#she's like one of the throwaway shows tv networks

[cantsayidont]

Maybe the children in cages and the U.S.-funded genocide and the ongoing plague and the censorship campaign and propping Sen. Dianne Feinstein up like a reanimated corpse à la Spinrad's "World War Last" have made me more than usually cynical about the Democrats, but I can't help feeling that Kamala Harris inheriting Biden's place on the ticket is a clear indicator that they are expecting to lose (as their staffers have apparently been saying for weeks), and they've ordered her to take one for the team because they would never run her under any other circumstances.

As a Californian, I am as contemptuous as anyone of Harris and her awful record, but I suspect that's beside the point. I don't think the DNC regards her as a viable candidate — if they did, they would have put her forward much more prominently long before this — and I have a hard time picturing them running any Black woman in a presidential race they thought they could win.

[pagannatural]

2.09 Croatoan

-my beloved

-The brothers go to Oregon because Sam has a vision of Dean shooting someone who pleads for his life.

-Sam thinks Dean is violent and out of control because of his grief but he’s actually violent and out of control because he’s losing his mind over Sam.

-Sam looks very Scared Little Brother when they realize the town has no phone signal. He stands really close to Dean. Sam is right. I forgot how scary this episode is.

-Sam hesitates to kill the son who had the mom tied up, and Dean berates him. Dean calls the son a “monster” and Sam says “it was a kid.” Dean likes a clean line between monster and human.

-Sam is always the one who comforts the victims and tells people everything will be okay, another way in which his role in the relationship is traditionally feminine. He’s the one women find non-threatening. (And he’s too distracted by Dean to be attracted to them).

-When the mom, Beverly, says “one minute they were my husband and my son and the next they had the devil in them” the camera cuts to Sam and Dean. This line could be Dean describing a blood-drinking Sam: one minute he was my husband and my son and the next he had the devil in him.

-One of the armed men blocking the road out of town asks Dean to get out of the car to “talk a little,” and Dean says “you are a handsome devil but I don’t swing that way, sorry.” It’s easy to forget that in the early 2000s, this kind of throwaway joke on network tv didn’t usually hint at a character’s hidden sexuality, it was just a vaguely biphobic little joke. But I do think there’s a reason it’s here.

The Croatoan virus is a demonic virus spread from blood infection that’s not visible just by looking at someone. So we have a little AIDS parallel. It’s also a similar concept to Sam’s demon blood. His blood represents choice and sin and the human mixed with the monstrous. Blood is also associated with family.

Incest and queerness are taboos that have often been conflated in fiction (and in history), and both have been strongly associated with monstrosity—think predatory sexuality, birth defects, infertility, rejection of the natural order. A desire that’s dangerous and wrong and destructive, that must stay hidden and can only survive in the shadows. The homoerotic incestuous monster hunters are the perfect storm of gothic queer horror.

Whether or not either brother is queer doesn’t affect the plot, and isn’t the point. I can see Dean grappling with being in love with Sam without questioning his sexuality at all. Sam is a category unto himself to Dean, and Sam doesn’t appear bothered about his sexuality aside from his feelings about Dean. But the confluence of these taboos—incest and queerness—with blood is central to the plot of the show and the question of what evil is. Really their love for each other and their shared blood is what saves them, keeps them human.

-Another of my absolute favorite underrated wincest moments is when Beverly is begging for her life from the utility room and Dean asks Sam “are you sure she’s one of them?” Sam barely nods and it’s enough for Dean to shoot her three times point blank. He doesn’t need any more information, just for Sam to nod slightly.

-Sam suggests that they need to leave to warn others of the virus and Dean tells him he has a good point. They respect each other’s input and work together well.

-Duane shows up and the situation becomes very tense. Sam is standing with his whole body facing Dean. In moments of extreme stress, Sam often seeks Dean’s protection rather than focusing on the threat.

-Dean has a gun on Duane with some urgency but Sam says “I gotta talk to you—now” and Dean leaves the room with him immediately.

Sam argues that they should wait and not kill Duane in case he isn’t infected. Dean says “what’s that buy us?”

“A clear conscience, for one.”

“Well it’s too late for that.” Is Dean talking about his guilt over John’s death? Or is this more about his general self hatred around never being enough to be everything for everyone, to give Sam everything that he needs and be the perfect son and soldier and brother and father and mother?

Sam tells him “you don’t act like yourself anymore, Dean. You’re acting like one of those things out there.” Dean does feel lost. He needs Sam to save him so that he can save Sam.

-Sam is so devoted to Dean this season. He spent season 1 gradually giving into his complete trust and commitment to Dean and now he’s been losing him or at risk of losing him in different ways all season. He fights tooth and nail for Dean every step of the way to get him to listen, to talk, to come back to him.

-Dean pushes Sam out of the way and locks him out, aiming to kill Duane. He says “it’s not him, not any more” and “I’ve got no choice.” But then Dean decides not to shoot him.

-When the doctor asks if it’s alright to untie Duane, Dean and Sam seem to have a wordless conversation in which Dean defers to Sam’s judgement, and Sam tells the doctor it’s okay to untie him.

-Sam is Dean’s morality. Dean is submitting to Sam, needing him to help him make the right choice. By doing this he’s also believing in Sam’s ability to stay good.

-Sam says about Dean not killing Duane “you know I’m gonna ask you why.”

Dean replies “yeah I know,” not looking up, focusing on keeping his hands busy making Molotov cocktails.

“So why? Why didn’t you do it?”

Dean looks at Sam with his chin tucked, like it’s hard to meet his eyes. He doesn’t answer. He clears his throat and says “we need more alcohol,” basically asking Sam to leave for a moment so that he can pull it together. He gazes after Sam with this raw, shamed look.

It’s the first of two parallels in this episode to their conversation in 1.19 where Sam says his reticence to date is mostly not about Jessica, and Dean asks “then what is it about?” and Sam just looks at him, implying heavily that it’s about Dean.

The question Dean was asking Sam there was essentially, Why can’t you love anyone else?

The first question Sam asks Dean is why he didn’t kill someone, but it’s also why Dean wants to do the right thing and not lose himself, and the answer is because of Sam.

-After Sam is attacked, he reaches for Dean’s hand to help him up off the floor and then just leaves his hand outstretched after Sarge holds Dean back and tells him Sam is infected. It’s like his muscle memory of reach-out-hand, Dean-pulls-me-up hasn’t caught on.

-The whole time Dean argues with the others about Sam, Sam only looks at the floor or at Dean. He’s not watching the conversation, he’s watching Dean because he’s scared and he looks to Dean when he’s scared.

-Dean says “no one’s shooting my brother”

He’s so protective. He was about to kill someone who might be infected just in case, but when it’s Sam he would simply rather die in a murder suicide and that’s that on that.

-Sam asks for the gun so that he can shoot himself, saying “I’m not gonna become one of those things.” This episode is pure foreshadowing for the end of s5. Sam refuses to become a monster, Dean chooses to stand by him and die rather than kill him. Because of their faith in each other, because they waited, things work out.

-Dean hands over the keys to the impala. He’s not fucking around. He tells the doctor “oh actually we’re not really marshals.” He’s in a truth telling mood, fuck it.

-Sam asks Dean to leave him and keep living, looking at him with incredulity and gratitude and love and fear.

Dean leaving him alone to die or become a monster would fulfill Sam’s deepest fear—left behind, not belonging, because something is wrong with him. But he still asks Dean to go, he throws a fit, he tells him “this is the dumbest thing you’ve ever done.” It reminds me of that scene from Titanic, Jack telling Rose “you’re so stupid” for staying with him instead of saving herself.

He says “it’s over for me, it doesn’t have to be for you.”

“No?”

“No. You can keep going.”

“Who says I want to?”

This scene is so dramatic and romantic. Close shots of their faces, Sam looking up at Dean with his eyes full of tears, begging him. Dean tells Sam he doesn’t want to go on without him.

Sam asks, what?

For a moment it almost looks like he’s taking this as the confession that it is, before Dean puts some distance between them and leans against the wall. This is the second scene is this episode to parallel their conversation in 1.19, this time even more closely.

Sam thinks Dean doesn’t want to go on because their dad died, but Dean says “you’re wrong. It’s not about dad. I mean part of it is, sure, but-“

Sam interrupts to ask “then what is it about?” and Dean gives him this look,

this look of love and tenderness, like he’s willing Sam to understand.

This time Sam’s question is Why don’t you want to live? And the answer is that Dean doesn’t want to live without Sam.

I love how this scene makes clear that Sam’s romantic partners compare directly to Dean. It confirms what Sam was thinking about in 1.19, because for these scenes to rhyme they must have been thinking about each other.

-The brothers share a romantic beer at the lake. Sam asks Dean what he was talking about last night in a way that honest-to-god sounds like he’s referring to pillow talk. Dean doesn’t want to tell so Sam keeps pushing, but their tones are teasing and light. They really sound like they’re flirting. Dean suggests that they go to the Grand Canyon.

Sam keeps questioning him, gentle but insistent, as Dean talks about taking a break.

-Where is our Grand Canyon episode?

-Sam looks so scared when Dean says John told him something about Sam before he died. I wonder what’s running through his head. There’s this feeling that people with Sam’s negative core belief often get, which is a fear that something is deeply wrong or rotten in them and that eventually other people will find out. He’s probably thinking that’s finally happened.

[maplefiasco]

8 Shows To Know Me

Thanks for the tag, @booksandabeer! This was extremely difficult and I look forward to kicking myself in a week when I remember some other show that's 20% of my personality but I totally blanked on when making this list.

No pressure tagging: @asmoonlightthroughthepines, @scare-ard--sleigh, @msmandapants, @blithers, @dontcallmebree and anyone else up for distilling themselves down to eight tv shows!

Okay let's do this!

Star Trek The Next Generation

TNG imprinted on me in 4th or 5th grade. I'd watch it every night before dinner and have lots of opinions about the holodeck and Data. Did I put a headband in front of my eyes and call it LaForge's visor? Yes. Did I unironically love the cheesy episodes like Rascals, The Game, and Disaster? Absolutely. It was also my intro to fannishness, pre-internet. One of my friend's dads had a stack of action figures, and a Riker uniform he'd break out at Halloween. I remember being confused by his whole deal, but mostly thinking it was really cool.

Flight of the Conchords

I saw this promo before the first season premiered and was instantly sold, it was so silly and unassuming. I was in college which is just. the perfect age to find everything about it delightful and hilarious and to be low-key in love with both Bret and Jemaine. I'm pretty sure I've thought about some lyric or throwaway line or small facial expression every day since 2007.

New Girl

I made myself limit this list to only one 2000s/2010s network comedy. New Girl edged out The Office, Parks & Rec, Community, 30 Rock, and even my beloved dark horse, Happy Endings. It's pure comfort. Every character is the best character.

Severance

I will not rest until everyone is as obsessed with this show as me. I've already watched season 1 three times, and I'll probably watch it all the way through again before season 2 comes out. It just hits all my buttons. Eerie weirdness! Sci-fi elements explored at a very personal, human level! Retro corporate dystopian branding and decor! Random moments of absurdity! Existential dread! Defiant jazz!

The Magicians

One doesn't keep up a semi-active sideblog for four years (?!!) and counting for a show without being permanently altered and irreparably damaged by it. One day, a work friend and I were talking tv and she went, "you would like this show! I wouldn't recommend it to everyone, but you would like it!" For better or worse... she was not wrong. (On the fandom side, the fic for this show is just exquisite. The art, edits, and gifs are impeccable. I'm grateful it compelled me to start making stuff more regularly. Fussy, high-effort stuff!)

Better Call Saul

I know, I know *pikachu surprised face* that this one made the list. Y'know that post that makes the rounds every once in awhile, about 'ships and fictional relationships that's like, "sure they're in love or whatever. But, like... do they even like each other?" I think this silly lawyer prequel to the crime-and-drugs show accidentally became the best display of two people who like and love each other on tv. (Also yes, everything else about it is A++. Meticulous. Stressful. Exhilarating. No notes.)

