s some of the ladies she care for and/or their families that may have negative things to say or show hesitance. 

I’ll repeat what I said above: it’d be nice if the girls protected and defended her and didn’t stand by idly. Solidarity is important for establishing kinship and trust when it comes to white - woc friendships. 

Types of racism experienced: 

could vary from some to several micro-aggressions 

maybe 1 major incident

Balancing race issues in the musical 

Give the intersections of your Black girl’s situation proper attention. You can achieve this without overdoing it or making her whole arc about facing racism.

Perhaps the Black radium girl(s) has a song to express major woes, like segregation and poor treatment, or experiencing dismay over even less of a fighting chance in this fight for their rights.

If anyone does know anything but radium girls of color, please share! 

–Mod Colette

[emj-tolj]

Bringing a World of Adventure Hunting in to Your Home

Not everyone is not living in a position to wander the woods, desert, beach or ruins. I had that situation at one point in my life. And yes its depressing. And when you read others doing all these things its can really get to you. However there are a huge number of things yo CAN do to counteract the depression. Lets visit a good many of these things:

1) Everyone’s first Go-to is Roleplaying. Be its table-top or online. But not all Online games bring out the true desire to adventure, as they are limited to telling a specific story. As such I suggest avoiding using game maps and make you own real maps. Right down and study any runes in the game, study the magic tech in the game, write side stories of your character that can not be done in game. Create a history to the character you made. Some games are limited what you character looks like. Draw your own character and hang it by your game station.

2) If you have adventure wear, wear it about the house/apartment. Does not have to be all of it. Boots, a shirt, a vest, tunic, wristbands, cloak 

3) If you  have the money and talent turn kitchen into a tavern or saloon, line shelfs with bottles and plates and other tavern/saloon wear. Avoid cheese props. Study movie sets and get ideas from that. 

4) Likewise turn your bedroom into an Inn room. Go ristic and simple with natural colors and materials

5) Burn in a cauldron or censor wood chips, herbs and incense, 

6) Hang posters of nature about the walls in natural wood frames. If you can obtain some old wood window frames, you that as your poster frames. If possible find images of nature on line and print them out. Try to make all the images co-inside, so its looks like you are looking out into the same view. Change the posters with the seasons if possible 

7) Place realistic life-size animals about your home: Snake, turtle, mice, birds, chipmunks, insects. If you have a ficus tree or a cluster of plants, place a birds nest with eggs in it

8) Play sound effects and ambient sounds in the house. Youtibe and other sites have a plethora of ambiance and sounds from cave to camp sites, tavern sounds, market squares, pirate ships, forests 

9) Add a fountain/s in your home. Fountain pumps can be bought anywhere these days, 

10) Terrariums! Make them and add them to your home. Even of the plants are fake 

11) Aquariums! If your adventurous aestheic love is the see or any water setting like ponds, these are fantastic to have. And do not limit yourself to just fish: Crabs, snails, turtles, frogs, lizards, snakes. Even if you are not allowed to have pes, build an aquarium anywhere. The flow of the water from the filtar moving the plants can lend to the imagination  

12) Wood, tin and copper and wrought iron objects 

13) Leather bound books. Line a shelf with them, 

14) Candles and lanterns. Some people can not have things where they live for safety mode. Even if you never burn them, have a cluster of candles anyway. Just the look of lanterns and candles plays with the mind. You can also invest in battery ones but I think they are silly looking

15) Bowls of fruit: Wood bowls and real fruits and nuts about the house. 

16) Seasonal and year round garlands and wreaths about the house. Clusters of ferns. If you do not have a green thumb, go fake if need be. Ferns and spider plans are my fave. 

17) Drift wood and moss covered wood. 

18) If you have your own Adventure clothes and gear do not bury it in a closet. Get a mannequin and display it, 

19) Fur, leather, blankets, wool, sheepskin throws and pillows.

20) Banners and tapestries 

21) Invest in a couple of mortar & pestle sets, one for the kitchen and one for the bathroom is you have the room. (Confession: I collect them) 

22) Hang herbs and dry plants in the kitchen.   

23) Clay pots and assorted pottery about the house. Try to sick with OLD looking styles. Check out some sites or books on ancient styles for an idea 

24) Antlers add a wonderful feel to ambience. Even if fake. Now they are made into door handles, draw knobs and so much more. (DO NO go hung deer and elk JUST for their racks)

25) Bowls and vases of snail shells, acorns, pine cones, 

26) Rolls and displays of maps, 

17) Glass and Ceramic bottles: Display a few or better yet, use them! fill them with shampoos, liquid soaps, drinks and what ever else you use and look at daily  

18) Old style dip pens and ink vials on your desk along with scrolls of parchment and an old leather bound journal, 

19) Color glass baubles like the ones at christmas time and “witch balls” These are great if your Aesthetic is the sea or in the Witchy profession, 

20) Wood wand display. Not talking about Harry Potter here. Do a little reserach and find or make a REAL one. Display it on your desk or mantle staff. If you have a set, even better. 

21) A Statue of an ancient god, 

22) Baskets and wicker to hold things 

23) Metal goblets and drinking horns

24) If you have one or several hand your shields on the walls, 

25) Oil hurricane lamps, 

24) Hang and display Gourds about. If you know how to carve and stain gourds, all the better, 

25) Birds houses. In the house?? Sure, why not? 

26) Feathers. Sometimes just a vase of ling feathers helps. If they are feathers you find in your walks, just as better. Each one has a story  

28) Bowls of rocks. Not only does this bring the natural world in but its said that a bowl of rocks by the door and window wards off negativity. 

29) Old wood boxes. Just do not collect them but USE them. put whatever in them as storage. Afraid you will forget what’s in it??? All the better. There is your treasure at the end of your search. 

30) Corn dollies. These folk cultural dolls and designs have their roots into the ancient world. a display of them, especially during the late summer, really invokes the harvest season 

31) Ceramic and wood bake ware in the kitchen. Ads a rustic tavern feel. This could include   bread boards and bowls, wood spoons, rolling pins,

32) Replace DVD covers with parchment or wood texture covers. Sometimes a wall of game and DVD cases can kill an ambiance you are striving for. If you can not print out all these coves, hang a tapestry over your shelf unit or add wood shutter doors  

33) Cover your library of bright color books with leather, paper of plether, No access to leather? See of someone has an old leather jacket they are ditching you can cut up

34) Wood flutes, harps, ocarinas, pan pips, lyres and rustic drums add to a great tavern-ish display.

35) A tall vase of cattails gives ambiance for this that over adventures in places like rivers and lakes, 

36) If you have a collection of crystals, sea glass and gemstones, show them off in a wood box or basket, 

37) Halloween Witch bottles add to the adventure appel. (I have a buhnch and have all my teas in them, 

38) Fancy yourself an Librarian or treasure seeker? Have a display of “artifacts” like (potters, tiles, scales, bones, glass, wood), Find some broken pottery shards and make them look like Greek pottery. If you sculpt make a remnant of a state or a bone or prehistoric tooth. Create your own artifacts and put stories to them.

39) Hang a bunch of leather sachets and small bags from a hook or sit them on a shelf, 

40) Find yourself a rustic tea set, 

41) Collect vintage clay and wood tops. Tops have been around since ancient Assyria and Babylon.

42) Display a collection of carving tools or depending on your likes, a small anvil and hammer,  

43) Hand on hoots of rack by your door or wall woven wicker hats, leather caps and witch/witch hat, head wreaths,

44) Display an old stick/straw/grass broom head wreaths, 

45) Display a helm or helmet you have in a place that speaks “I am at the ready”

46) Fold a small stack of old burlap bags and place on a shelf and use them to store things like potatoes and onions, 

47) Display and basket of wood knitting needles and wool,

48) Grow plants, flowers, herbs and small trees. Even small pots of just grass adds a sense of nature and Adventure (The ancient Greeks would grow grass for their New Years Eve celebration) I have lemon trees in my windows I grew from seeds.

49) A Fish Net works great to add an aesthetic look to your space.

50) If nothing more find an artist and have him/her draw your aesthetic self as you see yourself in different poses, gear and situations. Blow thing up power size and hang them about your space

51) If you can not do any of this, create a physical scrap book of pictures and images that’s screams your aesthetic ideals. Visit it daily and add to it.

NOTE: While all these ideas are great starts, DO NOT over do it. Less is more. Rustic and simple. Avoid cheesy plastic props and things like signs screaming “I am a Proud Viking!” Investigate films, movies and history into your aesthetic loves and the world behind it. Do not create clutter. Make you space livable and function to your NEEDS. Make you space your home, not a museum. If your space is cluttered and does not bring you a feel of your Aesthetic feelings you may need to pull back on some of your props.     

[stillness-in-green]

When MVA/MLA Arc gets animated, what will you be looking forward to the most? What (canon-compliant) additions and/or changed do you want or think Bones should make, if any?

There’s--a lot.  Does that surprise anyone?  There’s a lot.

o  I have been foaming at the mouth for voice actor announcements for almost a year now, particularly for Trumpet, Geten and RD.           Trumpet’s superpower is literally his voice!  I mean, nothing about that statement requires that voice be particularly entrancing, but it certainly seems like it should be, right??             Geten is a boku-type in the manga, but that was literally the only hint foreshadowing his pretty boy face through 21 solid chapters of Pure Feral Gremlin.  Everyone was shocked by Geten’s face reveal!  How do you maintain that surprise value with an actual voice actor in the mix?  Do you not even try?  Do you play up the disparity--in which direction?  I can’t wait to see what they do.           And Re-Destro!  Re-Destro requires so much range!  From his peppy, silly businessman persona, to the urbane commander, from the overeager yes-man to the raving zealot--who on earth do you get to believably cover all that ground?  I can’t even begin to guess, but I am living in anticipation of that article going up on ANN or the official Twitter sources.

o  I’m also much looking forward to getting official coloring on Trumpet and Geten.  Skeptic seems pretty straightforward--black, black, more black--and RD and Curious, we have color art for, but I wonder if Trumpet will also be all black clothes, to go with that dignified politician image of his, or if he’ll get some color to pep him up a little.  What color are those tinted shades of his?  His eyes?  The wicked-cool Sevens Loud?           I assume Geten is all wintery shades, but it’ll be great to confirm which ones.  I mean, we all assume he’s white-haired to better annoy Dabi with family parallels, but what if he turns out to be platinum blond?  And are his eyes blue?  Gray?  White?  What color is that awful parka?           Also, Re-Destro’s stress powers.  Having been writing them as black since at least August--Rorschach test blots are generally black, after all, and they’re the clear inspiration--I would much like it if the anime would have my back on this.  They made Destro’s mask a dark cinnamon brown, though, so I’m prepared to be unpleasantly surprised in this matter.

o  Predictable MLA adaptational choices aside, I’m also eager/anxious about how they’ll handle Spinner’s narration.  What I really hope is that they actually straight-up hand him ALL the narration duties--not just the stuff he dictates directly in the manga, but also e.g. the name and quirk explanation material that Present Mic normally gets, or the previews that are always handled by Deku.           The opening and closing sequences are another big structural thing, of course--based on the flashed snippets of Hawks and Endeavor in both our current and the previous OP, I’m expecting we’ll see at least a bit of something referencing the upcoming internship arc (which I expect to close out the season), but I hope the villains just walk away with the closing entirely.  I want my slice of life villainy ED, dangit.

o  Another thing I’m eager/anxious about would be Kotarou, and the Shimura flashback generally.  There’s a brittle edge of to Kotarou that I really love, and I hope he manages to keep it in the anime, despite the anime being generally not so great at moments that I would describe as “delicate.”  For example, I’d like it if he doesn’t get a super deep voice, and if they could manage to keep his pretty face, and capture how deeply bitter and tired he looks in the scene where he’s reading the letter Nana left him.           Also, I hope they keep the little montage bits and, crucially, the changes of clothes the family goes through.  We see Tenko in no less than five, possibly as many as seven, different T-shirts through the course of that flashback.  It seems like a small thing, but it’s one of the factors that makes me skeptical that AFO gave Tenko Decay, when so many days clearly go by between the opening with the man at the door and the tragic end.  It’d be nice not to see too much resurgence on that just because the anime can’t be bothered to come up with more than one outfit for the Shimuras.

I have enough issues with the anime’s usual adaptation choices that I’m trying not to get my hopes up too high on the actual content of the episodes.  The staff is diverting too much of its major talent to the movies (BAH) these days for me to expect the whole season to look all that great, and it’s never been particularly creative or daring outside of its climactic sakuga-heavy fight scenes anyway.  I’ve also long had a bone to pick with its scoring decisions, and am already eyeballing the climax of the RD/Shigaraki fight and imagining the minor-keyed terrifying dirge I fear the anime will play there, at the moment that Re-Destro (and, shortly afterward, Spinner) are supposed to be experiencing something akin to religious awakenings.           There’s also the issue of the violence and gore--judging by how the anime handled the scene where Shigaraki and Compress maim Overhaul, I have some severe reservations about how much blood they’ll be allowed to get away with, particularly in the scene where the League brutally decimates that CRC group and, of course, Shigaraki’s backstory.  I’m looking at MVA to serve as a preview for how all the same issues will be addressed in the War Arc.

That bit of pessimism aside, as to what I’m hoping they’ll add or change?  Well, off the top of my head.....

o  I would love to get a full episode devoted to the time the League spends fighting Machia.  Not that first tussle, but the six grueling weeks in the mountains.  There’s so much you could add there for character building and atmosphere that Hori didn’t so much as montage through.  Where was their food coming from?  How’d they pick out places to pitch camp?  How much access to news from outside did they have, and how frequently?  What were the circumstances in which Gigantomachia “told them himself” about his great sense of smell??  Stuff like that!             I don’t think we’re at all likely to get this--honestly, the series of late has had enough of a problem with trimming bits and pieces that I’m as worried about what they might cut as I am hyped about things they might add--but the one thing that gives me some hope is the training camp arc.  Specifically, the moment 1-A first gets to the Pussycats’ forest, they get jumped by earth golems, a fight that the manga off-panels entirely, but the anime spends a modest amount of time on, giving the kids a little bit of time to show off their moves and such.  I’d love to get something equivalent for the League.

o  On a similar note, I wouldn’t turn it down if they fleshed out some of those running street fights a bit.  One obvious thing comes to mind: there’s a weird jump in the manga between Skeptic and a horde of his golems being all but on top of Twice at the beginning of 233 and then that fight just--doesn’t happen.  There’s no mention of it at all.  I think the suggestion is that either Machia’s appearance or the tower going down interrupted it--Skeptic breaks off from his fight the same way Geten and Trumpet do theirs, shifting focus to protecting Re-Destro--but it’d be nice to see the anime touch on it.

o  It’d be nice to get a bit of expansion on the nature of the bullying Spinner endured.  We’re told he was, but was it limited to verbal?  Did he get beaten up a lot?  Was there an online element?  Deku’s our only other reference point for “bullied kid,” and whatever one might think about the story’s development of Bakugou’s mentality, it’s been made clear in retrospect that there was a lot more too that than just the matter of Deku’s quirklessness.  I’d love to know how Spinner’s bullying looked in comparison (not least because of some of the theories about Spinner and Deku needing to come to some kind of accord to free Shigaraki from AFO).

o  Make the Villa (both here and during the War Arc) look more realistic.  By which I mean, I know Horikoshi is capable of drawing interesting and lived-in interior spaces--he has an entire chapter dedicated to it in the 1-A dorm room contest, after all--but he normally doesn’t bother much with it.  At UA, it’s not too distracting, because we know good and well that that whole building is probably maintained by Cementoss anyway.  Ditto places like Tartarus (intentionally, dehumanizingly barren) or the League’s post-Kamino hideouts (abandoned homes and industrial spaces).  But the Villa?            For heaven’s sake, it’s called a mountain villa.  It has a clear reception desk on the ground floor; it’s obviously some sort of high-end hotel, if not an outright resort or rentable retreat lodge.  Speaking as someone who’s worked in one, places like that don’t look as fuckin’ bare as the rooms we see there always seem to.  For fanfic purposes, I’m happy to go on telling myself that e.g. the pool and the bar and the restaurant(s) and the gym are in the building Cementoss doesn’t tear in half, but it’d be nice if the anime could class the whole place up a little, maybe put some real furniture and decor in the rooms that are in use.  (Yes, I know this is a ridiculous nitpick.)

o  This is less a change and more a correction, but for fuck’s sake, BONES, give us white-haired Shigaraki.  The climax of Deika is a solid time for it, given that it’s obvious in the manga that Shigaraki’s hair gets paler in Deika--you can see it in the way Horikoshi inks it (which is to say, the way he stops inking it)!  I think if we ever get white-haired Shigaraki in the anime, a somewhat better time as far as narrative justification goes would be when Shigaraki gets out of the tube in the War Arc; you could easily justify it as a side-effect of the surgery.  Still, I’d rather see it here.  I want white-haired Shigaraki, gleaming and brilliant through the scattering ash in that crater, a veritable angel of sacred destruction.           Honestly, more than anything, the crater sequence is the one I hope I love.  It’s probably my favorite single moment in the entire manga, as Shigaraki wins over Re-Destro, Spinner and Gigantomachia in the same moment, and finally comes into his own.  If they can at least nail that, I’ll consider myself pretty satisfied.

[fatoujallovv]

so here’s my disclaimer: I hardly know what I'm doing. This is my glued together homemade giffing method that I’ve created over months of just random experimentation and bits and pieces from all kinds of tutorials. there are probably better or more correct ways to do a lot of these things! this also isn’t a completely universal tutorial, some of the specifics are geared towards giffing skam, specifically skam france. 

I gif in photoshop cc 2020 on a macbook. Some things like keyboard shortcuts and little things about the photoshop interface will probably vary if you are on a pc/ other version of photoshop! 

this is very long and very unprofessional, but I hope there is something in here that someone will find helpful!

we’ll be going from this:

to this:

up to date as of October 25, 2020

downloading clips

selecting what part you’re going to gif

cropping

my action for resizing, converting to a smart object, and sharpening

coloring

exporting and setting the delay

tldr tips

1. downloading clips

4k video downloader (which you can get for mac or pc here) is great for things posted to youtube, especially from skam france because all the clips are on their youtube with no weird geoblocks or anything! it’s really easy, you just have to open the clip in youtube, copy the link, and go into the program and hit paste link. I like to put on smart mode first and set the destination folder so all my clips go into the place I want. 

There is a 30 video per day download limit, so if you’re thinking you really want to gif lots of stuff from the show, and want a big chunk or a full season it’s definitely worth hunting for a mega or google drive with full episodes to download because it’s just less hassle! I might come back to this post later and compile a list of all of those, but for now if you type “[remake] no subs google drive” or “[remake] no subs mega” into a google search, you’ll probably find something! the all of skam website has no subs for several remakes, but not all!

If you don’t have enough space on your computer to be keeping full seasons, I know there are methods to get screencaps without having to download (generally for giffing movies and regular tv I think this is a common method), but I’ve never done it so I’ll redirect you to this tutorial that explains it! you should probably just go there for the whole thing tbh it’s much more coherent than this, but I digress. 

2. selecting the piece of the video you want to gif

now that you’ve got your episode or clip you’ll want to just open it in photoshop! if you go the screen capping route the way to do that is a bit wonky, so you can keep following the tutorial I linked above and join back in here at coloring if you like!

if the timeline at the bottom doesn’t pop up automatically you can go to window > timeline and turn it on! now you can use the scrubber bar thing to find the moment you want to gif! 

The advantage of this over screen capping is you can scrub with more precision. the arrows circled in blue below let you jump only one frame, where in screen capping I'm pretty sure you can only go by ten second or one minute intervals. 

I usually drag the scrubber as close as I can to the start of the shot/moment I want to use, fiddle with the arrows circled in blue below to jump forward or back one frame at a time until I'm at the first frame I want. I move the left grey handle to the scrubber and then I hit the play button and let the whole shot/moment play. Pause and repeat the shuffling with the arrows until you’ve landed on the last frame you want to use and move the other grey handle. 

the moment you want to use should be between your handles (it’ll look like what I have circled in red), and if you hit play, you should see the thing you want to gif playing on loop above the timeline. the speed will probably be weird, but we’ll deal with that at the end. 

now I recommend doing command or control + s to save your gif as a psd (photoshop document). this is a working, editable file which means if photoshop crashes you can open your file right back up and keep working as long as you’re hitting command or control + s at regular intervals as you work. later we’ll go through exporting in gif format that can actually be uploaded to tumblr.