Simpsons (Seasons 1-8ish)

This feels like an embarrassingly basic answer, but my personality really is just several early seasons of The Simpsons in a trench coat. It's what shaped my sense of humor. It's the foundation of my marriage. It's why I knew what Citizen Kane was at eight years old.

Pushing Daisies

Pushing Daisies was one of the first times I felt like, "oh! Someone made a show for me specifically!" Every single element was a feast for the eyes, from the saturated colors, to the quirky, overly literal sets, to Chuck's outfits, to Lee Pace's face. Baking AND knitting were heavily featured in every episode! There was a cute romance with supernatural complications. There was whimsical, fairy tale-style Jim Dale narration!

Runners up include: Tuca & Bertie, Buffy, Firefly, Freaks & Geeks, Mad Men, Home Movies, Legion, WandaVision, The Mandalorian, and Lost.

[loving-villanelle]

I’m thinking of making a throwaway Twitter account to talk about the way this industry works in completely general terms, and I was wondering if you or your followers would be interested in an inside perspective?

I’ve worked as a writing assistant for networks that produce some pretty big TV shows on air right now. We basically assist the writers’ room by making phone calls, glossing over scripts and vetting the ones we get from various submissions.

I’ve seen in real time how a script with openly queer content went from being approved to being completely picked over by the network executives. In this case, I suspect it’s SWG calling the shots. It’s not just the executive producer of the particular television series that calls the shots, it’s the distributor and network. You’re beholden to their whims. Many of them have had these positions carved out for them since birth, and they refuse to change their ways.

To them, queer content is a way of “othering” their product. They want the most capital for their investment. TV shows with queer characters that aren’t about their struggles with sexuality are extremely rare for a sad reason.

There was a thread on Twitter making the rounds a few months back from a writer that I’ve personally interacted with. She showcased some of the issues in a better way than I can, but she’s also not tied to an ironclad NDA like some of us lowly paper pushers (that’s how we’re seen).

I can’t say I was shocked at all with how KE ended. You would be surprised just how many top level producers and showrunners are homophobic behind the scenes while pretending to be inclusive through PR.

I know one thing though: if you see actors not promoting the endings of their series or making faces in interviews like they’re hating their lives, just know that they don’t approve of the direction and they’re contractually obligated to pretend otherwise or stay silent.

I think we'd be thrilled for any sort of information we can get!

[mycarlydotcom]

I think a lot of people(myself included) are worried that in this Carly reboot, Sam's character will be written off with some weak one-liner joke such as "oh, she's in jail now" or something like that. Here is a few ideas I came up with that are certainly better than some throw away one-liner, and I think would at the very least, adequately explain her absence without completely tarnishing her character...

At some point after the events of iCarly and Sam & Cat, Sam persued her passion for food as a career. She reconnected with Gibby, and the two of them re-established their old resturant, "Gibby's", that used to operate out of the basement in Ridgeway high school. Obviously now the resturant has evolved and it has relocated outside of Seattle(perhaps even at Hollywood Arts; continuing the trend of it being at a school, and keeping up with the canon that Sam moved to LA after iCarly ended). Now owners of a hectic, and booming business, both Sam and Gibby don't have the time to reconnect with Carly, Freddie, and Spencer. This kills two birds with one stone, as it obviously explains Gibby's absence too.

While Sam was running her babysitting service in Los Angeles with Cat Valentine, the two girls ended up babysitting the child of a big time television executive who found their antics to be charming and entertaining. Thinking the banter between the two of them could make for a great show on his network, he offers them an opportunity to make "Sam & Cat" an actual show within their universe, and the rest is history. With Sam now being an actor for this popular TV show, her schedule is far too busy to allow her to come back to Seattle and reconnect with the rest of the gang. I know, quite a meta explaination lol.

Shortly after the Sam & Cat series, and the episode #TheKillerTunaJump, Sam came home to Seattle with the hope to truly reconnect with Freddie. Unfortunately when she arrived, she found out through Spencer that Freddie had moved away for college and never told her. The fact the Freddie didn't even bother to mention it to her, even through a simple text, rubs her the wrong way, and she ultimately takes that as a sign that they weren't meant to be. Spencer offers to let her stay with him, but Sam graciously declines. With Freddie gone, and Carly still in Italy at this point, Sam feels it's time to finally let go of her old life and leaves Seattle again for good. Freddie obviously returns to Seattle himself later on(as he is in the reboot), but by this point Sam has drifted from the group.

Each of these are at least decently thought out of enough to respect the integrity of her character. It doesn't have to super elaborate, just something that doesn't paint her as a failure or a lowlife, and acknowledges her fairly and not in a throwaway fashion.

[centrally-unplanned]

Medium & Marketing for 90′s Anime Dubs

Today is Hayao Miyazaki’s 80th birthday, which made sure my dash was filled with Ghibli tidbits. A discussion of my personal favourite, Kiki’s Delivery Service, brought up its ill-fated original dub by Disney in 1998. Ghibli still didn’t have the courage yet to put their foot down on changes for international releases, and so there are a lot of alterations - the theme songs are changed to be anglicized, almost any “dead space” or quiet moments in the film have someone (normally animal sidekick Jiji the cat) improv lines over the scenes to liven them up, and in particular the ending is changed to be less bittersweet as Jiji, who in the original Kiki permanently loses the ability to talk to as a sign of growing up, regains his voice.

These changes slot neatly into the zeitgeist of all 90′s anime changes - a disregard for the property’s core appeal as they were bowdlerized for a western audience. Sailor Moon is an infamous victim of a similar process - at least Kiki took place in fantasy Europe, the Sailor Moon dub’s attempts to pretend that the show doesn’t take place in Japan were simply insane as they cut out or blurred every appearance of Japanese writing in the show, leaving reams of animation frames on the floor in the process.

(Tangent time: the greatest scene ever is one where, upon reading a note by Usagi, to prove it was her Minako/Sailor Venus comments “it must be from her, its written entirely in hiragana”, the simpler form of written Japanese compared to kanji, which Usagi as a running gag cannot write. So in the dub they just...blur out the text of the note, and have Minako comment “I had to read it with my imagination. It's all written in funny symbols!". I distinctly remember watching the episode live when I was 12 years old and going “wait what the fuck does that even mean?” and suddenly realizing that the show was changing its own script, it was a trip of a moment)

Like most people I do malign these changes, but I am actually here to partially defend them via contextualization. The idea that American audiences would have cared that the show was Japanese is pretty dumb, but what you often hear are statements like “kids in Japan appreciated Sailor Moon/Kiki’s Delivery Service just fine, they didn’t need to change it”. That is possible, but it mistakes why changes are being made to begin with - its not the “culture of children in the US vs Japan”, its intended market via the medium of distribution.

Kiki’s Delivery Service was released in Japanese theatres in 1989, and it was the highest grossing film of the year in Japan (about ~US$18 million, man do things change). Kiki’s Delivery Service the Disney dub, was....released on VHS in 1998. VHS releases and movie theatre releases aren’t really intended accomplish the same thing. Remember all those direct-to-video Disney sequels? Lion King 2: Simba’s Pride? Cinderella 3: A Twist in Time? Remember how they were all just garbage? Anyone looking back at them today cringes, with a few exceptions. But none of us cringed when we were 8! My partner is a huge Disney fangirl, and when she was young she didn’t even distinguish between the theatre release and the VHS sequels - it was all Disney, you just lined them up and played them in a row as the complete canon. Yes, these movies sucked partially because they were low budget, but they weren’t actually *that* low budget - and not the throwaways your memory probably tells you they were. Lion King 2? Made ~$300 million in net sales, almost as much as the original Lion King’s theatrical run.

What those Disney VHS sequels and Kiki share is the fact that their intended market was *only* children. That is the point of VHS - you put it on for your kids and then go make dinner. Its the virtual babysitter, the kids can loop it while reenacting every scene with their stuffed animals. Movies released in theatres don’t serve that role at all - the parents are paying $15 a head and they are trapped in their seats for the whole runtime. It has to entertain everyone, or you aren’t going to go, or at least not as often. VHS releases sucked because kids don’t care, they actually do enjoy the constant quippy lines and dumb jokes. That is equally true for Japanese kids - its just that Kiki’s intended audience wasn’t Japanese kids, it was “all ages” - a very different category.

The same is true for Sailor Moon, by the way. The idea that kids in Japan could “handle more mature themes like death” unlike American audiences doesn’t hold up quite as much when you look at Disney theatrical releases like the Lion King - Mufasa’s death pulls no punches, but kids didn’t mind. And Japan does have shows like Doraemon that are just as childish as the 90′s western cartoons you remember. Its that Sailor Moon’s audience wasn’t just kids. 

Bishoujo Senshi Sailor Moon aired in March of 1992 on TV Asahi. Asahi was not a kids network, and Sailor Moon did not air in a kid’s block - instead in its “Anime Block”. It aired on Saturdays, at 7:00 PM. For most of its runtime, the 7:30 slot after was held by Slam Dunk, a hyper-serious basketball anime adapted from a manga in Weekly Shonen Jump. You think director Kunihiko Ikuhara was throwing in queer relationships and even trans characters, and every other villian was a half-naked seductress, because it was gonna really resonate with 8 year olds? Sailor Moon was for 8 year olds, yes...and for otaku. So, 15 year olds, lets not exaggerate here. But still, its hype, its success, came just as much from its teen and adult fans as much as its young devotees. Which was intentional - it was *marketed* that way. That's why it aired at 7:00 PM on a Saturday. 

Sailor Moon’s original dub, on the other hand, aired on UPN at, yeesh, 6:30 AM?? Then on USA’s Cartoon Express at the much more reasonable 8:30 AM, and later on Toonami at 4:00 PM. All of these are kids slots, to watch over cereal or snacks before/after school while the parents are busy. You do not expect the adult in the room to be watching alongside the kid, or for teens to really be paying attention.

And to cut off the logical objection, a show like Sailor Moon was just not going to get a 7:00 PM Saturday slot in the US in the 90′s. Nor was Kiki going to get a movie theatre release in 1998 of any scale. Movie releases are expensive, Saturday slots are precious, the funding just wasn’t there for something so untested as Japanese anime. There was no demand in the west for it - that demand would only be created later, by a generation who grew up on, well, shitty Sailor Moon dubs and Kiki VHS releases. And what success in the media slots these shows and movies did have are shaped by those market niches.

I don’t want to be over-deterministic on this - at some point Cartoon Network rolled the dice on Cowboy Bebop and Full Metal Alchemist and it worked - maybe they could have done that in 1995 with like Neon Genesis Evangelion, who knows! And of course US children’s cartoons are, beyond market forces, burdened with regulatory moralizing that Japanese media does not have. But I do think these 90′s dub efforts should get the proper context for the constraints they were operating under, and why they existed at all, as they are criticized.

[letterstothemidnightsociety]

It’s crossroads and psychics and shipping, OH MY! Join me as I continue one millennial’s journey to discover why a show about beefcakes and demons managed to last on network television for over a decade. It’s Supernatural! 

So now that we’re in the thick of it, there are two moves that the writing team of Supernatural pulled that make a season 2 work, or, more specifically, work for me. The first is that rather than Level Up their heroes, they allow our heroes to lose, and I discussed that in my last post. Now we don’t know what’s gonna happen - they didn’t defeat the bad guy, their ace up their sleeve (John) is dead, and they don’t even have wheels to roll around anymore. 

Equally important, the second thing they do at the top of season 2 is World Build. I’ve read this article from Emily VanDerWerff at Vox like, 8 times so I’m just gonna go ahead and quote her directly:

Season two of a great drama usually finds a way to explain why the show isn’t just a story about the protagonist but a story about a whole cast and a whole world. With the premise having been thoroughly explored in season one, the show, by necessity, has to start looking for other ways to tell stories. This usually means turning to the other characters within the ensemble... but it can sometimes mean pivoting to explore a new corner of the show’s setting ...or diving further into core themes...

Side note: I know few TV critics by name but I find Emily VanDerWerff’s tv and media analysis to be particularly insightful and brilliant and if she ever reads anything I write about TV, I just want her to know it. Definitely go read/listen to some of her stuff at Vox.