3. cropping

next I crop out any logos or black space at the top and bottom. Just click on the crop tool on the lefthand side of the screen, drag the edges and hit enter when you’re done. you can of course crop out more than just that, but regardless of what you crop out, now is the time to do it. 

you can set an aspect ratio for your crop at the top of the screen if you’d like to be positive that all the gifs in your set will be the same:

4. my trusty action: resizing, converting to a smart object, and sharpening with one click

Now is when I use an action I made that does all the resizing, converts to a smart object, and sharpens. I’ll take you through the steps so you can conceptually get what’s going on, but I highly recommend using the actions window to record your process as you follow along so you have this action as well. It easily shaves at least 5-10 minutes off of the whole process, and these steps will be the same every time. 

here’s how you make an action: go to window > action and open the action panel. click the plus symbol to start recording a new action:

in the window that pops up, give it a name and hit record:

now just continue with the steps below, and it will save them!

first you flatten frames to clips (I think it says flatten to layers on older versions of photoshop). this is in the menu at the top right corner of your timeline:

next you convert to frame animation by clicking on the symbol in the bottom left, circled in red:

if there is more than one thing in the frame animation, delete the extra one. you don’t need to keep the last one but it won’t let you remove it until there are other frames in there. also go into your layers and delete video group 1 and its contents. don’t ask me why these steps are necessary, I don’t really know, but I’ve noticed it sometimes gets wonky if you don’t do this:

now you want to make frames from layers and delete that first frame that was there before:

then we return to the timeline: 

use command + option + a (control + alt + a for pc I'm pretty sure) to select all layers and then right click within your layers window and select convert to smart object. It’s important to convert to smart object after you go back to the timeline, or the gif won’t move:

next I resize. gifs for tumblr should be 540 pixels wide. for recording your action you should just go into image > image size and only change the width to 540 in case you ever have gifs cropped to different aspect ratios. don’t touch the height, let constrain proportions figure it out!

now, here’s what our base gif looks like, no sharpening, no coloring:

now to sharpen. go to filter > sharpen > smart sharpen. this is up to personal preference, but my go to settings are:

this is what we have after sharpening:

now is when you can stop recording your action. 

just press the stop button in the action window:

this action is pretty much universal and after I select the moment the gif will be and crop however I want, I use it on every gif I make!  so although this initial setup is tedious, now you’ll never have to do these steps again, and the process is magically much quicker.

5. it’s time to jump into coloring!

I typically start with exposure and sometimes some brightness/contrast. with really dark gifs like this, you kind of have to make it worse before you make it better. I did this:

now the gif looks like this:

we have some static and some ugly bits, and this is where selective color comes in to fix it! boost blacks like this:

and now your gif looks like this:

the skin tone is looking a little sickly and weird, so I go into the yellows and reds in my selective color layer to fix it! I also messed with the greens here because I didn't want color in the background (that part is totally optional and just up to your preference):

now we have this:

to really take the color 100% out of the background, I did one more separate selective color layer for cyan (again, I just felt like it but this is optional!):

and now the finished gif:

there’s lots of fun extra things you can add like text and tints and overlays and all that I won’t get into, but feel free to reach out for help on those types of things! 

this gif was certainly not the most complicated to color. some ridonkulously dark clips (*cough cough* vendredi 20h27 *cough cough*) take tons and tons more effort than this and a lot of the time you’ll want to use color balance layers and vibrance layers and all of that to mess with your coloring. 

with all of this coloring business, I really just learned by doing. I don’t know all the technical purposes of each type of adjustment layer, and I tend to stay away from curves just because I find them confusing and annoying. The bottom line is that you should always experiment and find out whatever coloring works for you and run with it! I’m sure every gif maker you talk to does things at least a little differently! 

I highly recommend taking the time to go through all the types of adjustment layers and just move the sliders around to see what they do! That’s honestly one of the best ways to learn and decide what you like!

6. now to export and adjust the delay!

the keyboard shortcut for exporting on mac is command + option + shift + s, control + alt + shift + s for pc, otherwise you can go to file > export > save for web

my settings are here:

the settings only need to be configured once! otherwise just hit save and follow the pop ups to choose where to save and what name you want to give your gif. Since you saved as a psd way back, that will be the name it’s automatically given, but call it whatever you want!

then I adjust my delay by opening the gif I just exported (not the psd, the .gif file) and using one of my delay actions. I’ve made an action for each delay between 0.05 (real time) and 0.08 (really slow mo for certain super short shots, typically for more ~artsy~ sets). 

all my action does is select all frames:

adjust the delay (which will differ based on whether you want them slowed down and by how much): 

for reference, this is a 0.05 delay:

and this is a 0.08 delay

now you just export the same way you did before! 

remember if you’re recording this as an action, you don’t want to touch the file name, just say yes when it asks if you want to replace the file. if you always save your gifs to the same place, your action will now enable you to override any gif with the incorrect delay with the correct one with one click!

7. tldr: the main tips

for downloading 4k video downloader works well for non geoblocked youtube videos, the all of skam website is another place you can look to download with no subs, here’s the screen capping method if you don’t want to download

The main way I combat dark lighting is to bump exposure to the right, gamma correction to the left, and then enhance black in a selective color layer. The amount of these three adjustments will vary gif to gif. I know lots of people use curves, but I find them really confusing for some reason, so this is my method! As my graphics teacher likes to say: there are always at least 3 different ways to reach the same result!

there’s a little bit of additional coloring on this one, but here’s another before and after example so you can get an idea of how those steps get you a better lit result without making the lighter parts super over exposed:

besides those three steps, you have free rein to use the other selective color channels, as well as color balance, vibrance, hue/saturation, etc. to restore color that was lost or to change the colors altogether! mess around with it and have fun experimenting!

7a. bonus coloring tip: 

sometimes you can make use of selective color to completely alter an isolated color in your gif. You can get very adventurous with this, but here's a simple example of changing blue tones to teal (I got away with these gifs being longer because they were in rows of two in the set I posted them in. I'm too lazy to trim frames so I can put them here at 540 px without going over the 10mb limit so just ignore the quality ok):

7b. actions, actions, actions! 

if you find yourself doing a certain thing over and over, always record it as an action. the amount of time they will save you is honestly really impressive. 

You can duplicate actions, so, for example, if you have different sharpening preferences for different shows or scenes, you can duplicate your gif process action and go into the steps, double click smart sharpen, and alter it however you want! 

This could also be good to do for the different widths for tumblr if you ever do sets with rows of two or three! Duplicate actions is also how I made my actions that set delay at 0.05, 0.06, 0.07, and 0.08!

when in doubt, always make an action! it’s worth minimizing the tedious bits of the process as much as possible so you can focus on the fun part of seeing your awesome gifs come to life! any little task you find yourself doing often, make an action!

and for now that’s all I have. if any of this made no sense, if you want to suggest a correction or addition I could make, if you’re ever curious how I did something on any gifs I post, or if you have any other sort of questions, feel free to send me an ask or a dm! if I can’t answer your questions I’ll be happy to try to direct you to someone who can or a tutorial to help! again, I'm no expert, not even close, but I hope at least one person will find one thing in this mess that helps. 

[hawkinsschoolcounselor]

Do you like El? I got the impression that you don't really like her. And if you consider Byler as endgame, what kind of ending do you expect for El? Season 2 reminded me that El supposed to die in Season 1. This is immediately felt, since I got the impression that the Duffers simply do not know what to do with her, she had a rather boring story in Season 2. The only thing that added interest to her story was her relationship with Hop. But this is more Hop’s Arc, and El is just an addition to it.

I like El. That is to say, I like the idea of the character. I think she was very well written in Seasons 1 & 2, and she’s been very well acted by Millie Bobby Brown. It was really Season 3 that soured me on her, and that’s more of a criticism of the writing than the character. I’d like to believe that her depiction in Season 3 is intentional, and that they have plans to build on it, but it still remains to be seen. Her story is complex in that her personal journey is overinfluenced by others, and this results in her appearing to not have her own journey. Season 3 can still work with that story, as long as it was meant to demonstrate that she has a ways to go still. 

Basically, El is a tricky character to work with. Her lack of social and emotional development early in life should result in a stunted child who has difficulty adapting to a more normal life. This is what we see in Seasons 1 & 2, and it was handled very well. El had a basic set of personal values that drove her actions: personal survival, protection of her friends, and a desire for freedom. She had little opportunity for growth considering that she went from being raised in the very restrictive lab to spending a year in Hopper’s cabin with little besides him and TV for models of behavior. Her “spying” on Mike isn’t terribly unusual given her isolation and the fact that she bonded with him the most. The possessive behavior, such as knocking Max off her skateboard, is concerning, but not terribly unusual given her upbringing. When she finally reunites with the Party, she makes sure to share a moment with Dustin and Lucas, showing that she missed them as well as Mike. She also checks in on Will while he’s unconscious, so one would think she’d want to get to know him.

Then comes Season 3, and, suddenly, El is fine about being stuck in the cabin so long as Mike is with her. She seems to care little about seeing Dustin or Lucas outside of helping the Party with Dustin’s surprise welcome home. I don’t recall her interacting with Will at all. She also seems to be incredibly dismissive of Hopper, despite their Season 2 arc seeming to be how much they love each other despite each having difficulty adapting to a father/daughter relationship. This would ostensibly be Mike’s influence on her, but it still shows a major compromise of her values, as well as a regression of her Season 2 development. We’re seeing her use Mike as a sort of safety blanket (she literally clings to him when Dustin shows off his gadgets), and she continues to do so until she catches him in a lie. 

I do sometimes wonder if the Duffers painted themselves into a corner with her. She was a very popular character, which I suppose led to them adding her to Season 2. They claimed that they originally intended for her to have truly died in the act of killing the demogorgon. Her power level necessitated keeping her away from the threat for most of Season 2, resulting in the seemingly out of place episode where she goes to see Kali. Any development from that arc is missing in Season 3 aside from a single mention of “bitchin’” by El. She lacks the assertiveness, sense of camaraderie, or even personal style that this episode seemed to impart onto her. Instead, she’s revealed to still be a chameleon of sorts, taking on the qualities and mannerisms of whomever she is currently attached to. She goes from having Mike’s flippant arrogance to Max’s sassy assertiveness. 

This is all something I could live with, and even appreciate, as long as it leads somewhere. I’m begging for Season 3 to all have been a means to hammer home that El is not developing in a healthy fashion. If that ends up being the case, then I will be happy. 

A sense that I dislike El may come out in regards to her powers, though. I have a dislike for super powerful characters who can solve any given problem. Season 3 was heavily reliant on El. Unlike Season 2, El is present at each occasion where her powers are beneficial, and she is subsequently able to win, to one degree or another, each time. It was particularly frustrating during the sauna test. She is shown being overpowered by Billy, which could have been a good occasion to show that El can’t do it alone, as well as her friends not being totally helpless. Instead, they have Mike utterly fail at helping, and El manages to suddenly bounce back and defeat Billy even though she had just failed a moment prior. They may have shown El struggling, increasingly so, but she was still able to win every battle. Seasons 1 & 2 carefully spooned out her powers until their climactic battles, but not Season 3.

I suppose, given that I think Season 3′s over-the-top, in-your-face action was intentional, that they wanted to highlight the overreliance on El, and also show that her powers can’t constantly save the day. They do ultimately have her powers vanish, requiring the rest of the cast to figure things out. Still, it was frustrating to also have her be the only to break Billy away from the Mindflayer’s control. That really should’ve been Max’s role, if anyone’s, and it was just another “El saves the day” moment that grated on me. Yes, she did it without her powers, but only because her powers gave her the knowledge to put it to work. 