So let’s break that down, shall we? The job of season one on a television drama (which SPN undoubtedly is), is to set up the show as a story about a hero(es) (which SPN season 1 undoubtedly does). We know the Winchester Brothers. We know their wants, we know their obstacles, we know their pressure points and triggers, they’re standard MO’s. We’ve seen them move as a cohesive unit against a big antagonist and with the start of season 2, we get to see how they handle failure at the hands of that antagonist. 

But now season 2 has a bigger job: “explain why the show isn’t just a story about the protagonist but a story about a whole cast and a whole world.” As fun as it’s been riding with Sam and Dean across the country, that Impala does start to feel a little claustrophobic. We’re so focused on just these two characters that it’s hard to believe there’s a great wide world out there. Now, I call it claustrophobic now, but the chemistry between our two leads was definitely enough to carry the show without 3rd or 4th or 5th wheels through that first season and possibly future seasons. I was certainly happy to stick with just Sam and Dean for another 13 seasons when I watched this show for the first time back in 2008/2009. But after many years and many more TV shows, I understand that that model can’t be sustainable for the long haul. And that’s the goal, isn’t it? To get to a season five (and the sweet, sweet payday that is syndication) or farther. If your only regulars in series are two brothers and a car, that’s gonna get a little stale, at least for a broad audience anyway. And frankly, watching season 2 now and knowing what I know about the rest of the series, I’m excited to see new Found Family members show. If there’s one running theme throughout all 15 seasons it’s that Sam’s and Dean’s lives are deeply, tragically lonely.

So the writing team opens up a whole wide hunting world for our brothers to reside in - first with Bobby (AKA Poppa Hunter), then with The Roadhouse. But Bobby plus The Roadhouse crew don’t just expand on the SPN Scooby Gang. They show us, the audience, that Sam and Dean aren’t actually two lone guns out in the wilderness. Sure, season one gives us Missouri Mosely and then the deaths of Caleb and Pastor Jim, but these characters seem few and far between, unconnected to each other except by chance meetings with John Winchester. Introducing the new characters in season 2 shows us that there’s a network, a community out there, one that works together to stem the tide of evil from overtaking the Normals and their Apple Pie Lives. 

Quick side note: Can we talk about how this, specifically, was a real disservice John did to his children? In “Everybody Loves a Clown”, Ellen tells Dean that she knew John was closing in on the demon and Dean responds “What, was there an article in the Demon Hunters Quarterly that I missed?”, and that’s probably a throwaway line for the joke, but it inadvertently signals that John really kept his sons isolated from having any kind of life at all. Sure, nobody wants the life of a hunter, but what if you had, oh, a community of hunters who took care of each others’ children and called people out on their bullshit abusive behaviors and watched each others’ backs so that there were fewer casualties and also were there so you could talk about all those things that Sam and Dean have spent their entire lives keeping secret from everyone? Ellen says John was like family once, and, like, whut? Why doesn’t Sam or Dean know who any of these people are? Why isn’t there a team trying to take down this yellow eyed demon? Why is it that Sam and Dean have, like, no support system other than their father?? I mean there probably IS a Demon Hunters Quarterly and John should have gotten his boys a subscription! 

Of course, the Wider Hunting World isn’t all good guys like Bobby and Ellen and Jo and Ash. There’s also Gordon and Dean’s new Father Substitute, who’s a straight up psychopath, but they can’t all be winners, can they? That episode, as mentioned in my last post, also opens up the world of Team Monster - they’re not just mindless Evil devouring innocent victims. There’s also people out there with hearts and souls and consciousness’ who happen to have monster-like physical attributes, making the Winchesters’ mission that much more complex and fraught with drama and the potential for more storytelling opportunities.

And, in “Simon Said”, we start to see more of the Special Children, which is a fandom term that I do not like. Special Children? Special Children?? THAT’S what you went with?!? Anyway, we get the second instance of 20 year olds touched by the yellow-eyed-demon. There’s new abilities, stronger psychics, and just generally more to these children than Sam and Dean even knew existed. And I actually really love Andy a lot and really enjoyed this episode a lot. Andy is just an instantly likable character and I feel like, with his skill set, he could have been a real asset to the team. I mean, the guys get arrested by the feds at least once a season. But apparently Kripke decided, like, two episodes into the Special Children plot that he hated it and *spoiler alert* kills them all by the end of this season. 

Just looking at the three other episodes on the same disc as “Simon Said” (yes, I am still watching the DVDs) I’d say “Crossroad Blues” is another expansion episode. Though it was hinted at in the first episode, the Crossroad Deal is now A Thing, and one that’s gonna come back to bite us later. So our lore is getting bigger, deeper, more involved in the plot. “The Usual Suspects” doesn’t do a whole lot of expanding the world, but that one feels more like filler/light fare to balance out the drama from the first 6 episodes anyway. I’ll add that even though it doesn’t have a lot to offer, “The Usual Suspects” is an A+ episode that does a great job of remixing the formula. 

But back to our World Building - At the end of “Simon Said,” you get another taste of what this life should be for Sam and Dean. When Dean starts to pull the same secretive crap his father did, Ellen cuts back “This isn't just your war, this is war. Now, something big and bad's coming and it's coming fast, and their side holds all the cards. Now, at best all we got is us. Together. No secrets or half-truths here.” REALLY, John, you could have gone about your whole life of vengeance in a way that didn’t royally screw up your children and yet…

But Ellen’s complaint sums it up nicely - this show isn’t just about the Winchesters anymore, it’s not their war, it’s a whole world’s war, a world that the show now has the opportunity to explore and expand to their hearts’ content. 

And here’s where things get sticky. 

Like I said, the first go around, I was happy with only two protagonists and now that I worry about characters’ feelings, I’m really glad that the show tried to expand the Winchesters’ social circle for you know, mental and emotional and spiritual wholeness. And all the new characters that got introduced at the beginning of season two are generally well-liked characters...now.

I mean, nobody didn’t like Bobby Singer, right? The boys lose one father figure and he is replaced by another - better, stronger, more paternal than the one before. He’s the perfect blend of back country tough love and big ol’ softie and everybody loves Bobby, right? 

I don’t think anyone hated Ash either, although, you know, he’s kind of barely there. I gotta say, I do appreciate the amount of mullets that show up in the show. I mean, that’s commitment to a bit right there. Ash is their Guy in the Chair and he’s ridiculous and I am not ashamed to admit that I kind of love him.

Then there’s Ellen. Ellen “Definitely Didn’t Sleep With John That One Time” Harvelle. And she is GREAT. She comes right out of the gate with that Big Mom Energy. Ellen is your mom, if your mom could also drink you under the table and still shoot you between the eyes without spilling her glass. A+ job on this character, would recommend, would watch again. Why she disappears for so long, I’ll never know, but it’s probably some kind of bullshit reason that has to do with misogyny and “bad” attitudes and unequal pay. 

Honestly, in a sea of testosterone, there emerged a much needed island of femininity, and that island was The Roadhouse. But The Roadhouse also brings us Jo. 

Oof. You guys. Now listen, I’m gonna say a thing and that thing might be controversial but here goes: there is nothing wrong with Jo. I’ll say it louder so that Me back in 2008 can hear: THERE. IS. NOTHING. WRONG. WITH. JO. 

I’ve done a little digging and it seems the “official” complaint for Jo is that she comes off too naive, too innocent. I...do not agree. At least one site I read through says fans called her “immature”, but watching it this time around, she’s light and bubbly, sure, but she seems very much aware of the world she lives in. If anything, it’s the people around her who treat her like a child, it’s not the character herself who comes off that way. This watch, I see a character who is confident and pretty damn capable. I think “No Exit” shows a character who is maybe more fully realized than I gave her credit for the first go around - she’s tough, she knows how to handle herself in a fight, and she’s quick on her feet. But she’s also a human person, capable of making mistakes and getting in over her head and we see her deal with that once she’s captured by Holmes. She holds her own in both Sass and Skill against Dean and I think, at the very least, she could have made a good addition to the team on a regular basis. She makes a nice foil for both brothers - Sam, who never wanted this life, and Dean, who is already struggling to remember why he does what he does. Given time, I think her character could have settled into something that really stood out in the show. But that’s the problem with new characters who are written to be green - they need time to grow. Supernatural never gave her that time. 

I think the REAL problem is that Jo is very obviously introduced to be a love interest for Dean and yeah, that feels pretty shoe-horned in there. But I think we have to hand it to Alona Tal - she really is doing the best she can with the material she’s given, considering that the writing team seems to have done very little work on fleshing that character out up front. It’s like the writers were shocked that they had to write? A person? And not? A sex appeal????? And that feels very on-brand for CW. 

Do I ship Jo and Dean? I don’t know. My OTP at 19 was Dean + Me, so I’m real thankful I had no interest in writing fic at the time and there’s no incriminating author-insert work out there. But if asked me to chose an OTP for this entire series now, I’d say I ship Dean and Happiness and I feel like these two could have been happy. 

But fans hated Jo, so much so that the writers completely abandoned the love interest subplot and all but wrote her out of the show for good. She was not well liked in 2006 when this season aired and according to several fan sites I looked through, attitudes towards her didn’t warm up until she comes back in season five, basically just to die. Sure, she sacrifices her own life to save Sam and Dean, but she literally comes back to be cannon fodder and that’s what changes peoples’ attitudes towards her. Listen, I’m not saying there isn’t some weird gross misogyny to talk about down the line, but I think we have to acknowledge that this fandom is also guilty of some real girl-on-girl crime. 

Now I was curious - what was it exactly that so many fans hated? Why was the backlash against this character particularly passionate? And boy guys, did I find an answer.

I knew this was coming. I knew I couldn’t avoid it. And I’m not happy about it. But I said I was gonna dive into this show and you can’t dive into SPN without acknowledging the darker spots of the show and one of those spots is: Wincest. 

I just. Hoo boy. Listen, I am a Ship and Let Ship person. My kink is not your kink, your kink is not my kink, and we can all still get along. At least I hope we can all still get along, cuz fandom is occasionally terrifying and I don’t want anyone coming after me. But also, I did not realize...that they were so...prevalent? Like, seriously. I am very glad that I never actually used LiveJournal as I intended to use LiveJournal because 19-year-old me was not READY for that kind of Fandom. 

And hey I...understand why this happened? Sort of? Like, for all of season one, this show is only about two VERY attractive men folk who have VERY good chemistry with each other. And I will admit, in the spirit of honesty, that I too disliked Jo because I felt that introducing a girlfriend character would destroy the brother-character dynamic that was the heart and soul of the show. And I don’t want to dig too deeply into that sense memory because I don’t know that I like where it leads. 

But where this becomes a real problem is the implication that Jo was written out of the show because it interfered with the Wincest community? The idea that the Wincesters had that much power is chilling. Chilling. I mean, it’s one thing for a creator to take their fans into consideration when creating, it’s another thing entirely when the fandom makes a major plot point disappear. I mean, I don’t know what Alona Tal’s contract for season 2 was, but I do know that contracting for actors on a television series is affected by how many episodes they appear in. The number of episodes you’re in is also tied to things like pay rates (like those mandated by SAG) and where your name goes in the credits (top billing vs. end credits) Are you a guest star or a recurring character? Are you recurring or a series regular? Now, as a new character, it’s probable that Alona Tal was considered a guest star/recurring role and contract was per episode and not by the season - after all, that’s how the majority of the cast of The Office worked for all of season 1 and most of season 2. Angela, Oscar, Kevin, Meredith, Creed, Stanley, Phylis - they were all recurring characters, only contracted for each episode as it was being produced and they were in way more episode than Tal had in SPN. In fact, it was not until half way through season 2 (episode 11, “Booze Cruise”) that they were promoted to series regulars and received season-long contracts. But as the love interest for their lead, she was probably hired with the promise of getting promoted to series regular at some point in the future. Now imagine being Alona Tal, and finding out three episodes in that you’re not getting that season-long contract and you’re probably not coming back for season 3 because the fanbase is more into Brother-Lovin’ than your character. I mean. Guys.

Now can we really say that the Wincesters derailed a woman’s career? I don’t want to believe it, so I’m gonna say no. I am sure there was a lot of testing the character in key demographics and screenings with diverse audiences and graphs and charts and it wasn’t just that the producers of the show were endlessly scrolling through message boards on LiveJournal to see what kinks the fandom was into. I’m sure that was not the case because that is not the world I want to live in. But also, it definitely seems to have played a part. A REAL part. 

So let’s move back to television structure instead - why is this world building important? The key lies in a lot of the “prestige” shows that stream today. A lot of them have really strong first seasons, but a sophomore slump in their second seasons. Emily VanDerWerff calls out Stranger Things specifically, which had a tight, streamlined story that wrapped up so nicely at the end of season 1 that season 2 was left to flounder, trying to find its feet and its new story to tell. And they're not the only ones - this is a trend we see in a lot of premise driven shows.

How did we get here?The trend in shorter seasons has been really appealing to a lot of writers and directors who would typically work for feature length films. That means that a lot of the best shows are being written more like long-form movies than television series. The first season is a complete storyline from beginning to end with little deviation from the Main Quest. There’s less wandering like you’d see in a 22 episode season. Less of those filler/self-contained episodes where the writers get to explore new concepts and character work. This leaves less to detract from the single stream-lined story, but it also leaves little for the writers to explore once the season is done. When you wrap up all the loose ends by your season finale, you’re stuck wondering what’s left of the story to tell in future seasons? By not wrapping up the loose ends in “Devil’s Trap”, and by using these first 8 episodes to expand on more lore, allies, and world to inhabit, SPN is able to make space to create more story for years to come. 

NOW - can they keep that up for the next 14 seasons or will it get boring? Will we end up with comically overpowered heroes and villains that result in lower stakes? I mean, all of the characters die at LEAST once and come back, so how can SPN sustain the audiences’ concern for the characters when we’re never that worried for them? How much of the world is there left unexplored as you get farther into the series? How are they going to keep plots and arcs and characters new and fresh and exciting when we’re so familiar with everyone and everything? So many questions and so many episodes left to answer them! 

[davidmann95]

Superman & Lois Pilot Script Review

I’ve been reliably informed that absence makes the heart grow fonder, and indeed as my laptop and everything on it have been unusable for a couple months after a mishap, I went from ‘maybe I’ll write something on the pilot script for Superman & Lois’ to ‘as soon as I can get my hands back on that thing I’m writing something up’. I’m actually surprised none of you folks asked about it when I’ve mentioned several times that I read it; I was initially hesitant, but I’ve seen folks discussing plot details on Twitter and their reactions on here, so I guess WB isn’t making much of a thing out of it. Entire pilots have leaked before and they just rolled with it, so I suppose that isn’t surprising. Anyway, the show’s been pushed back to next year, and also the world is literally sick and metaphorically (and also a little literally) on fire, so I thought this might be fun if anyone needs a break from abject horror. 

(Speaking of the world being on fire: while trying to offer a diversion amidst said blaze, still gonna pause for the moment to add to the chorus that if opening your wallet is a thing you can do, now most especially is a time to do it. I chipped in myself to the NAACP Legal Defense and Educational Fund, and even a casual look around here or Twitter will show people listing plenty of other organizations that need support.)

What I saw floating around was, if not a first draft, certainly not the final one given Elizabeth Tulloch later shared a photo of the cover for the final script crediting Lee Toland Krieger as the director rather than a TBD, but the shape of things is clearly in place. I’m going for a relative minimum of spoilers, though I’ll discuss a bit of the basic status quo the show sets up and vaguely touch on a few plot points, but if you want a simple response without risk of any story details: it’s very, very good. Clunky in the way the CW DC shows typically are, and some aspects I’m not going to be able to judge until the story plays out further, but it’s engaging, satisfying, and moreover feels like it Gets It more broadly than any other mass-media Superman adaptation to date.

The Good

* The big one, the pillar on which all else rests: this understands Lois and it really understands Clark. Lois isn’t at the center of the pilot’s arc, but she’s everything you want to see that character be - incisive, caring, and refusing to operate at less than 110% intensity with whatever she’s dealing with at any given time, the objections of others be damned. Clark meanwhile is a good-natured, good-humored dude who you can see in both the cape and the glasses even as those identities remain distinct, who’s still wrestling with his feelings of alienation and duty and how those now reflect his relationships with his children. The title characters both feel fully-formed and true to what historically tends to work best with them from day one here in ways I can’t especially say for any other movie or show they’ve starred in.

* While the suit takes a back seat for this particular episode, when Superman does show up in the opening and climax it absolutely knows how to get us to cheer for him; there’s more than one ‘hell yeah, it’s SUPERMAN, that guy’s the best!’ moment, and they pop.

* While the superheroics aren’t the biggest focus here, when they do arrive, the plan seems to be that they’ll be operating on an entirely different scale than the rest of the Arrowverse lineup. Maybe they scripted the ideal and’ll be pared-down come time for actual filming and effects work, or maybe they’re going all-out for the pilot, but the initial vision involves a massive super-rescue and a widescreen brawl that goes way, way bigger in scope than any I’m aware of on the likes of Supergirl. I heard in passing on Twitter from someone claiming to be in the know that the plan for Superman & Lois is that it’ll be fewer episodes with a higher budget, more in line with the DC Universe stuff if not exactly HBO Max ‘prestige TV’, and whether it’s true or not (I think it’s plausible, the potential ratings here are exponentially higher than anything else on the network so they’d want to put their best foot forward) they seem to be writing it as if that’s the idea.

* This balances its tones and ambitions excellently: it’s a Kent-Lane family drama, it’s Lois digging in with some investigative reporting to set up a major subplot, it��s Superman saving Metropolis and battling a powerful high-concept villain, and none of it feels like it’s banging up at awkward angles with the rest. There are a pair of throwaway lines in here so grim I can’t believe they were put in a script for a Superman TV show even if they don’t make it to air, and they in no way undermine the exhilaration once he puts on the cape or the warmth that pervades much of it. This feels as if it’s laying the groundwork for a Superman show that can tackle just about any sort of story with the character rather than planing its feet in one corner and declaring a niche, and so far it looks like it has the juice to pull it off.

* While the pilot doesn’t focus on him in the same way as the new kid, Jonathan Kent fits well enough for my tastes with the broad strokes of his personality from the comics, albeit if he had made it to 14 rather than 10 without learning about his dad being Superman. A pleasant, kinda dopey, well-meaning Superman Jr. - the biggest deviation, one I approve of, is that he can also kinda be a gleeful little shit when dealing with his brother in ways that remind you that this is very much also Lois Lane’s boy.

* We don’t know much about the season villain as of yet, but it’s an incredibly cool idea that I’m shocked that they’re going for right away, and I absolutely want to see how they play out as a character and how they’ll bounce off all the other major players.

* The way this seems to be framing itself in relation to the Superman movies and shows before it feels inspired to me: there are homages and shout-outs to and bits of conceptual scaffolding from Lois & Clark, Smallville, Donner, and more, but they’re all shown in ways that make it clear that those stories are part of his past rather than indicators of the baseline he’s currently operating off of. We get a retrospective of his and Lois’s history right off the bat with most of what you’d expect, and combined with those references the message is clear: this is a Superman who’s been through all the vague memories that you, prospective casual viewer, have of the other stuff you saw him in once upon a time, but this series begins the next phase of his life after what that general cultural impression of him to date covers. It strikes me as a good way of carrying over the goodwill of that nostalgia and iconography, while building in that this is a show with room to grow him beyond that into something more nuanced (and for that matter true to the character as the comics at their best have depicted him) than they tended towards. Where Superman Returns attempted to recapture the lightning in a bottle of an earlier vision of him in full, and Man of Steel tried to turn its back on anything that smelled of Old and Busted and Uncool entirely, perhaps this splitting of the difference - engaging with his pop culture history and visibly taking what appealed from some of those well-known takes, while also drawing a clear line in the sand between those as the past and this as the future - is what will finally engage audiences.

The Bad

* This is the sort of thing you have to roll with for a CW superhero show, and that lives and dies by the performances, but: the dialogue varies heavily. There are some really poignant moments, but elsewhere this is where it shows its early-draftiness; a decent amount is typical Whedon-poisoned quippiness or achingly blunt, and some of the ‘hey, we’re down with the kids!’ material for Jon, Jor, and Lana’s kid Sarah is outright agonizing. I suspect a lot of it will be fixed in minor edits, actor delivery, and hopefully the younger performers taking a brutal red pen to some of their material - this was written last January and the show’s now not debuting until next January, they’ve got plenty of time for cleanup - but if this sort of the thing has been a barrier to entry for you in the past with the likes of The Flash, this probably won’t be what changes your mind.

* There are a few charming shout-outs to other shows, but much moreso, Superman & Lois actually builds in a big way out of Crisis. Which is a-okay with me, except that what exactly that was is rather poorly conveyed given that lots of people will be giving this a spin with no familiarity with that. Fixable with a line or two, but important enough to be worth noting.

Have to wait and see how it plays out

* The series’ new kid, Jordan Kent, is so far promising with potential to veer badly off-course. He’s explicitly dealing with mental illness, and not on great terms with Clark at the beginning in spite of the latter’s best efforts, the notion of which I’m sure will immediately put some off. Ultimately the commonalities between father and son become clear, and he’s not written as a caricature in this opening but as a kid with some problems who’s still visibly his parents’ boy, but obviously the ball could be fumbled here in the long term.

* Lois’s dad is portrayed almost completely differently here than in the past in spite of technically still being her military dad who has some disagreements with her husband. There are some nice moments and interesting new angles but it seems possible that the groudwork is being laid for him to be Clark’s guy in the chair, and not only does he not need that he most DEFINITELY doesn’t need that to be a member of the U.S. Military, especially when one of the first and best decisions Supergirl made when introducing him was to make clear he had stopped working with the government any more than necessary years ago. Maybe it can be stretched if his dad-in-law occasionally calls him up to let him know about a new threat he’s learned about, and maybe they’ll even do something really interesting with that push-and-pull, but if Superman’s going to be even tacitly functioning as an extension of the military that’s going to be a foundational sin.

* As I was nervous about, Superman & Lois has some political flavor, but much to my delighted surprise, there’s no grossly out of touch hedge-betting in the way I understand Supergirl has gone for at times. As of the pilot, this is an explicitly leftie show, with the overarching threat of the season as established for Lois and Clark as reporters being how corporate America has stripmined towns like Smallville and manipulated blue collar workers into selling out their own best interests. Could that go wrong? Totally, there’s already an effort to establish a particular prominent right-wing asshole as capable of decency - without as of yet downplaying that he’s a genuinely shitty dude - and vague hints that some of the towns’ woes might be rooted more in Superman-type problems than Lois and Clark problems. But that they’re going for it this directly in the first place leaves me hopeful that the show won’t completely chicken out even if there’ll probably be a monster in the mix pulling a string or two; Greg Pak and Aaron Kuder’s Action Comics may justify Superman punching a cop by having him turn out to be a shadow monster so as to get past editorial, but it’s still a story about how sometimes Superman’s gotta punch a cop, and hopefully this can carry on in that spirit of using what wiggle room it has to the best of its ability.

So, so far so good. Could it end up a show with severe problems carried on the backs of Hoechlin and Tulloch’s performances? Absolutely. But thus far, the ingredients are there for all its potential problems to be either fixed, subverted, or dodged alright, and even when it surely fumbles the ball at junctures, I earnestly believe this is setting itself up to be the most fleshed-out, nuanced, engaging live-action take on these characters to date. And god willing, if so, the first real stepping stone in decades to proper rehab on Superman’s image and place in pop culture.