I imagine Season 4 will involve her coping with life without powers, which I think will be great. Not only will it serve as a plot necessity to keep her from finding Hopper, but it gives her a chance to be a regular kid. Her biggest character arc, hinted at by Max, is that she needs to discover who she is. While she had some growth in Season 2, limited though it may have been, she regressed in Season 3. She won’t be able to cling to Mike or Max now that she’s moved away. It’s been her tendency to simply emulate others that has held her back. Her being Hopper’s daughter is much a part of her arc as it is his. She doesn’t know how to have a father due to her only previous experience being “Papa.” Her attitude with him in Season 3 wasn’t her learning how to be a typical teenager. Rather, she was emulating Mike, making it a symptom of her larger problems. 

El, ultimately, hasn’t achieved even a rudimentary sense of self, and Mike is partially to blame for it, albeit uninentionally. Anytime El has shown any growth, she’s ultimately reverted in order to be with Mike again. El is better without Mike, and vice versa. They were codependent, unhealthy. Their relationship isn’t necessarily beyond repair, but it would almost require a complete reboot. I think it would be extremely limiting for her story have her end up with Mike when we’ve already seen how bad it’s been for both of them. An ending for El should involve her discovering who she really is outside of Mike’s, or anyone else’s, influence. It should involve El finally being part of a family (be it just Hopper or an integration into the Byers), as well as learning to be part of a larger group of friends instead of attaching herself to one person (as she did with Mike and Max). It had to have been intentional to show her lack of interaction with other characters. Otherwise, it’s just bad writing. The Duffers may have made a risky decision in bringing back a character they originally didn’t plan to, but I choose to believe they did so with at least some idea of what to do with her.

[vividracing]

New Post has been published on https://www.vividracing.com/blog/top-5-best-lowering-springs-for-bmw-f80-m3-and-f82-m4/

Top 5 Best Lowering Springs for BMW F80 M3 and F82 M4

Suspension is one of the most important factors in determining your vehicle’s day-to-day drivability. The first step in suspension tuning is to upgrade the factory springs. Upgrading these suspension components will ensure that your car has improved handling and reduced body roll for an overall better driving experience. There are a number of highly reputable brands on the aftermarket with impressive spring kits for the BMW F80 M3 and F82 M4 that will lower the car’s center of gravity, improve cornering ability, and heighten performance all while maintaining a comfortable ride quality for everyday tasks. Below, we have compiled a lost of the top five choices for your Bimmer based on how well they perform on the street and track, and the overall level of comfort paired with the improved driving dynamics. Be sure to also browse our complete inventory of lowering springs for the M3 and M4 right here. 

1. Swift Springs Sport Spec-R Springs

The Swift Springs Sport Spec-R Springs were built for track duty, designed at the upper limits of the M3/M4’s OEM shock valving. Thoroughly track tested and tuned for optimum performance, this spring kit still maintains a ride comfortable enough for a daily driver. Swift engineered its Sport Springs to keep the quality ride you get from the showroom, with improved handling and lower ride height for driving enthusiasts and style-minded drivers who demand only the best. The Spec-R Springs are wound with the same engineering principles and materials as the Sport Springs but with the exception of stiffer rates and a slight change in ride height. From HPDE events to SCCA competition, Swift Spec-R Sport Springs are tailor-made for the track buff looking to take their BMW to the next level.

Swift Springs Spec-R kit is engineered with three characteristics in mind. The first is a modified ride height compared to the Sport Springs in order to maximize optimal suspension geometry. The second is to further increase the spring rate to enhance overall performance, especially when cornering (through entry and exit). This increased rate is based on the upper limits of your vehicle’s factory strut valving. Sport Springs Spec-R are increased to the optimal rate that the stock shocks can handle. Higher performance shocks are not required, but recommended. The third is maintaining optimal comfort levels for street use as these springs maximize suspension performance allowing your M3/M4 to fully absorb road conditions for better traction. All in all, this spring kit was designed for the enthusiast who spends most of their time on the street, but does multiple track events per year.

Features:

Made from Swift’s own proprietary material (H5S.TW)

Improved handling and reduced body roll

Lower center of gravity for better cornering

Track tested and tuned for optimum performance

Comfortable enough for the daily driver

Spring Rate Front: 279 lbs/in.

Spring Rate Rear: 726 lbs/in.

Front Lowering: -1.1 inch

Rear Lowering: -0.9 inch

2. H&R Super Sport Lowering Spring Kit

The H&R philosophy is simple and effective: to build the best suspension products using only the highest-grade materials and back those up with unparalleled service. As an industry leader, H&R has continued to grow and takes pride in having a solid reputation synonymous with consistent, proven suspension success on the road and track.

The H&R Super Sport Lowering Spring Kit for the BMW F80 M3 and F82 M4 is a top suspension choice. H&R springs are all ISO 9001 certified, TUV approved, and are crafted from a special (hf) 54SiCr6 spring steel, which has its strength rated at 290,000 psi resulting in unrivaled tensile strength and resiliency. That means that these lowering springs are much more durable than other automotive coil springs on the market. The H&R Super Sport Springs are also shot-peened which increases their life by more than 200 percent.

Only from H&R, the Super Sport Springs include all of the features associated with the original Sport Springs, plus additional lowering. That makes the Super Sport Spring package ideal for the seasoned enthusiast looking for a little more than the basics. These high-tech progressive springs retain superior ride quality so you and your passengers can enjoy a comfortable ride. You will also notice that the handling of your BMW is improved with a lower center of gravity. H&R Super Sport Springs give your vehicle the best-looking performance stance with the functionality to boot.

Features: 

Provides superior ride quality and maximum lowering

Reduces body roll for improved vehicle handling

Superior ride quality and ultimate comfort levels

Reduces wind resistance and improved fuel economy

Approximate Front Lowering: 1.6 in.

Approximate Rear Lowering: 1.0 in.

3. KW H.A.S. (Height Adjustable) Coilover Springs 

The KW H.A.S. (Height Adjustable) Coilover Springs for the BMW M3/M4 is the easiest way to give your Bimmer a sleek, lowered look without spending all the money needed for a full coilover kit. For a more affordable price, you can get high-quality KW springs and threaded collars that work with your BMW’s OEM dampers to give you a sporty but comfortable ride that will simultaneously improve vehicle handling and offer a more aggressive feel. Apart from enhanced drivability, these springs will eliminate any unsightly wheel gap to give your car a more intimidating stance that not only looks good but functions great all the same. 

The KW Height Adjustable Springs are made for vehicles equipped with electronic dampers straight from the factory. The factory spring perches are removed from the front dampers, and KW’s very own threaded height-adjustable perches are installed. This kit includes progressive rate lowering springs for each of the four corners of your car, height adjustable spring perches for the front and rear, strengthened and shortened bump stops, and KW shock sleeves to protect the OE BMW dampers. The KW H.A.S. kit is also fully EDC compatible! 

In many ways, this package is even better than a full coilover kit because you do not have to sacrifice any functionality in order to lower your BMW. That, combined with KW’s legendary quality and renowned race heritage, gives you the peace of mind you need and deserve when modifying your F80 M3 or F82 M4. After all, KW Suspensions has grown to become the leading suspension tuner for European cars with products that boast impeccable performance and longevity as well as give regular M3/M4 enthusiasts access to Formula 1 technology.

Features: 

Eliminates unsightly fender gap for that added sporty look on the F8X M3/M4

Achieve the look you have wanted with complete height adjustability

Excellent ride quality that you and your passengers will enjoy

Improved handling means added confidence when taking those turns

Individual height adjustability of the original suspension

Does not interfere with factory electronic damper control

Composite Spring Seat and Trapezoidal Shock Threads

Provides industry-leading durability, load capacity, and ease of adjustment

Front Lowering Range: 15-30mm | 0.6-1.2 in

Rear Lowering Range: 5-30mm | 0.2-1.2 in

  4. ST Suspensions Adjustable Lowering Springs

The ST Suspensions Height Adjustable Springs for the BMW M3/M4 is a great alternative to conventional springs. With this kit, you do not have to settle or be satisfied with a fixed lowering rate as you can freely tweak the height with the ST height adjuster even after it has been installed on your car. Not only will your BMW get a more dynamic appearance with this kit, but its steering behavior will improve and the response of the standard dampers becomes more agile. All of the driver assistance systems and comfort features of an adaptive series suspension remain intact with this spring kit developed specifically for your vehicle.

The ST adjustable springs are made from high-quality chrome-silicon steel with vehicle-specific spring rates adjusted to the respective standard suspension dampers and wheel loads. Boasting a high-quality surface finish as well as an ST height adjuster for added convenience, ST spring kits always deliver the utmost performance and include bump stops with dust protection to keep your vehicle’s standard suspension safe from wear and tear caused by road spray and salt.

The ST height adjustable spring kits are ideal for drivers who want to lower their cars and have the advantage of an individual adjustment range. Depending on the application, you can change the lowering rate within the adjustment range using the threaded spring perch when the springs are already installed. You will also not experience any difficulties adjusting the lowering when changing up your wheel-and-tire combination.

Features:

Stiffer-than-OEM spring rate reduces body roll

Delivers improved handling and more aggressive stance

Better steering behavior and improved appearance

Individual height adjustment of standard suspension kit

Coil springs are constructed with a tempering process

Springs are compatible with any brand of shocks

Durable powder-coat resists corrosion and scratches

Adaptive damper control remains active

Vehicle-specific spring rates

5. aFe CONTROL Lowering Springs

Owned by a BMW enthusiast, aFe Power is recognized all around the world as being a leader in quality performance parts for your Bimmer. aFe has taken the knowledge it gained from creating performance intakes and exhausts for the German marque to produce high-quality lowering springs for the F80 M3 and F82 M4 models. The aFe CONTROL Lowering Springs optimize the factory shock absorber damping and offer a one-inch drop for the perfect balance of styling and functionality. Engineered for better performance as well as improved looks, these lowering springs offer a mild drop for optimum handling and drivability all while getting rid of that pesky fender gap.

The CONTROL Lowering Springs by aFe will increase cornering ability and handling to give you the confidence to take those turns without negatively impacting ride quality. The lowered stance will not only transform the look of your ride, but it will also offer improved aerodynamics. The 2-Stage tangerine orange powder-coated finish ensures that these springs will continue to look great even after substance abuse. Street and track testing has proven that the aFe CONTROL lowering springs boast high levels of durability, material quality, and longevity. Designed as a direct fit application, these springs require no modifications to your vehicle upon installation.

Features: 

Engineered to optimize the factory shock absorber damping, including selective ride.

1 inch of drop for the correct relation between looks and proper function

Engineering design and race testing ensures the ultimate in quality and longevity

2-Stage, high-luster, tangerine orange powder-coated finish for good looks and durability

Direct-fit kit for easy installation on the BMW F80 M3/F82 M4

[serialreblogger]

You want to talk more about the bigotry in Harry Potter? Go ahead! I've actually heard stuff like that before, but have yet to do much research on it personally and it's been a while since I read it, so I'm interested.