[kadywicker]

about the gay rep in tv shows/movies what are some examples you have? bc I totally agree and think it’s rather disappointing and sometimes I feel bad because I think I should enjoy the ship but i’ve learned i’m not the bad guy in that situation, it’s that they didn’t care enough to make it a real and interesting relationship.

oh god fjsdfasdf okay so some of these are probably unpopular opinions but i dont at ALL hate these shows or even these ships. and w some of these its NOT the fault of the writers but probably the networks involved. but... from one’s i’ve seen 

m*lec from sh*dowhunters which has like. some decent scenes but i feel like it couldve Tried Harder you know what i mean?

v*ltron. i dont even..... the whole shiro/his boyfriend thing was like. it was so much. what was that. why?

hannibal had 2 second wlw and that was like hailed as amazing representation that we were supposed to ship. okay. (i lOVE the show and this is probably not anyones fault esp considering fuller is gay and im p sure said in an interview that hes been trying to get gay characters in his shows for a long time. and hannibal and will are CLEARLY gay. this one is down to the network.)

i have like. SO MANY problems w star trek d*scovery but paul/hugh............. its a good ship i think and i enjoy it but it very much fits into the trope of “kinda main character is in a relationship w a moc and they dont get many scenes together but its gonna be hailed as groundbreaking and legendary anyway”

speaking of i know its the 90s but im still mad about dax & her trill girlfriend and they werent even ~really gay~ you see bc theyre ~reincarnated straights so its fine~ like fuck OFF

every single show/movie w throwaway line gay characters (im looking at you marvel)

d*adpool 2 w negasonic and her gf 

look okay listen i love the umbr*lla academy and i think the ship is good and has potential esp bc of its fans who make it wonderful but klaus & daves relationship was NOT fleshed out enough at all and like they really really really have to step it up next season so that it DOESNT fall into this trope and i hope it does bc it has some really good potential 

i also love the g*t down and like the above i think it has really good potential and isnt necessarily a BADLY written relationship it just doesnt get enough screentime but thor/dizzy. at least this one the main character was the moc! 

petra/jane r*mos from jtv. look i love jtv i think the relationship is cute but it was literally written bc ppl thought jane (the main one) and petra had chemistry and shipped them so the show was like oh we hear you!! :) and then made a new character who wasnt as fleshed out or important named jane to get w petra like. uh. okay i guess????

fucking. rosa on b99. look i know this one is probably the network and i think stephanie is absolutely wonderful & puts her heart into rosa but :/ her gf has literally been in like. 3 scenes and all of them are focused on her being like Hey Im The Girlfriend! Watch Me Be a Girlfriend :) i think the rep itself in the show is good bc its so rare to actually have characters say theyre bi and i understand that w a show like that its hard to do but we literally have kevin and holt who are right there and are well fleshed out w several solid episodes under their belt. and kevin isnt just characterized as being holts husband, hes an actual character w his own interests and motivations beyond holt. i just hope they go that route w rosas gf if she sticks around or rosas future partner whoever they are (even if its a guy bc its still not a straight relationship since rosas bi)

uuuh probably more but these are from ones ive actually watched or like. watched some of bc i dont want to speak on ones im not sure about. and anyone can feel free to disagree w these and this definitely doesnt mean any of them are bad ships or not worth being invested in i just think as gay ppl we need to ask more of the media we consume 

[thewillowbends]

Thoughts on Lucifer (TV) Season 4

So I've spot-rewatched parts of season 4, and I've more or less got a sense for what did and did not work for me.  Lucifer is the kind of trash television I reluctantly love because I enjoy the characters so much, even as they are stuck in a painful mishmash of bad writing with the occasional moment of brilliance carried along by dedicated and talented actors.

SEASON 4 SPOILERS AHEAD OBVS

Let's get what I didn't like out of the way first -

Stuff That Makes Me Cringe

1.)  Up first is my completely shallow dislike for the new devil makeup.  The wings were really well done, but the face/body is kind of meh to me.  It's not badly designed, per se, but it's definitely narm territory in some places.  (While I do like the whole "king of hell" scene at the end and what it portends in terms of Lucifer's final decision, it is hilariously campy, too.)  In my opinion, season two and three still feature the best up-close devil look, particularly in the reveal scene to Linda.  It's disturbing in an uncanny valley sort of way that gets lost with the heavier makeup, and also...the wet blood is a really nice, creepy touch that I'm sad got dumped after the first try!

Also shallow opinion - Tom Ellis is fine as hell, don't get me wrong, and I appreciate that he worked out like crazy for this season, but I actually kind of miss his slightly less muscular look from the earlier seasons.  I feel like he's a guy who looks better with shoulders that are a tad less broadly defined, yeah?  It felt like it made more sense for Lucifer to be well built but not hyper muscular, since he wasn't a warrior in the way, say, Amenadiel or Michael were.  Samael was the tempter - he's built for beauty and desire, with kind of a sly appeal to him.

2.)  Eve.  I really like Eve as a character over all, but I do wish her motivations were explored more explicitly.  I do really like the vaguely feminist undertones of her story, that she's a woman whose entire life has been dictated to her by God and husband, and her decision to leave Heaven is a rebellion against that, a desire to pursue what she wants for herself even as she struggles to break free of old patterns.  While the story does seem to suggest this is her true motivation, I do wish it was given a little more individual reflection.  The thing I find the most poorly handled about her character is the punishment fascination.  I get that it's part of her tendency to try and mold herself into what she thinks the men in her life want, good or bad, but I would've liked more clarity on whether it held any personal appeal to her - i.e. she discusses her son, Cain, but there's little attention given to what it must have been like for her to watch him walk the Earth cursed, much less losing her son Abel to Hell.  Does she resent God?  Is she angry that human life is so short yet the recompense for a life well or poorly lived is so permanent?  Does she feel like her life was stolen for her in a way that other human's choices weren't?

She's already a foil for Lucifer in that she's daring to go against God's plan to explore her own freedom of choice, with the major caveat being that she left Heaven willingly in contrast to his exile.  So while I do feel she was a relatively well rounded character (as far as she could be with what they wanted to do with her), a little more exploration of those motivations was in order, but I absolutely would love for her to come back in a potential season five.  She has a lot of opportunities for growth and a lot of directions they could take her.

3.)  Mazikeen.  I'm actually not completely unhappy with the direction of her story.  It feels like a natural continuation of her struggles in season 3, learning how to "human" and find her place in the world, but the problem is she isn't being given much to do outside of that.  I like that her relationship with Linda is emotionally complicated (it's honestly one of the best female friendships on the show) with elements of platonic, erotic, and maternal love woven into it, but that the story is making it clear she still needs to learn how to develop herself independently.  In season 2, Lucifer states that Maze is like a "baby bird  that imprints on anything near."  Now that we know demons are naturally inclined to want leadership and direction, that actually provides a literal context for why she's clinging to Linda for purpose afterwards.  We just need to move that into a more strongly defined character arc.  Since we know have the Lilim introduced as a legitimate threat, I feel like that's a no-brainer for what should happen if season five occurs with her.  Let's see a storyline with Maze dealing with her family history (the Lilith), having to confront the fact that Hell is no longer her home, while grappling with a life on Earth minus the companion she's had for nearly all of her existence (Lucifer).  Let her evolve into a fully fleshed out character.

4.)  Cain.  I'm not sad to see him go out with a whimper since they clearly had no idea what to do with his character in season 3, but the fallout gets completely brushed over way too easily.  There's no way a federally investigated criminal revealed to be chief of the LA police wouldn't lead to absolute chaos in the precinct for quite a bit afterwards, and God knows, Chloe certainly would've been under the microscope for her role in what went down.  It would've made more sense to have a throwaway line about how she was suspended for a month and kept away LA proper for a few weeks until they made certain the danger was clear and the drama had settled down media-wise.

5.)  Chloe.  I'll be up front that I actually don't mind her more dramatic response to Lucifer's face.  For how easy it is to want to imagine she would handle it better, we've seen pretty much everybody freak the hell out when they see it, so she really shouldn't have been different.  The context also matters significantly here - she encountered it at a violent crime scene shortly after he killed a person.  HUGE difference from how a lot of the other characters were introduced to the truth.  So I don't find her characterization completely OOC there, but what I wouldn't give for just one more episode this season exploring her feelings during that period, what drove her to Europe, what destabilized her sense of who and what Lucifer is.  What I do like is that we got to see her make mistakes and have to answer for them - up until this point, it's been about Lucifer improving who he was to be somebody worth pursuing, but here we finally get to see Chloe's flaws, her struggles to be the better person she wants to be, to get told 'you f*cked up' and have to accept that she's possibly missed her chance.  I felt like her relationship with Eve was well done, that they didn't go the easy route of them being catty with each other all season, but that each provided a different but ultimately legitimate perspective on Lucifer's complicated character.  She could easily be set up as a primary protagonist of season five now with all the changes she's going through.

6.)  The Father Kinley plot.  I actually have no real problem with it for the most part - it provides a central antagonist that is far more threatening than Cain ever was, but I do wish they'd rethought the story of his introduction to Chloe.  It seems to me it would've made more sense for him to seek her out in America.  As a writer, I would've kept Chloe relatively local and had her confessing her fears and secrets to a local church pastor - who could have contacted the Vatican and brought Kinely to her in L.A.  That would've conveyed a sense of Kinley's operation being part of a vast network of religious authorities "in the know" and provided a possible set up for later conflicts if there were others out there like him.  Kinley actively seeking her out would've also reinforced her sense of how dangerous Lucifer is knowing that authorities had been tracking him for years, which could have undermined her own beliefs about who he is.

7.)  The Caleb plot.  I get what they were trying to do, and I appreciate that the show attempted to go there even as it is didn't fully succeed in treating the subject matter as well as it should have.  I get that it's meant to show us that life can be unfair, and that embracing the right to free will comes with the potential cost of suffering, that we must accept the risks of loving and caring for each other.  However, at the end of the day, you have a male POC killed off for a plot that ultimately leads nowhere, and that's...not great.  I mean, I'd rather them try and stumble then completely ignore such things, but it's definitely not the season's shining moment.

8.)  Other thing this season didn't shine on - the pacing.  I get why it happened, since these writers are used to having more leeway to work with time-wise, and ten episodes is not a whole lot to pack in all of the emotional and story conflicts, but the first four episodes in particularly really feel strained.  Even the humor feels slightly off kilter, like they were struggling to find the right tone.  It's better than season three's tendency to sacrifice pathos for humor, but to date, season two remains their best work in terms of the over all pacing and tone.

9.)  Dan.  His backsliding and self-destructive behavior makes sense in light of his depression and sense of powerlessness, but it does feel redundant in light of Lucifer's own backsliding in season 3 and even here.  Frankly, Dan has a legitimate point about how their tendency to write off Lucifer's worse behavior doesn't help him in the long run, but he's, y'know, one to talk.  I honestly think the best direction for his character in season five is to leave the police force.  In particular, I would not be unhappy to see him team up with Mazikeen to fight some supernatural demon crime, actually.  I feel like their relationship has a lot of potential.

10.)  Dan/Ella.  I don't hate it, per se, but I'm just very neutral on it.  The age difference is a little off-putting (he's fortyish, divorced with a kid, yo, and she's clearly a twenty-something), but I don't mind it being a hook up that occurred when they were both in a low place.  I'm uncertain if I want to see it go beyond that.

11.)  Remiel is a lot of fun, but I vacillate over whether her presence is particularly significant in light of Amenadiel's ultimate decision to stay on Earth.  I highly suspect she's being introduced now as a placeholder for further events down the road if the show gets renewed.  She's clearly there to generate conflict in Amenadiel rather than be the conflict itself, but I wonder if they plan on making Charlie's existence more of an issue if the series progresses.

12.)  As always, I appreciate that the series' maintains an unflagging dedication to diversity.  They cast an Israeli Jewish women as Eve.  All of Lucifer's siblings have been POC.  The show has probably MORE bisexual members in the cast than any other mainstream series that I've seen.  It's not perfectly handled, it it definitely has its stumbles where race and LGBT+ content is concerned, but it's trying.  That's more than I can say for most series.

The Stuff That Gives Me Life:

1.)  Tom Ellis acting the shit out of that script, no matter how ridiculous the scenes they gave him were.  I really appreciate that he's so gung-ho for giving his all to the character even when the material fails to rise to the occasion.  Respect, too, for what I assume was basically him living in a gym for the past year.  If Leslie Ann Brandt had to squeeze herself into leather pants two months after giving birth, I appreciate that he rose to the occasion for getting naked all over the place and providing an ass tight enough to bounce a quarter off it.

2.)  Lucifer's character development was on point for me across the entire season.  I feel like everything we saw building up from previous seasons - the anger, the grief, the self-inflicted wounds he refused to let heal - finally came together here.  That moment at the end of episode eight is the perfect culmination of his character development, the painful realization he has about who really is responsible for everything that's happened to him.  And now he can start making the real journey to being a better person.  What happens at the end of the season is exactly what was bound to happen, no matter what story came before, because he needed to recognize the importance of punishment as a LESSON about the consequences of our actions.  Responsibility sometimes means sacrificing what we want to protect what we care about.  That's actually a rather clever nod to the comic version of the character who ultimately had to give up his individual existence to achieve total freedom - this version chooses submission out of recognition that to love and be loved, to be good is to be fettered to our responsibility to others.

(Which makes me really wonder if they are going to eventually push a story where Lucifer becomes a true king of Hell - not only a tyrant who deals punishment and controls the demonic masses but one who begins to show mercy and help some of those souls find release and forgiveness.  Ah well, don't worry friends, if they don't write it in show, I'm already writing it in a fanfic.)

3.)  Deckerstar 4 lyfe.  I didn't expect them to wind up together because they weren't there yet, but it ended on such a pitch perfect note.  Something this show has done remarkably well is avoid the idea of Chloe as the sole source of motivation for Lucifer to improve himself.  It's emphasized over and over again that he has to want it, that he's the one who had to desire the good in himself.  The worthiness comes with the recognition that you want to be worthy of love - and that you are.  Lucifer had to come much farther than she did, but it was nice to see the dynamic switched up a bit with Chloe having to grow, mature, and reconcile herself to her mistakes.

4.)  Eve was MUCH better as a character than I'd thought.  I'm a little smug about predicting so much about her, but that's not an entirely terrible thing.  While her storyline isn't perfect, I did like that it's a deconstruction of an idea of the "perfect woman/partner."  Eve is in love with the idea of Lucifer and the idea of who she can be with him, not so much the reality of who they are.  It makes me a little sad because I do think if they'd met at a point where she was further along in her character development, or he wasn't already in love with Chloe and so far ahead of her in growth, they could have actually worked and fallen in love with each other.  And that's fine!  Part of the point it's making with her character is how important our individual journeys are.  At the end, Eve recognizes she needs to figure out who she is outside of God's plan or what she THINKS is what she wants.  That honesty toward the end, that she really left Heaven for *herself* and not for Lucifer, is a huge revelatory character point that can go a lot of places next season.

5.)  The demons.  Just...everything with Dromos is gold to me.  From his initial excitement at seeing Lucifer to his frustrated attempts to reason with him...to being much craftier and scarier than anybody possibly expected.  Regardless of how we look at it, he played the endgame to the benefit of his stated purpose - loyalty to the infernal throne.  Hell has a king again, one way or another.  And now we have an established threat to keep Lucifer in line over the next couple of seasons, as well as tying up the arc that was begun all the way back in season 1.

6.)  Pulling in the Vatican and a secret society of "in the know" sects was wise.  While I wish the introduction had been slightly different, it leaves open opportunities for later.

7.)  MY GIRL LINDA.  Rachel Harris is such an underrated part on the show.  She has such great chemistry with Ellis in the therapy scenes, and her becoming a mother feels like a natural extension of the underlying maternal element she provides the show.  I like that we get to see her outside of the office now, engaging in a story of her own, which allows her to stay in the cast without losing significance of no longer being Lucifer's therapist.

8.)  AMENADIEL.  He's probably had the strongest and most well directed character development out of any secondary cast member on the show.  Having him forfeit his power to stay on Earth with the humans he loved is such a nice touch, but I like that it was a decision he had to wrestle with.  The idea of human life necessarily being complicated, messy, even unfair and unkind fits well with the theme of responsibility for our choices.  If he stays on Earth, he has to accept that his son will not have a perfectly Heavenly life, that to be human is to accept all that comes with it.  DB Woodside has great chemistry with the cast, and I'm looking forward to seeing what they'll do with him in future seasons.

9.)  Lucifer holding baby Charlie for two seconds, awkwardly cooing at him, then immediately passing him off like a hot potato.  That's real character development, guys.

10.)  Amenadiel saying goodbye forever to Lucifer in the baby ward, for what is ultimately and tragically not the reason he expects it to be the last time he gets to say it.  Woodside and Ellis have such great chemistry.

11.)  Ella's loss of faith is handled pretty well.  I appreciate that she had to reclaim it herself and not because she got to see the divine is real.  Fits nicely with the theme that we have to actualize our own beliefs and realities.

12.)  LGBT+ representation was better this season.  It's too late for Lucifer's pansexuality to have any real meaning at this point, but I appreciate him stroking the guy's face while using his eye voodoo in episode 1.  Little touches like that make the "Bi the way" aspect of his character seem less tacked on.  Mazikeen, on the other hand, is where things got much better - she's actually seen dating both men and women, having difficulty parsing her complex emotional relationship with Linda, being openly attracted to and pursuing Eve (also openly bisexual).  Please don't disrupt this improvement next season by giving her a male love interest, Netflix, I'm begging you.  Give us at least SOMETHING here.  She's got the most open-ended story for a relationship, and her development is clearly suggesting she wants family to call hers outside of what she has with the rest of the cast.  (I know I was saying I low key ship her with Dan, BUT I TAKE IT BACK.)

13.)  The dragon wings are admittedly very cool looking.  I prefer the more streamlined devil makeup otherwise from seasons 2 and 3, but the wings can stay.  I imagine the amount of fic tagged "wing kink" on Ao3 is going to increase several fold now.  (Yes, that is an actual thing.)

14.) Lauren German showing up to play this season!  She finally gets to do more than just be the straight man.  All of her dramatic moments with Ellis were well done.  No complaints.  I have way more faith now seeing her move into a primary protagonist role in season 5 if we get it.

15.)  LESLIE ANN BRANDT CAN SING!!!  What a sweet moment and what it says about Mazikeen's development as a character (even if it is ruined by Eve's obtuse logic afterwards).  How much do we want to bet that Lucifer's reaction to that is what made him decide to leave her behind on Earth?

16.)  AJKLSJD;FLSAFDAS THANK YOU FOR FINALLY BRINGING IN MORE SUPERNATURAL STUFF.  We finally get to see the throne!!!  There are prophecies!!!  WINGS!!!  (How cool are Remiel's??)  Demons can possess people canonically!  The Lilim are a well established thing!  Lucifer is back in Hell!  So many place this can go now.

Anyway, I have good feelings for the most part.  It’s still a heavily flawed series, but it’s not so bad that I’m going to dive out of it ala Hemlock Grove, which I’m fairly certain gave me brain damage by mid-season 2.

[postguiltypleasures]

JANE THE VIRGIN Finale Articles Links Round Up

Jane the Virgin, a show I never missed and affected my emotions on surprising ways wrapped up last week. It did well by plots that I feel like I’ve only ever seen done badly. The finale was pretty perfect in that it highlight what was special about the show and giving us the viewers a loving goodbye. I don’t know where the show will ultimately fit in with the direction in which television is moving, it kind of feels like an end of something and the beginning of something. Going through these fair wells might be a first step.

I’m actually starting with a couple of articles that really weren’t about the show’s finale. The first is technically a review of Emily Nussbaum’s I Like to Watch, as she has been a great champion of the show, as well as generally insisting that the what is considered “serious” vs “frivolous” be reconsidered. This response to Nussbaum’s book starts in particular about her essay “Jane the Virgin isn’t a Guilty Pleasure”. Nussbaum’s essay does a great job at praising what the show does well as connecting it to earlier television shows. (Interestingly she doesn’t associate Jane with camp the way she did with Ugly Betty, nor does she list that as one of Jane’s predecessors despite the fact that both are US primetime networks adapting Latin American telenovelas. I’ll get more into why I think that is interesting and probably for the best later.) The article about her book does more to talk about how it’s been frequently overlooked for shows that seem created for men. In a lot of her book tour Nussbaum has spoken about how the way Buffy the Vampire Slayer and The Sopranos were discussed around the time that they debuted drove her into tv criticism. If I were to pick something to be The Sopranos to Jane’s Buffy I’d probably go with Breaking Bad, as it had a notoriously difficult time getting its fans to care about/not hate Walt’s home life. Walt’s home life was about the slow consequences of his drug dealing and gangster activity. There was always a fair amount of gangster activity on Jane, but from watching Breaking Bad could leave you with the impression that there’s no way to make caring for an infant as exciting as the chaos of organized crime. Jane proved that isn’t true.

Also before the finale, The Ringer published this article that is sort of half praise/ half interview with the creator. It gets into the ways it played with the crime drama story types but never really treated it like that’s what it was about. It also gets into the writer’s room, and I was happy to learn that some people there have worked on telenovela’s in the past. It also has some quote’s from Jaime Camil who plays Jane’s father Rogelio de la Vega, which I thought were an interesting contrast to an interview he gave earlier in the show’s run. The Ringer article misleadingly identifies Camil as having starred in the “Spanish language version of Ugly Betty.” There were three Spanish language versions of Ugly Betty, or rather there were three Spanish language versions of the Colombian telenovela Yo Soy Betty La Fea which was the source material for Ugly Betty. Camil starred it the Mexican one, La Fea Más Bella, which debuted around the same time as Ugly Betty. (Fun fact, between LFMB and the later Por Ella Soy Eva, Camil has twice starred in Mexican remakes of Colombian telenovela’s in roles originated by Jorge Enrique Abello) I was at one point obsessed with the whole constant remaking of YSBLF phenomena and Ugly Betty in particular. It was taking on one of the most popular IPs of all time and had to do it in a very different format than the original. (Producing one episode a week for an indefinite number of years is very different than five episodes a week for approximately a year. For starters, there’s going to be a much smaller ensemble.) I never watched the original Venezuelan telenovela Juana la Virgen. It wasn’t remade internationally with anything like the regularity as Betty, and ultimately that may have been in the American show’s favor. Part of me wants to say that Jane learned from some things Betty tried but didn’t necessarily execute so well. And another part of me thinks that not having the burden of massive international popularity allowed them to jettison some of the things that made it a harder to adapt for a different audience. In the original YSBLF, Betty’s family life and work life have this great tension where some of her more questionable decisions (specifically, choosing to help her boss commit fraud to the board of the company) are partially based in some disillusioning parts of her home life (namely, her father loosing his job due to the boss selling the company and never paying out his pension). Ugly Betty never played those two aspects of Betty’s life against her like that. In some ways it was much better to the character. (American Betty had professional ambition in a way that the original didn’t.) But in this not knowing how to connect her family and professional lives, it often felt like it was struggling to make the family life stories matter. Jane the Virgin never had this problem. Partially because it was much more interested in emotional reactions than plot twists, but also, because it didn’t need to follow an original’s example of making the work place drama the engine of the show. Between the different relationships they had with their source materials and how they mined the work/life balances of their character’s they were different shows, from different times. Too much comparison is just counterproductive.

Kathryn VanArendonk wrote beautifully about how the fantastical elements of the story made the more mundane plots like finding a good school for Mateo, and balancing child care and a burgeoning writing career, really work. VanArendonk doesn’t focus on how badly many other shows do on making the housekeeping side of life interesting. The fact that as a tv watcher you’ve been through so many examples of shows that feel like the drag or are just aimless when it comes to the personal life side of the work life divide does contribute towards the sort of miraculous feeling Jane sometimes created, but it’s probably for the best not to focus on the negative examples.

I also want to highlight this great personal essay about how the show dealt with both being an adult and having anxiety around sex, mostly because of cultural baggage. The show didn’t so much reject the things that we associate with the baggage (ie no one abandoned the Church. (Also not discussed was the fact that all three of the Villanueva women had anxiety about sex at some point in their stories, but as Xiomara’s was more about the aftermath of cancer and chemotherapy than culture created anxiety, so it doesn’t fit with Mariya Karimjee’s larger theme. Just bringing it up to say, I liked how Xiomara’s post-cancer story worked out.)