WELL

Before we begin I should start with a disclaimer: this analysis will be dedicated to examining as many bigoted aspects of Harry Potter’s writing as I can think of, so--while I personally am more or less comfortable balancing critical evaluation with enjoyment of a piece, and strongly advocate developing your own abilities to do the same--I know not everyone is comfortable reading/enjoying a story once they realize its flaws, and again, while I think it’s very important to acknowledge the flaws in culturally impactful stories like Harry Potter, I also know for some people the series is really really important for personal reasons and whatnot. 

So! If you’re one of those people, and you have trouble balancing critical engagement with enjoyment, please feel free to skip this analysis (at least for the time being). Self-care is important, and it’s okay to find your own balance between educating yourself and protecting yourself.

On another note, this is gonna be limited strictly to morally squicky things to do with Rowling’s writing and the narrative itself. Bad stuff characters do won’t be talked about unless it’s affirmed by the narrative (held up as morally justified), and plot holes, unrealistic social structures, etc. will not be addressed (it is, after all, a kid’s series, especially in the first few books. Quidditch doesn’t have to make sense). This is strictly about how Rowling’s personal biases and bigotry impacted the story and writing of Harry Potter.

Sketch Thing #1: Quirrell! I don’t see a lot of people talking about Quirrell and racism, but I feel like it’s a definite thing? Quirinus Quirrell is a white man who wears a turban, gifted to him by an “African prince” (what country? where? I couldn’t find a plausible specific when I was researching it for a fic. If there’s a country which has current/recent royalty that might benevolently interact with someone, and also a current/recent culture where turbans of the appropriate style are common, I couldn’t find it). Of course, it wasn’t actually given to him by an African prince in canon, but it’s still an unfortunate explanation.

More importantly, ALL the latent Islamophobia/xenophobia in the significance of the turban. Like, look at it.

“Man wears turban, smells like weird spices, turns out to be concealing an evil second face under the turban” really sounds like something A Bit Not Good, you know? If you wanted to stoke the flames of fear about foreignness, it would be hard to do it better than to tell children about a strange man who’s hiding something horrible underneath a turban.

Also, Quirrell’s stutter being faked to make you think he was trustworthy is a very ableist trope, and an unfortunately common one. “Disability isn’t actually real, just a trick to make you accommodate and trust them” is not a great message, and it’s delivered way too often by mass media. (Check out season 1 of the Flash for another popular example.)

Sketch Thing #2: The goblins. Much more commonly talked about, in my experience, which is good! The more awareness we have about the messages we’re getting from our popular media, the better, in my view. 

For those who haven’t encountered this bit of analysis before: the goblins in Harry Potter reek of antisemitic stereotypes. Large ears, small eyes, crooked noses, green/gray skin, lust for money, control of the banks, and a resentful desire to overthrow the Good British Government? Very reminiscent of wwii propaganda posters, and in general the hateful rhetoric directed towards Jewish people by other European groups from time immemorial. 

I’m also extremely uncomfortable with how goblin culture is handled by Rowling in general. Like, the goblins were a people that were capable of using magic, but prohibited by the British government from owning wands. That was never addressed. They also had a different culture around ownership, which is why Griphook claimed that the sword of Gryffindor belonged rightfully to the goblins--a gift isn’t passed down to descendants upon death, but instead reverts to the maker. This cultural miscommunication is glossed over, despite the fact that it sounds like Griphook’s voicing a very real, legitimate grievance.

To be honest, apart from the antisemitism, the way Goblin culture is treated by the narrative in Harry Potter is very uncomfortably reminiscent to me of how First Nations were treated by English settlers in North America, before the genocide really got started. The Goblins even have a history of “rebellions,” which both raises the question of why another species is ruling them to begin with, and more significantly, is eerily reminiscent of the Red River Rebellion in Canada (which, for the record, wasn’t actually a rebellion--it was Metis people fighting against the Canadian government when it tried to claim the land that legally, rightfully belonged to the Metis. But that’s another story)

In sum: I Don’t Like the implications of how Rowling treats the goblins.

Sketch Thing #3: Muggles. Ok because we’re all “muggles” (presumably) and because I’m white, talking about this might rapidly degenerate into thinly-veiled “reverse racism” discourse, so please y’all correct me if I stray into that kind of colossal stupidity. However, I am not comfortable with the way non-magical humans are treated by Rowling’s narrative.

The whole premise of Harry Potter is that Evil Wizards Want To Hurt The Muggles, right? Except that it’s not. Voldemort’s goal is to subjugate the inferior humans, rule over non-magical people as the rightful overlords, but that’s hardly mentioned by the narrative. Instead, it focuses on the (also egregious and uncomfortably metaphorical) “blood purism” of wizarding culture, and how wizards would be persecuted for their heritage.

But muggles, actual muggles, are arguably the ones who stand to lose the most to Voldemort, and they’re never notified of their danger. We, the muggles reading it, don’t even really register that we’re the collateral damage in this narrative. Because throughout the series, muggles are set up as laughingstocks. Even the kindest, most muggle-friendly wizards are more obsessed with non-magical people as a curiosity than actually able to relate to them as people. 

I dunno, friends, I’m just uncomfortable with the level of dehumanization that’s assigned to non-magical humans. (Like, there’s not even a non-offensive term for them in canon. There’s “muggle,” which is humorously indulgent at best and actively insulting at worst, and there’s “squib,” which is literally the word for a firework that fails to spark.) It’s not like “muggles” are actually a real people group that can be oppressed, and like I said this kind of analysis sounds a bit like the whining of “reverse racism” advocates where the powerful majority complains about being insulted, but... it kind of also reeks of ableism. People that are not able to do a certain cool, useful thing (use magic) are inherently inferior, funny at best and disposable at worst. They suffer and die every day from things that can easily be cured with magic, but magic-users don’t bother to help them, and even when they’re actively attacked the tragedy of hundreds dying is barely mourned by the narrative. 

It gives me bad vibes. I don’t Love It. It sounds uncomfortably like Rowling’s saying “people that are unable to access this common skill are inherently inferior,” and that really does sound like ableism to me. 

Either way, there’s something icky about consigning an entire group of people to the role of “funny clumsy stupid,” regardless of any real-world connections there may or may not be to that people group. Don’t teach children that a single genetic characteristic can impact someone’s personhood, or make them inherently less worthy of being taken seriously. Just, like... don’t do that.

Sketch Thing #4: The house elves. Everyone knows about the house elves, I think. The implications of “they’re slaves but they like it” and the only person who sees it as an issue having her campaign turned into a joke by the narrative (“S.P.E.W.”? Really? It might as well stand for “Stupidly Pleading for Expendable Workers”) are pretty clear.

Sketch Thing #5: Azkaban. Are we gonna talk about how wizarding prison involves literal psychological torture, to the point where prisoners (who are at least sometimes there wrongly, hence the plot of book 3) almost universally go “insane”? This is sort of touched on by the narrative--“dementors are bad and we shouldn’t be using them” was a strongly delivered message, but it was less “because torturing people, even bad people, is not a great policy” and more “because dementors are by their natures monstrous and impossible to fully control.” 

“This humanoid species is monstrous and impossible to control” is, once again, a very concerning message to deliver, and it doesn’t actually address the real issue of “prison torture is bad, actually.” Please, let’s not normalize the idea that prison is inherently horrific. Of course, prison as it exists in North America and Britain is, indeed, inherently horrific and often involves torture (solitary confinement, anyone?), but like--that’s a bad thing, y’all, it’s deeply dysfunctional and fundamentally unjust. Don’t normalize it.

Sketch Thing #6: Werewolves. Because Rowling explicitly stated that lycanthropy in her series is a metaphor for “blood-borne diseases like HIV/AIDS”. The linked article says it better than I could:

Rowling lumps HIV and AIDS in with other blood-borne illnesses, which ignores their uniquely devastating history. And Lupin’s story is by no stretch a thorough or helpful examination of the illness. Nor is its translation as an allegory easily understood, beyond the serious stigma that Rowling mentioned.

That Lupin is a danger to others could not more clearly support an attitude of justifiable fear toward him, one that is an abject disservice to those actually struggling with a disease that does not make them feral with rage.

This definitely ties into homophobia, given how deeply the queer community has been affected by HIV/AIDS. Saying a character with a condition that makes him an active threat to those around him is “a metaphor for AIDS” is deeply, deeply distressing, both for its implications about queer people and their safety for the general population, and for the way it specifically perpetuates the false belief that having HIV/AIDS makes a person dangerous.

Sketch Thing #7: Blood Ties. This isn’t, like, inherently sketch, but (especially for those of us with complicated relationships to our birth families) it can rub a lot of people the wrong way. Rowling talks a big talk about the folly of “blood purism,” but she also upholds the idea that blood and blood relations are magically significant. 

Personally, I’m very uncomfortable with the fact that Harry was left with an abusive family for his entire childhood, and it was justified because they were his “blood relatives.” I’ve had this argument with ultra-conservative family friends who genuinely believe it’s a parent’s right to abuse their child, and while I don’t think that’s what Rowling is saying, I do feel uncomfortable with the degree of importance she places on blood family. I’m uncomfortable with the narrative’s confirmation that it is acceptable (even necessary) to compromise on boundaries and allow the continuation of abuse because “it’s better for a child to be raised by their Real Family” than it is to risk them to the care of an unrelated parent.

Genetic relations aren’t half as important as Rowling tells us. For people with a bad birth family, this can be a damaging message to internalize, so I’ll reiterate: it’s a pretty thought, the love in blood, but it’s ultimately false. The family you build is more real, more powerful and more valid than any family you were assigned to by an accident of genes.

I can think of one or two more things, but they’re all a lot more debatable than what I have here--as it is, you might not agree with everything I’ve said. That’s cool! I’m certainly not trying to start a fight. We all have the right to read and interpret things for ourselves, and to disagree with each other. And again, I’m not trying to ruin Harry Potter. It’s honestly, as a series, not worse in terms of latent bigotry than most other books of its time, and better than many. It’s just more popular, with a much bigger impact and many more people analyzing it. I do think it’s important to critically evaluate the media that shapes one’s culture, and to acknowledge its shortcomings (and the ways it can be genuinely harmful to people, especially when it’s as culturally powerful as Harry Potter). But that doesn’t mean you can’t or shouldn’t enjoy it for what it was meant to be: a fun, creative, engaging story, with amazing characters, complex plots, heroism and inspiration for more than one generation of people. 

Enjoy Harry Potter. It is, in my opinion, a good series, worth reading and re-reading for enjoyment, even for nourishment. It’s also flawed. These things can both be true.