A final one from Vulture about the reveal that the narrator is the adult version of Jane’s son Mateo. I’m highlighting it because the Mateo has ADHD plot was one of the most moving stories the show did during the final season. ADHD is so misunderstood and there were so many ways that this could have gotten a too pat, wrong message of an ending. I’m glad voice over actor Anthony Mendez talks about how even as an adult it’s something with which he struggles.

I cheered for Petra for most of the series. However, due to things in my real life, I currently have a pretty low tolerance for stories about bad bosses. Petra’s worst quality was she was a terrible boss, mercurial and abusive. Inkoo Kang’s tribute to the character is good, and gets at why I’ve been interested in her, and her relationship with Jane, for so long. Despite finding Petra less likable in the final seasons than in earlier ones when she was more villainous, one of my favorite moments of hers did come this season. At one point she says that her “worst nightmare” is turning into her mother.  It could have been just a throwaway one, but then the narrator tells us it’s true and shows us what it looks like, and it manages to be hilarious, heartbreaking a you get why this would be Petra’s worst nightmare.

(The Toast once dedicated a “Femslash Friday” to the Jane and Petra dynamic. Here’s the link if interested.)

After the finale aired Slate also published an article about how the Michael is not dead plot didn’t work and was a disservice to the way love works. I mostly agree. I never really cared with whom Jane ended up.  The show was always more about figuring out haw to build and maintain relationships than proving who was more right for each other. And I did kind of like the “each in their own time” resolution to the love triangle. (I felt similarly to the one in Lost Girl.) I get why the show did it. I do agree it was why the final season dragged in some parts. I do think Michael coming back from the dead reinvigorated the Sin Rostro story just in time to climax on the penultimate episode. Whether or not that was worth it is up to you.

I do want to take this moment to point out that while watching Jane walk down the aisle in the final episode, I realized that there never really wasn’t a moment in the entire where I felt doubt that Jane was loved, or felt unlovable. The closest it ever got to that’s in its depictions of how growing up without a father affected her. But, as connecting with her biological father Rogelio and developing a very deep bond was such an important part of the show, that anxiety was never really felt for Jane. (Petra, on the other hand…) This makes her kind of an outlier of most of the series I watch, whether the was the point of the series (You’re the Worst, Crazy Ex Girlfriend) or kind of a side affect of the surreal and chaotic universe in which it’s set (Broad City, Unbreakable Kimmy Schmidt). I’m not sure what to make of this. Is it part of why it would be more likely to be misidentified as a guilty pleasure? Is it a sign about changes in what makes a heroine “relatable”?

I’ve repeatedly said here that I’m thinking about tapering the amount of tv I watch until it’s none. In Margaret Lyons’s review, she talks about how Jane was in some ways the show that replaced Mad Men in her heart, which reminded me that when Jane started I wasn’t sure I wanted to start any new tv shows. Also both show’s care about episode structure in a way that feels undervalued these days.  I do kind of have to agree with Lyons that some of the final season felt like treading water. (Something that seemed to affect the more character than plot driven shows I’ve watched that have ended this year. This runs counter to most of my theory of what’s going on with tv these days.)

“Have you ever loved something so deeply it was almost impossible to talk about?” Jade Budowski wrote over at The Decider. And yes, for a while now, the things I like the most are the things I have the hardest time trying o talk about. It’s satisfying enough that you kind of want to just point and say “go, experience it for yourself.” Even though that runs the risk of letting it be taken as froth.

Over at Vox, Constance Grady wrote about how the finale worked, despite the fact that most of the conflict was resolved on the previous episode. It’s a loving tribute to how the show knew how to work and give us the happiest of endings without being too saccharine.

Finally, I want to day thanks for making Jane and Rafael’s wedding song Ximena Sariñana’s “Todo En Mi Vida”. Sure, I’ve been following Sariñana since her debut, Mediocre, so this is likely to appeal to me personally, but it’s also a beautiful song about learning to love the unexpected and build a new life around it.

[hazyheel]

10 Ways WWE can improve their weekly TV

WWE has a bit of a problem on their hands: the other major wrestling promotions around the world are making a serious run at their product. New Japan has proved on several occasions that they can sell out buildings in the United States, and their incredibly powerful alliance with Ring of Honor, RevPro and CMLL gives them a huge talent pool to work with, without overexposing them. Lucha Underground (if it is staying afloat) is an interesting alternative to a lot of main stream wrestling due to its unique style of storytelling. Impact Wrestling has been improving steadily since the beginning of 2018, and they are becoming a bigger threat every year. And of course, AEW is premiering next month, and indy fans are already saying that they will revolutionize the wrestling business, and could even bring a new form of the Monday Night Wars. Now, I don’t know how accurate that is, but WWE needs to be concerned about these other companies. The reason why I took a week or two off of WWE in March was because I was watching the New Japan Cup, and I couldn’t even stand watching Raw or Smackdown because of the high quality of wrestling I was watching every day. That is a serious problem that I couldn’t watch their programing because I knew it would be a lot worse than a competitor. It will be a while before WWE falls to another company, but they need to get ahead of the curve on this. Several companies are coming for their position as number 1, and the first step to defending their turf is improving Raw, Smackdown, and hell, even NXT and Main Event. 

1. Make Raw 2 hours again: this point has been beaten to death, but that is because it sooooooooo needs to happen. A 3 hour show is incredibly difficult to watch every week, and we end up watching a bunch of low card matches that we do not care about, and the people that we do care about get overexposed because they need to be on the show every week. 205 Live and NXT work really well, because their talent does not wrestle every week, which gives them a sense of specialness and mystery that is not present on the main roster. So, why two hours instead of one like the “developmental” brands? Well, those brands simply couldn’t sustain a monthly pay per view schedule with that little air time. It works perfectly for the bi-monthly schedule of NXT Takeover, but they could not do 12 big shows a year. So, a two hour show for Raw, where all of the important storylines and title scenes are addressed in each episode, will be enough to craft good stories.

2. Form some stables: this is a very New Japan style, but there is a reason it works. Forming some large stables in WWE would give a tangible reason to put lower and midcard guys on the show. Put them in a big, multi person tag match when they need to fill time. This creates the option to have feuds between stables, allowing for actual reasons for interesting feuds on the undercard, without matches getting too competitive. It also provides relationships between wrestlers, a necessity for interesting storytelling that is not used nearly as much as it should be. In a bigger tag match, it allows for lower card guys to wrestle possible main eventers. It even would help for pay per views, giving an organic style of match to put on the pre-show: a fun 6 or 8 man tag between stables, possibly with big stars on the teams who don’t have anything real to do at the show. It shows good wrestling without showing off major storylines for free. Moving away from the booking for a bit, putting these less popular wrestlers on the show more in a capacity that fans may care about means that they have less of a reason to jump ship to another company. There are a lot of diverse benefits to creating a larger atmosphere of gang warfare, not unlike the way things were in the late 90′s

3. Clean up the announce team: another point that has been beat to death, but I am so damn sick of a three person team. There is better chemistry in a two person booth, again creating a relationship for fans to enjoy, while allowing the commentators to have organic conversation without feeling the need to chime in. Renee Young and Corey Graves have great chemistry together, and it pains me to say that Michael Cole gets in the way of that, often. He is just redundant on the team. The same goes for Byron Saxton and Aiden English. Saxton sucks, so Tom Phillips and Corey Graves would be a fun and refreshing commentary team without Saxton desperately trying to get Graves to respect him. Vic Joseph and Nigel McGuiness work great together on NXT UK, so there is no reason why they can’t on 205 Live as well. As for NXT, I actually like the team they have, but Nigel McGuiness doesn’t really need to be there. Percy Watson and Mauro Renallo would be fine on their own. Also, going in a bit of a random direction, the main roster commentators need to take a page out of NXT’s book of announcing a match or two for next week, to get fans excited a week before the match even happens. I always liked that, but it is really just a random suggestion. A two person booth genuinely works better. And though I criticized Michael Cole, that does not mean that I don’t have an idea for him outside of commentary.

4. Very professional General Managers: Drake Maverick, William Regal and Johnny Saint are phenomenal in their performances as GM. Smackdown and Raw really need something like that. This is where Cole comes in. He, as a professional babyface, would be a welcome change to the constant annoyance that is the presence of an authority figure at every turn. Cole could run the show from behind the scenes, appearing for important segments but nothing more. I think that the McMahons have far overstayed their welcome, although having them around for a few weeks at a time to abuse power is a pretty good idea. But in between those stretches, Cole has a good idea of how to come across as an authority, and he has a subtle charisma about him that would benefit him in that role. He isn’t the kind of guy WWE would want to shove down our throats, and that is the kind of GM Raw and Smackdown need right now. 

5. Fewer non-finishes: these are just infuriating, and they happen all the time. Now, not every count out is necessarily a non finish, but DQ’s tend to be, and they are maddening. I would even lump in the distraction-roll-up finish in here too, because that is waaaaaay overdone. I mean, shouldn’t the faces of the company start to realize what their rivals are doing by playing their music? I hate when the heroes just look dumb. Non-finishes is mostly just a lazy storytelling crutch, and they should be fazed out for competitive matches with actual booking.

6. Better main events: I am just kinda sick of rushed together main events that don’t end up meaning anything. WWE is normally pretty decent with this on Smackdown, but Raw’s main events seem to be repetitive and boring. Why watch a throwaway match like Baron Corbin vs. Rey Mysterio when there was a tag team championship match earlier in the night? That seems ass backwards. WWE needs to respect their belts more, and that includes those in the midcard. If there is a championship match on the card, there is no reason why it shouldn’t be the main event. It will give the final match of the night a sense of stake, and it will elevate the belts. The tag titles are never in the main event slot, and they would get a huge bump for being in that top slot on Raw. Better booking of the main events, in ways that aren’t so repetitive and pointless, will help the shows overall.

7. Keeping track of wins and losses. Because then, we will be able to understand how people are progressively moving towards a title belt. Keeping track of the wins and losses in this manner will give the audience a real sense of where things are going. It will make random title matches and open challenges feel a bit more like a great opportunity, because anyone could challenge even if they aren’t on the list. It will also be an interactive thing with the fans. It will be easier to show people on the rise as they go from contender 5 to number 1. It will just be an easier way to book Becky Lynch’s meteoric rise to the women’s championship, because people could follow it. It will make things feel like a real sport, and that is a good thing in a product that feels oddly in between a sport and soap opera.

8. Weekly press conferences with the on screen GM’s. Speaking of making things feel more like sports, this is a very interesting way to progress storylines. Gm’s come out for a little press conference things, and fake reporters ask questions in kayfabe about certain stories. For example, if there was an attack backstage on Raw, a reporter can ask about it, and the GM can talk about what he or she will do, such as keeping them apart for the night, or booking them in a match. This will be an interesting way to keep on screen authorities involved in the shows without really shoving them down our throats all the time. We don’t need to see someone like William Regal every week, because he will show up on this show and talk about the various feuds. It could also be a great way for champions, or controversial superstars to have a place to cut a promo. It will feel very professional, and interesting, to see the champions speak about their various feuds and such. And yes, an extra hour for fans to watch on the network could be tedious, but given that we are rolling back an hour for Raw, I am not too worried.

9. Use stipulation matches correctly. WWE is very weird about how they book stipulation matches. A few years ago when I started watching, they would not often book a stipulation match, but when they did, it could be anything from a no DQ match to a cage match. This era was around 2011-2012. Then I stopped watching, and I picked up again in early 2017. And boy was there a change on TV. They do more stipulation matches now, but almost all of them are multi-man matches. They happen about once every 2 weeks, whether it is on Raw or Smackdown. And I am not opposed to things like this happening, I just don’t think we need it as often as we are getting it. A good example of a triple threat was on the Smackdown after Elimination Chamber 2017. Now, if you don’t remember, Bray Wyatt won the WWE championship in the chamber that night, and it was only 2 weeks after John Cena beat AJ styles for it at the Royal Rumble. So, on Smackdown, Cena wanted a rematch, and AJ wanted a more fair rematch than he got the sunday before. So, they booked a triple threat main event. That makes sense. But last year and bleeding into this year, they have been throwing together multi-man and multi-team matches to fill out the card and get a lot of bodies on the show. And I understand that impulse to do that,  but it devalues those types of matches and makes them feel a lot less special. When they happen in New Japan, it feels like a huge occasion, because the happen so infrequently. So, if WWE wants multi person matches to feel interesting and special, we can’t have them every two weeks. But at the same time, throwing in a different type of stipulation every once in a while spices things up.