[that-banana-headed-bovine]

Season 2 Shenanigans

AHEYYY sO I went on a giant Knight Rider binge the last few days, and I've FINALLY seen all of Season 2!!  Big thank you to @trust-doesnt-oxidize who watched with me and stayed up absurdly late because I wanted to see Garthe before I went to bed AIDBWJFNEM

I just wanted to post a quick reaction to all of the episodes, spoiler warning activated!

Goliath Parts 1 & 2

I LOVE MY DOOFY VILLAIN SON. K.I.T.T. is HILARIOUS, I love his dynamic with Goliath, as is evident by my handle oops- I hate how Season 2 starts with my son almost dying tho, almost had a heart attack tyvm! This is back before I knew anything about the direction of the rest of the series so I was legitimately in shock lmbo- Moustache Michael is a gem tho I love him. I SURE HOPE HE STAYS A DUMB VILLAIN WHO'S JUST REALLY SILLY TO WATCH. SURE HOPE THEY DON'T TAKE HIM TOO SERIOUSLY.

Brother's Keeper - Blind Spot

I- forgot that these episodes existed until I looked at the episode list for this, soooo...

I should really not be lazy and look up an episode summary and try to remember what I thought of these but the problem is that I am in fact going to be lazy because this post is already taking so long

Return to Cadiz

This episode is so,,, frustrating.  Not the plot or the format or anything like that, nono... I mean how they essentially introduced April.  Like, okay, I know that she has been here since the beginning of Season 2, but she hadn’t really said much up until now.  This was where we really got to know who she would be, and, uh... After this episode, I absolutely hated her.  Despised even.  She forces my son to go drive on the same ocean on the same beach where Karr DIED without any testing beforehand AND is chastising Michael in a flirtatious way.  The heCK is this woman?!  WHERE’S MY BONNIE???!!!  I was so mad at her you guys I.  But the thing is, I don’t hate April, not by a long shot.  In some ways, the rest of Season 2 does a better job giving her a character than all of Season 1 did for Bonnie!  I really enjoyed April and wish that both could have stayed.  BUT THIS EPISODE makes her SO HATEABLE and I just ugh.

also I tried to watch this a long time before I got to and after seeing the intro and not knowing the title of K.I.T.T. vs. K.A.R.R. at that point in time, I thought Karr was gonna come back based on all the panoramic shots of the underwater and I am so sad that he didn’t so oops this episode gets my wrath a bit

K.I.T.T. the Cat

0/10 there are no cats.  False advertising.

Seriously tho this episode was a pretty run of the mill episode.  The best part of the episode was Kitt, because it always is, but seriously that guy with the hedges was amazing- I GOT THE GAG BY THE THIRD TIME IT HAPPENED BUT THE FIRST TIME HE GOT STUCK IN THE TREE OH MY GOSH I WAS DY I N G- Also the fact that Kitt messed him up again trying to apologize is so sad yet funny ahosihdfiohasdf

Custom K.I.T.T.

APRIL GET THAT STUPID DECAL OFF HIM OH MY G O S H-

Somehow her 2-d design ideas looked almost worse than the actual thing and I thought the actual thing looked like a that default sticker decal that you get on a Hotwheels car.  I’msorryI’mnottryingtoroastanyartistsIjust I why there’s so much potential with giving Kitt decals :(

Seriously I want to use my drawing software to draw fire on Kitt at some point because it could be done so cool and that ain’t it chief.  I’m probably not going to be too great at it either since I don’t do backgrounds nearly enough and fire would be a background element for the most part but I could at least alter the colors ; m ;  OR LIGHTNING OH MY GOSH AAA LIGHTNING WOULD BE SO COO L ON HIM-  anyway it needed so much more red- and it was so asymmetrical too aHHHH-

I.  I’m fine it’s fine I’m fine it’s fi-

I don’t even know why Kitt needed a decal anyway, the other cars didn’t have to have decals to be considered custom, surely his dash alone could have done it-

ANYWAY

This ep was so WEIRD at times oh my gosh.  What was that series of insults the two ladies spat at each other?  Like the one just complimented her eyeshadow aggressively and the other one accused her of wearing “training bras” or something like whAT EXCU S E ME What is this episode?!  Kitt was so upset about the decal too :[

Soul Survivor

OH MY GOSH IT’S CUTE IT’S SO CUTE YOU GUYS-

I was recalling @knight-rider-fan-2000‘s theory about this episode (plz go check them out btw aaaa), and after watching it I totally agree.  Michael was especially kind in this episode, and he seems to be overall a more supportive mentor for Kitt this season, starting with Soul Survivor and being pretty consistent throughout.  I love their new dynamic so much- There’s definitely still episodes and moments where he’s closer to Season 1 Michael, but Season 2 Michael is a far superior human being in my opinion.

KITT’S SO ADORABLE LIL TINY CPU OH MY G O S H YOU’RE TELLING ME OUR SON IS ACTUALLY T H A T SMALL AAAAA

Michael really is so sweet in this oh my gosh, that whole arc where Kitt is his partner no matter what and that the car isn’t what made Kitt-- AW!!!!  ADORABLE!  Kitt being so unsure that he repeatedly asks Michael how it feels to see the Knight 2000 without him in it or fusses about his limited functionality as Michael patiently reassures him again and again that he’s wanted just the way he is, I just- Feelings.

One thing that hit me as funny though is when Michael finds Kitt’s CPU in the garage and the trash can is just like PULSATING and then he like yells at it like “tAlK tO mE kItT” and Kitt’s jus sitting there as a box of colored lights like “...”

I can just imagine a cut scene where Kitt’s like, “Oh and by the way Michael, if I could have said something I would have done so LONG before you started asking me to.  Believe it or not, I don’t like being in a trash can.”

“You Dingaling.”

Also Michael and his whole “I’m an honest man you can trust me listen I’ll give you a small TV just like this one” and then he proceeded to not do that.  Hmm.

Anyway, yeah, it doesn’t get any cuter than this.  The only thing that would have been better is if Adrianne didn’t exist.  Good thing she’s gone now~!

Ring of Fire

THIS IS SO TRIPPY THIS EPISODE IS SO TRIPPY

I would say that I hate Michael trying to get Kitt to subject himself to testing if he can withstand insane levels of heat.  I would say that if April did not then walk in and karma the crap out of him.  Gosh I loved it.  How he immediately was like whAT NOOO YOU WOULDN’T MAKE SOMEONE DO THAT and Kitt’s just like :/

dang hypocrite, Michael my feelings towards you are so complicated sometimes

anyway

So. Many. Dogs.  I usually love seeing Kitt interact with dogs but this started to get unsettling, I can’t blame him for not loving 6 different dogs all swarming him at once whAT- Have they nothing better to do than to jump on my son.  What the heck language were those banjo players singing in?  Was it a language or was it just gibberish keyboard spam that accidentally made it to the final script AOSHDIAOHSD

This whole swamp setting is really unique to this episode, and part of me really does commend the chance they took by switching up settings.  It’s almost always a small town on desert roads.  The way this all happened though was??? What?

I think the scriptwriters forgot that Return to Cadiz exists because Kitt got so much water damage AHSIDHAOISDH- I know April said the system was damaged but surely it would have minimized this a little bit.  Also did literally anything change by the end of this episode?  We didn’t see the guy get arrested, did we?  And the girl decided to stay living out in the swamp forest thing.  The only thing is that she, like, conquered her fear or something?  Even though she still isn’t acting in that direction?

This episode didn’t actually d o anything did it LOL

alsowhatevenwasthatexplosion

It’s not a bad episode though, just really bizarre.

Knightmares

YOU KNOW WHAT I SAID ABOUT IT NOT GETTING ANY CUTER?

I WAS WRONG.

THIS EPISODE this episode THIS EPISODE.  TOP TWO MATERIAL?  MORE LIKELY THAN YOU THINK.  TDR will always be my fav until the end of time I’m pretty sure because I don’t think another episode will get me to ugly sob like that (aLTHOUGH I AM MEGA HYPE HERE BECAUSE I WATCHED KvK AND IT WAS GOOD ALSO BUT WE’LL GET TO TH A T LATER) but in terms of sheer adorable buddies happiness this is the winner by all accounts.  I really like how they portray Michael Long, and I genuinely think the arc here has an impact on the rest of the season in terms of how Michael treats Kitt.

I love how Michael had told Kitt a long time ago how they were partners, like how he used to have a partner when he was a police officer, and how now when Long is so confused about everything everyone is trying to tell him, Kitt chooses this specific word to help introduce himself, and everything feels a bit more grounded for Long.  I love how Long immediately revolts against the way Devon and April try to tell him he’s wrong about who he is currently, which is, despite good intentions, the opposite of what he needs.  I love how Kitt then swoops in behind him and decides to treat Michael Long like a WHOLE NEW PERSON, one who Kitt tries to get to know.  I love how Long recognizes just how hard Kitt is trying and genuinely opens up to him.  I love how he never reverts to being mean or rude to Kitt after he gets in the car the second time, NOT EVEN ONE sarcastic comment.  How he never calls him a computer again after Kitt asks him not to, how he compliments his new partner left and right, how despite having no clue who Knight is he really wants to be that person for Kitt, because Kitt seems sincere and pretty great.  I adore that bit where Kitt gently, lovingly lists traits good and bad about Knight and how Long can finally connect to this other version of himself.

“One more thing about Michael Knight.”

“What’s that?”

“I was extremely fond of him”

I love how Long starts saying “Good work, Kitt” after they complete parts of their mission and how Knight does not stop this for the rest of the season, even after he regains his memory.  I love so much about this and could frankly talk about it even more than this but this is a brief summary so.  So yeah, we’re moving on ;W;

Silent Knight

It’s funny so.  I didn’t realize that Knight Rider had done any Christmas specials.  I knew about the Halloween specials, but I didn’t realize the Christmas special existed.  And so I was laughing at how funnee I was while I was like “SILENT KNIGHT HOLY KNIGHT ALL IS COME-” and then that’s exactly what the pun was meant to be.  they done bamboozled me.

ANYWAY THIS MIGHT BE THE STRANGEST CHRISTMAS SPECIAL TO EVER EXIST EVER.

They kept mentioning the Christmas banquet thing to make it mildly related to the season but then it wasn’t, it really wasn’t, it all revolved around clowns.  There was.  There was a Santa I guess.  Albeit a bank robber Santa--

And the kid is juuust obnoxious at first, I love how Kitt absolutely hates him immediately for some reason even though Kitt usually doesn’t hate people unless they do something really bad, but it feels so deserved because the kid is a jeeerk.  Maybe it’s because the kid accused him of endangering human life and that Hurt?

Kid: Just let me drive and I’ll throw away this dumb clock thing

Michael: No

Kitt: YES

Michael: W H A T ?!

Kitt: YES

Michael: ugh whatever

I was kind of expecting Kitt to pull some sort of shenanigans while the kid was driving as payback for whatever he absolutely despised him for, but Kitt was actually just really sweet and gave him a bit of freedom until he started endangering himself and then helped him get back into control.  Very wholesome.

AND the end was CUTE though, like the boy who had previously been a jerk going over and patting Kitt and being just sincerely nice to him ;w; wholesome

A Knight in Shining Armor

Gosh I always forget what this episode is about because the title is so loosely related LOL

The dynamic with Michael and the girl of the week was actually really cute and chemistry was not entirely nonexistant, so that’s a nice change from some of these that come out of nowhere.  Her arc was actually pretty sweet, how she resented technology because she wanted to be loved and cared about, how she thought computers were incapable of doing that until she talked to Kitt...

And the cave was prebby.

But why couldn’t she understand that her DAD was in PRISON.

“Why didn’t he ever come to see me?” “Because he was in Jail.” “oh.  But why didn’t he call???”

Diamonds Aren't a Girl's Best Friend

SOMEONE

AHAHA

SOMEONE CALLED MICHAEL

AHAHA

BERNIE CALLED HIM A DINGALING. Speaking of Bernie, all I could think this whole episode was

White-Line Warriors

LONG-LEGGED PUNK-

Seriously idk what this season’s love affair with the baddies picking on Michael but I love it.

Honestly the twist of this episode was really interesting, I still don’t fully get how the baddies’ plan comes together though.  So the song plays on the radio and the police go to investigate the drag racers and the crims are IMMEDIATELY ready?  okay then.

Radio announcer Kitt tho.  That is blessed.

I want Radio Announcer Kitt.  Then again, I just want more Kitt in general so.

Race for Life

INHALE

Y’ALL ARE REAAALLY TRYING TO MAKE ME DETHRONE KNIGHTMARES AS THE CUTEST, AREN’T YOU?

Well ha, joke’s on you episode, you’re getting docked points for only giving Kitt and Becky two interactions.  And for making the donor obnoxious for most of the episode (although that end scene was pretty adorable).  So, okay, second cutest.

THE WAY KITT WAVED I-

HE IS SO CUTE

he is so cute.

Devon was really sweet this episode, not gonna lie.  I’m not sure if I’ve said it on this blog before, but I had strong dislike for Devon after Season 1.  I can explain that later if anyone wants, I’d be perfectly willing to compare the two seasons, but Season 2 Devon is pretty alright.  He doesn’t have much of a presence, but when he does, he’s kind.  I’m assuming he let Becky win at checkers, in which case uh, aW?!  Devon that’s cute.

KITT TRYING TO TEACH THE TEN YEAR OLD CHESS AHSIODHOAISD I LOVE YOU BUDDY

Also, I feel like this is the episode April really became her own character, separate from Cadiz.  She’d kind of just been a slightly perkier Bonnie, but now we get to see her family, her concerns... And April’s a pretty good character.

OH AND THE WHOLE “Kitt is family” ARC IS THE SWEETEST THING ASHDHAOSDohIAD

“Julio, meet Kitt.  He’s part of the family”

“Thank you, Michael.”

MY.  HEART.

Speed Demons

Okay so.  This is another one of those episodes where very little seemed to change by the end of the episode.  The guy who was actually in danger quit motorcycling anyway soooo...  The episode plot itself isn’t what I feel like talking about.

What was WITH that one announcer guy?  Were we meant to like him or not???  First he tries to Kick the Kitt and Kitt’s like :/ whatever

and then he comes back and they start to have like, a deep conversation, and he lovingly pats the hood before walking away.  And we’re like AWWW OKAY THIS GUY IS NOT TO BAD

AND THEN he asks Kitt to talk for someone and Kitt’s like “...” and the guy riots.  Why did Kitt not talk for him and why did the guy go so absolutely bonkers when he didn’t?  Were the cameras rolling and I just didn’t realize?  And then we kind of hate the guy again because he once again absolutely went ballistic at Kitt.  “That’s Showbiz.”

But then the dynamic with that coworker keeps coming up, and yeah, I guess she does seem a bit annoying.  But she also seems like a potential lady of the week and a potential protagonist.  So when she gets splashed with mud or whatever that was and the guys all like :D

What are we meant to be feeling?

Are we meant to feel bad for her or happy for him?

Because I just felt confused.

Goliath Returns 1 & 2

GOSH DARNIT ADRIANNE IS BACK

ALSO I-I-I I TAKE BACK EVERYTHING I SAID ABOUT YOU BEING A DOOFY AND STUPID VILLAIN JUST P L E A S E STOP ; M ;

SERIOUSLY WHEN DID GARTHE TURN FULL PSYCHOPATH-

THE FEELING I GOT REMINDED ME OF WATCHING THE SHERLOCK FINALE.  S H E R L O C K  F I N A L E.

Sigh, I should have known he’d gone off the deep end when he walked into a hot tub with jeans on.

I will forever be mad at some versions coughincludingtheoneIwaswatchingoncough for cutting out the fact that Kitt’s microchip was almost ENTIRELY WIPED/OVERWRITTEN AND PUT INTO GOLIATH.  Because uh, the way the show cut it up for TV, it seems like Kitt’s really in no danger other than being annoyed.  But no, literally everyone almost dies.  Fun times!

Seriously why did this convoluted garbage get a two-parter but Kitt vs. Karr didn’t?

This episode makes me sad.  Not just because Garthe tried, and almost succeeded, to take away everything we love in this show.  Not just because this episode strayed far enough from the typical formula for this to seem like some dystopian nightmare version of Knight Rider. Not just because freaking Adrianne is back.

I mean because I loved Garthe’s character, and this totally changed it.  I like that they went into Garthe’s trauma a bit more with this one, but unlike some villains in the Knight Rider canon (okay let’s not play games, UNLIKE KARR-), what he does is so dastardly, SO insaNE, that there is no way to argue that he might be justified.  No.  No.  Garthe, Adrianne, and Goliath are gone now, and that’s how it had to be.

OH ALSO GO O F F APRIL YES QUEEN I LOVE YOU- I honestly felt so bad for her when she turned around and broke down right after standing up to him, like dang, that hurts.  And Devon was sweet in this episode too ;w;

Okay but were they planning on making another episode of this?  Because that end scene was such an obvious teaser it’s not even funny.

“I hope we don’t run into those very much drowned people out in the streets again, Michael.  And I especially hope that they do not construct another semitrailer with the exact same scale and name as the previous one that was driven into the ocean.”

“Yes, I agree Kitt, this is also an anxiety that I possess despite the fact that they are very much definitely Deceased.  I sure hope that plot convenience does not interfere in the future.”

THANK GOODNESS THAT ADRIANNE IS GONE

wait what?  her actress is in another episode as another character who’s just as awful? wHYYYYYY

A Good Knight's Work

THAT BEAR NEEDS TO DIE. I am so glad Michael ejected the dumb thing at the end, Kitt deserved it. Especially after Michael essentially told him to temporarily kill himself. Michael's a cyberbully now ig. The arc with Kitt and the car salesman was cute. Apparently deactivation is considered programming now? Michael my mans you could have given Kitt any warning at all (I kind of take this back after one of the Season 3 episodes I’ve watched uHHHH this was a lot of warning compared to how Michael rolls in S3 what the heck is wrong with him). Cute episode overall tho I guess. ALSO I JUST NOW REALIZED "A GOOD KNIGHT'S WORK" IS A PUN BECAUSE KITT IS WILTON KNIGHT'S WORK AND I'M MAD AT MYSELF FOR NOT NOTICING IT SOONER-

Mouth of the Snake and that other garbage one that's title makes no sense

David might as well be a plank of wood. A plank of wood that yeets himself ten feet into the air whenever possible, but I digress. Does this count as superpowers? I just love how he offended Kitt 0.1 seconds after meeting him and then Michael proceeded to tell Kitt off for reacting. Love that soooo much. It's also hilarious to me how most of this episode has a similar structure to most Knight Rider episodes and then they randomly start reacreating the Most Dangerous Game--

Let it Be Me

Why isn't this the season finale?! I mean, I'm glad it's not, but why? This is way worse than White Bird like why- I feel like the Stevie episodes are kind of a controversy in this fandom? I loved the first one. This one's just, blegh it's okay. She and Michael still have pretty great chemistry WHEN THEY ARE SPEAKING IN REGULAR SPEECH. I do not like Stevie singing the same song with Michael 100 times. The duet at the end is kind of cute though, sue me I like corny things.

Stevie: I’m so sorry I shouldn’t have been with this one guy but ;m;

Michael: has been with approximately 100 women by now

Also Michael: How could you ;m;

Big Iron

This episode is kinda wild. Why does the guy manage to have a full out breakup with Lucy in less than one minute? Why is Michael a marriage counselor now? Why couldn't Kitt take the oxygen out of the cabin when Michael was definitely going to die if he didn't?  Since when does Turbo Boost use a ton of oxygen anyway?  Why does this man just immediately make up with his wife after finding out that she helped him? And most of all, WHY DIDN'T THAT BARTENDER LADY ACT THE LEAST BIT CONCERNED WHEN THEY ABSOLUTELY TORE UP THE PLACE??? Lmbo she's just like "Stop it guys :/"

It’s so bizarre that this is the season finale ahsdoifhasodf but go off I guess NBC

[myownheave-n]

Injury Attorney Savannah Georgia

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Legends of Tomorrow, Season 5

I was going to write weekly reviews of this season, and then with one thing and another ended up dropping it in the spring (hey, remember when there was so much weekly TV that you couldn’t keep up with all your shows? Wonder how long it’ll be before that happens again). I caught up with the entire season this weekend, and honestly, that feels like a better standpoint from which to write about it - I think if I’d stuck with weekly reviews, I would have ended up saying the same thing week after week.

A couple of years ago, Emily VanDerWerff suggested that there is a standard lifecycle for high-concept, large ensemble, off-the-wall genre shows: 

Season 1: still figuring this whole thing out 

Season 2: now we’re cooking with oil 

Season 3: we can do anything! 

Season 4: whoops, no, we’ve gotten a bit over our skis here 

Season 5: ??? 

Legends, I think, encapsulates this progression to a T. The show’s second and third seasons were some of the best and most exciting genre storytelling on television, but last year was a bit of a mess. That’s not entirely the writers’ fault - Nick Zano’s limited availability due to family obligations forced them to beef up the Time Bureau’s role in the season, and their desire to keep Maisie Richardson-Sellers on board even after Amaya’s story had wrapped up led them to create a character, Charlie, who had no real reason for being on the Waverider. But a lot of it was self-inflicted. The cast was too unwieldy, the Time Bureau story seemed designed to expose the thin spots in the show’s self-presentation as irreverent but fundamentally compassionate (it certainly didn’t help that the decision to rewrite Nate Sr. into a good guy was made almost at the last minute, requiring the entirely unconvincing argument that forcing magical creatures to perform in a circus act is somehow morally superior to forcing them to be secret agents), and some of the character choices felt entirely parachuted in (Zari/Nate, anyone?).

Season five, therefore, had a lot of clean up work to do, while also demonstrating that the Legends formula had more life in it than just those two transcendent early seasons. And while this is undeniably a more successful, more enjoyable season than the one preceding it (which also does a great deal to address some of the show’s structural issues, chiefly the overlarge cast), I also can’t help but notice that instead of finding new places for the show to go, what the fifth season delivers instead is a hodgepodge of story elements from seasons two and three. So we’ve got a mystical object that can rewrite reality (The Loom of Fate vs. season two′s The Spear of Destiny); a token hunt across time and space in which the Legends face off against the estranged relatives of one of their members (the totems in season three vs. the search for the pieces of the loom, Amaya’s evil granddaughter vs. Charlie’s evil sisters); a late season loss that forces our characters into a nightmarish alternate reality in which they don’t even remember who they are (the Legion of Evil rewriting the Legends’ lives to make them ordinary and unsatisfying vs. being stuck in TV shows in a world run by the Fates); which comes about because of a betrayal by a member of the team (Charlie in season five, Mick in season two) whose eventual return to the fold enables to Legends to win in the end. There’s even an abandoned, abused girl who has turned evil, and has to be won back to the side of good through the offer of true companionship and understanding (Nora Darhk vs. Astra Logue).

This isn’t exactly a bad thing - a lot of these storytelling beats cut to the very core of what Legends is and what makes it work, so it’s not necessarily wrong for the show to repeat them. And even if the basic structure is the same, Legends just keeps getting more adventurous in how it delivers that structure. I’ve already written about how well done the season’s mockumentary episode was, and the same can be said for the 80s slasher movie riff, the Mr. Rogers parody, and of course, “The One Where We’re Trapped on TV”. Like the multiple universe episode in season four, these are things the show couldn’t have done when it was just a few seasons old, and they’re proof that whatever other issues it has, Legends is constantly pushing the envelope in terms of the kind of tropes and genres it can graft onto a superhero template. That said, there’s a very real possibility that this is all the show will ever be - a standard story template, enlivened by increasingly gonzo riffs on existing tropes.

Some more thoughts on where the season worked and where it didn’t below.

THE GOOD:

I really hated the decision to make Nora a fairy godmother in season four, not least because it felt like yet another way of infantilizing her (it certainly didn’t help that it was a choice she was forced into, and that she spent the remainder of the season catering to the every whim of Gary, a character I still have very mixed feelings towards). But season five really reclaims that choice. Having Nora embrace the fairy godmother life as a way of both helping children and working through her own issues makes a lot of sense, and the character feels happier and more confident than we’ve ever seen her (certainly a step up from how gloomy she was last season). I even like the wardrobe change - once the fairy godmother dress was ditched except for specific occasions, having Nora dress all in teal is a nice touch, and certainly an improvement over her rather boring season four wardrobe. I still think Legends missed a lot in how it handled Nora last season (I will never stop being annoyed that she and Sara didn’t develop a deeper friendship, given how similar their life trajectories have been), but this was a good way of righting the ship, even in a very limited timeframe.

I already mentioned this in the episode review, but watching the rest of the season really cemented my admiration for how quickly the show embeds Behrad into the crew, and makes it feel as if he’s always been there. That’s all the more impressive given that Behrad doesn’t really get an arc in season five. Most of that storytelling energy goes to establish Zari 2.0, and Behrad is, of course, absent for much of the latter half of the season. And yet he feels almost instantly like a fully-rounded character who is integral to the show, so much so that you’re heartbroken by his death (and convinced that it will be rolled back, even though Zari could easily take over his superpower). That’s really excellent work by both the writers and Shayan Sobhian.

I was a bit nervous when Zari 2.0 was introduced, because replacing a heroic, cool-girl-coded, nobly self-sacrificing character with a version of herself who is extremely femme-coded and obsessed with things like fashion and social media is the sort of move that is ripe for easy misogynistic point-scoring in the guise of feminism - of course the Zari who is good with machines and eats donuts is superior to the one who has a perfume line and spends hours in the bathroom every morning! But the show very quickly established that Zari, though certainly not without her flaws, is awesome in any guise, and it did so without trying to change her into “our” Zari, eventually even establishing that they are two completely different people, each with a right to exist (though not simultaneously, unfortunately). I get why the show didn’t keep both Zaris around - it would be asking a lot of Tala Ashe to play two characters, much of the time against herself, not to mention a production nightmare - but I appreciate that it didn’t decide that Zari 2.0 was the lesser version. (Also a nice touch: Behrad, though obviously fond of Zari 1.0, doesn’t think of her as “his” sister, even though to us she’s the “real” version of the character.)

Similarly, I wasn’t quite sure what to expect when Ava moved to the Waverider full time - obviously, it would be an improvement on her playing a tinpot fascist at the Time Bureau while the show pretended that this wouldn’t really bother Sara, but at the same time Sara and Ava are both so similar in their functions and abilities that I worried they’d step on each other’s shoes. Instead, the show leaned into their differences and made the season about Ava finding her place as captain of the Waverider, a role she fills in very different ways than Sara while still doing a good job at it. It also allowed her to expand her point of view a little - bonding with Zari 2.0, or reaching out to Astra, both things that would have been outside of her comfort zone in the past. Obviously, this is setup for Ava taking over as captain in season six now that Sara has been abducted (though I hope not for very long - Legends isn’t Legends without Sara), but good on the show for taking the time to bring Ava to a point where she’s ready for this, and in a different way from Sara.

And speaking of looking ahead, the show takes the wise step of thinning out its cast. Personally, I would have kept Ray, Nora, and Mona and written off Constantine and Nate (and possibly also Gary), but either way, it’s good that the writers realized their cast was getting unwieldy. I was concerned, for example, that the show figuring out what to do with Charlie and giving her an elaborate backstory was a sign that she would stay on, but instead she leaves once that story is resolved. And I think that in an earlier season, Astra would have been positioned to stay on the Waverider after the end of the season, but instead she’s clearly a one-off character, who goes off to live her own life once the show has brought her story to a satisfying conclusion. (This also, however, means that Legends has written off two black women in a single season, not to mention Mona, and in fact has only one WOC main character remaining; I hope that’s something season six addresses.)

THE BAD:

I realize that I am very much in the minority on this, but I’m sorry: John Constantine does not belong on Legends of Tomorrow, and certainly not as a main character. Season five feels, in fact, like a perfect demonstration of this simple truth. The early parts of the season feel like two different shows, the Legends show and the Constantine show, that happen to have some points of intersection and shared characters. And even once those storylines converge, it’s notable how John’s quest for the Loom of Fate very quickly becomes Astra’s quest for it, and then Charlie’s, and how they both feel more grounded in that story and more affected by it than he was. What it comes down to, once again, is that John Constantine is a character who can’t change, and putting him on a show that is all about change and growth can’t help but feel unsatisfying for both the character and the show. Season five tries to suggest that change is possible for him - he finally comes clean with Astra and make a real apology to her; he admits that his pursuit of magic has cost him relationships and a chance at happiness; he reaches out to his friends when he thinks his life is about to end; he even quits smoking. But the character just doesn’t have that much give in it. To be John Constantine, he has to be the cynical, arrogant, self-destructive fuck-up we’ve always known. On a show like Legends of Tomorrow, that can work in small doses, but not as the main character that Constantine has been positioned as.

Though I’m glad that the show figured out something to do with Charlie before writing her off, the similarities between her story and Mick’s can’t help but shed a light on how poorly thought out this character has been, and how much her season five story is parachuted in. When Mick betrays the team at the end of season two, it’s barely a season after they’d put him off the ship for being perennially untrustworthy, leading to him becoming their nemesis. They only take him back out of pity for the decades of torture he suffered, and sympathy for the loss of his only friend, Captain Cold. His betrayal is a direct outcome of those cracks in the relationship - he does it because he wants to live in a world where he hasn’t been hurt or hurt others, and where his friend is still alive. When he changes his mind at the end of the season, it’s a culmination of two seasons of character growth, the realization that holding on to the pain in his life is worth it if it means he gets to keep the friendships he formed on the Waverider, and to continue to grow as a person - as expressed by his choice to put Snart back in his timeline, where he will become a better person (and eventually inspire Mick to do the same) but will also die. Charlie’s very similar storyline just doesn’t have this kind of depth. Neither her heel turn nor her face turn feel particularly earned, and a lot of that has to do with the fact that it took the writers so long to figure out who this character even was.

For a season of Legends, this was an awfully heteronormative stretch of episodes. Sure, Sara and Ava are still center stage, and that’s fantastic. But every other romantic relationship in the season, and there are quite a few of them, is a straight one. You might blame this on the fact that season five is a housecleaning season, wrapping up dangling storylines like Ray/Nora or Nate/Zari. But even the new characters like Behrad or Lita express only opposite-sex attraction (I guess Astra never demonstrates a preference). I mean, if you give John Constantine two different love interests in a single season and they’re both women, surely something has gone terribly wrong?

And speaking of John Constantine’s love interests, is putting him together with Zari meant to make the old her’s romance with Nate look organic and true to the characters in comparison? Because I can’t think of another reason for it. Do not want.

THE UGLY:

Words cannot express how much I hate the Damien Darhk episode. Not all of it, obviously - the Mr. Rogers riff, as I said, is pretty good (and pays off handsomely later in the season), and pretty much all the Ray/Nora stuff, especially the moment where she realizes she’s not going to lie to her father about the man she loves and the life she’s chosen, are golden. But it is simply mind-boggling that after two seasons in which Nora was firmly established as the survivor of a lifetime of abuse, Legends takes an entire hour to not only rehabilitate Damien, but pretend that he was always a loving father who just made some mistakes. For crying out loud, the man fed his daughter to a demon in order to gain power for himself. It was always an interesting wrinkle in his character that he clearly saw himself as a loving, protective parent, and was even capable of some level of self-sacrifice on Nora’s behalf, but I had assumed that the show realized this was at least partly a self-serving lie. To discover that we’re actually meant to think that one act of sacrifice cancels out a lifetime of abuse is nauseating. I wanted Nora to stand up to her father, but as a victim calling out her abuser, not a loving daughter trying to renegotiate a relationship with an overprotective parent. It certainly doesn’t help that the episode features inexplicably popular wedding story tropes, such as the groom asking the bride’s father for permission to marry her, or the father trying to keep the couple from physical intimacy before the wedding, which are gross in any context but especially so here. I suppose in the end it’s all worth it to be rid of Damien once and for all, but I was squirming with discomfort and rage throughout the entire episode.