10. Make NXT a real brand. Triple H has already gone on record saying that he wanted to make this a reality, so why not go for it? Given the crazy amount of talent on each roster, having a third brand that is equal but different would really help. If a superstar is too overexposed on the main roster, draft them to NXT. Down there, they feel special, and can get their mojo back. Same goes for 205 live, if a superstar is a cruiserweight. But say someone like Finn Balor or Ricochet or Johnny Gargano just do not work on the main roster, 205 live will give them a fresh start. Now, I get that is disappointing to a lot of people, but given the quality of 205 Live lately, it would only make it and the superstars better. Then they can do some interesting things with titles crossing brands and such, maybe even an NXT vs. Smackdown show or something. It is just interesting.

So, that is how I would improve WWE tv. Not all of these things need to go together, although some of them do, but each one of them would definitely help. Hopefully, WWE can start to implement these and make their shows even better.

[daleisgreat]

Randy Savage Unreleased: The Unseen Matches of the Macho Man

Freak out, freak out, oh yeahhhhh…..sorry I could not resist, but kicking off an entry with that iconic catchphrase means it is time to cover a Macho Man home video collection. In 2018 WWE gave Macho Man the ‘Unreleased’ DVD treatment, a line of several DVD match collections containing entirely never before released on home video matches. I already covered one on here several months ago dedicated to Hulk Hogan, so it would only seem appropriate to cover another one dedicated to his Mega Powers partner, Randy Savage. Like the Hogan DVD, it has a gratuitously long title in the form of Randy Savage Unreleased: The Unseen Matches of the Macho Man (trailer). If you are into these ‘Unreleased’ sets, then check back here later this year as there are two other semi-recent installments I plan on knocking out by the end of this year. Randy Savage Unreleased is jacked with content at three discs tallying up nine hours of material. There is a total of 41 (!!) matches and 9 promos spanning Macho’s career in WWF and WCW from 1985 through 1999. Also interspersed every several matches is one of 10 newly recorded panel discussion segments with Corey Graves, Bayley, Sean Mooney and Diamond Dallas Page. The panel discussions are not throwaway one-to-minute quick takes, but instead each are nearly several minutes each where all four panelists reminisce about each stage of Macho’s career with Mooney and Page both having pivotal on-hand accounts for how Savage was at that point backstage too. Page has detailed memories of his classic WCW rivalry with Randy and recounts a story I was all ears for about a voice mail he left for Macho on Thanksgiving. Hearing Bayley’s love for Randy was an interesting perspective to take in since she states she was not aware of him until his WCW years. Corey Graves’ passion for the 1993-as-hell Macho Man rap music video rubbed off on me as I never saw it before this collection and I will link to it here so you can have it forever imprinted into your mind as well.

Obviously I am not going to dissect each and every one of the 41 matches included here, but I will point out some highlights. In general, the quality of matches is fairly solid, and even though a fair amount of the first nine matches are in Macho’s early years with mostly quick, dominant encounters they were still a delight to watch his character evolve from coming out with a cape to adding in his vintage 80s bandana and ring robe and seeing his then-wife Miss Elizabeth join his side. Some early things that caught my eye were Macho’s first TV match in June of 1985 against Aldo Marino where the hype of Randy being the ‘hottest free agent’ attracted all of WWF’s managers to ringside to scout him in action. One of Jesse Ventura’s few WWF matches is here where he tags with Macho Man shortly before he succumbed to a career-ending injury not too long after signing with the WWF. I dug Savage’s first matches on here against formidable competition like former tag champ and Mark Henry manager, Tony Atlas and unearthing a high quality 1986 WWF match against the hidden gem of 80s WWF enhancement talent in one Scott McGhee. When it shifts into his Intercontinental title run, there is a good rematch included with Ricky Steamboat that had a red hot crowd and countless near falls and another good match against Steamboat where he teamed up with Honky Tonk Man against Steamboat and Hogan. His WWF Title run era features must-see WrestleMania-rematches against Ted Dibiase and Hulk Hogan.

Of all of Randy Savage’s flamboyant ring attires, the one I fondly remember the most was his over-the-top cowboy hat and full body attire complete with tassels. I had no idea until going through this collection that he started rocking that classic look midway through his two year run as the ‘Macho King’ with Queen Sherri by his side. The only notable match in this collection from that run is another WrestleMania-rematch with the mixed tag bout with Macho King and Sherri against Dusty Rhodes and Sapphire. There are nearly a dozen matches from Savage’s final few years in WWF after his reinstatement, but only three truly standout. One is a unique trios pairing that has Randy teaming with Piper and Jim Duggan against Ric Flair, Undertaker and Jake the Snake, while the other is another tag bout with Randy teaming with the Dead Man to take on Ric Flair and Berzerker. Seeing the chemistry between Savage and Undertaker was something special to say the least. Lastly, Savage has a heck of a bout with a post-Red Rooster, Terry Taylor in one of the better technical matches on the set. There are a few key WCW matches to point out in here from the eight included. One is where he is part of the teaming with the Hulkster against the Dungeon of Doom and hitting all the classic Mega Powers spots, including hitting an elbow on Hogan to wake him up after he succumbed to a sleeperhold. There is an awesome Nitro match on here against Ric Flair…which has a cruddy finish unfortunately, but everything else leading up to it is the best wrestling in this entire set. The most peculiar match on here is Savage wrestling on a C-tier weekend morning WCW show, {Pro} where he takes on Kurasawa and has Hulk Hogan by his side too in a strange twist. I am guessing Savage and Hogan must be tight with Kurasawa because these two were making huge money for limited dates in WCW and to have both of them appear in this weekend morning show match is a head scratcher…..it would be kind of like tuning in to Main Event now and seeing Brock Lesnar wrestling. The final match in the set was a surprisingly delightful schmoz of a mixed tag match with Savage and Madusa teaming up with Ric Flair and “Lil Naitch” himself, Charles Robinson! I expected the worst going in considering this was in 19990 when WCW was beginning its downward ratings spiral in its last couple years, but the four pull off a lot of entertaining spots and salvaged a heck of a performance.

Randy Savage Unreleased is a fairly strong compilation of matches and promos from Macho Man. I would say about a third of it is skippable, and there are a few teases of intriguing match-ups that wrapped up far too quick thanks to poor booking, like a WCW contest against Curt Hennig for example. I have no idea why there were two ho-hum matches against Mr. Hughes included either. That is almost to be expected of these ‘Unreleased’ collections, and seeing Savage’s character, moveset, attire and personality evolve from beginning to end is also fascinating in and of itself. I am glad we got a fair smattering of vintage Macho Man promos throughout his career, with his campaigning reinstatement speech and the aforementioned music video standing out the most of the bunch. Having a break from the 41 matches with the occasional promo and panel discussion segments are appreciated breathers from the action, and the panelists all bring a lot of classic Macho Man stories and memories to the table. This all adds up to Randy Savage Unreleased: The Unseen Matches of the Macho Man being a must-see for any Randy Savage aficionado.

Past Wrestling Blogs Best of WCW Clash of Champions Best of WCW Monday Nitro Volume 2 Best of WCW Monday Nitro Volume 3 Biggest Knuckleheads Bobby The Brain Heenan Daniel Bryan: Just Say Yes Yes Yes DDP: Positively Living Dusty Rhodes WWE Network Specials ECW Unreleased: Vol 1 ECW Unreleased: Vol 2 ECW Unreleased: Vol 3 Eric Bishoff: Wrestlings Most Controversial Figure Fight Owens Fight: The Kevin Owens Story For All Mankind Goldberg: The Ultimate Collection Hulk Hogans Unreleased Collectors Series Impact Wresting Presents: Best of Hulk Hogan Its Good to Be the King: The Jerry Lawler Story The Kliq Rules Ladies and Gentlemen My Name is Paul Heyman Legends of Mid South Wrestling Macho Man: The Randy Savage Story Memphis Heat NXT: From Secret to Sensation NXT Greatest Matches Vol 1 OMG Vol 2: Top 50 Incidents in WCW History OMG Vol 3: Top 50 Incidents in ECW History Owen: Hart of Gold RoH Supercard of Honor 2010-Present ScoobyDoo Wrestlemania Mystery Scott Hall: Living on a Razors Edge Shawn Michaels: My Journey Sting: Into the Light Straight Outta Dudley-ville: Legacy of the Dudley Boyz Straight to the Top: Money in the Bank Anthology Superstar Collection: Zach Ryder Then Now Forever – The Evolution of WWEs Womens Division TLC 2017 TNA Lockdown 2005-2016 Top 50 Superstars of All Time Tough Enough: Million Dollar Season True Giants Ultimate Fan Pack: Roman Reigns Ultimate Warrior: Always Believe War Games: WCWs Most Notorious Matches Warrior Week on WWE Network Wrestlemania III: Championship Edition Wrestlemania 28-Present The Wrestler (2008) Wrestling Road Diaries Too Wrestling Road Diaries Three: Funny Equals Money Wrestlings Greatest Factions WWE Network Original Specials First Half 2015 WWE Network Original Specials Second Half 2015 WWE Network Original Specials First Half 2016 WWE Network Original Specials Second Half 2016 WWE Network Original Specials First Half 2017

[placetobenation]

A good week for RAW.  A solid week for NXT. An average week on Smackdown. And through it all, the WWE seemingly lost about a billion dollars in value due its stock being down with 4th quarter financials released after the firing of two top executives, George Barrios and Michelle Wilson.

Now, according to Vince McMahon, the WWE may be shopping the streaming rights to its own PPV’s to an outside streaming service. What does that mean for the WWE Network? Will it become a VOD service? The allure of the network has always been to get the monthly PPV’s along with new content and access to hidden gems and past shows at your fingertips, all for – say it with me – the low, low price of $9.99 a month. If you take away the PPV’s, that’s a big chuck of the attraction. Stay tuned as we could learn the outcome of all this before WrestleMania according to McMahon on this week��s conference call.  

So, when all is said and done. When the out-of-the-ring news overshadows the product in-the-ring and on tv, it’s not a great week for the WWE. I’d have to give RAW the number one show of the week, not because NXT nor Smackdown were bad. They weren’t. NXT was a solid show and Smackdown was ok, but what Randy Orton did in front of an amazing Salt Lake City crowd that trudged through a massive snowstorm in Utah made it a hotter show.

Star of the week:

"YOU answer to ME!" – @AngelGarzaWWE to @humberto_wwe #RAW @Zelina_VegaWWE pic.twitter.com/feYnFnMUts

— WWE Universe (@WWEUniverse) February 4, 2020

Angel Garza – Pulling double-duty on RAW and NXT gives Garza the spotlight this week. If he continues to shine, maybe he’ll be sticking around even after Andrade returns from his 30-day suspension. Sure, I could’ve given it to Randy Orton for his monster-heat, but Garza put himself out there in an impressive debut and stood out on two shows.

RAW

RESULTS

Liv Morgan defeated Lana

Non-title 24/7 Championship Match: Drew McIntyre defeated Mojo Rawley

Six-Man Tag Team Elimination Match: Buddy Murphy & Authors of Pain defeated Kevin Owens & The Viking Raiders

Aleister Black defeated Eric Young

Rey Mysterio, Jr. defeated Angel Garza via DQ

Asuka defeated Natalya

WWE Championship #1 Contender’s Match: Ricochet defeated Seth Rollins and Bobby Lashley

What we loved:

“I can’t do this.” @RandyOrton leaves the WWE Universe without an explanation for his savage attack on @EdgeRatedR. #RAW pic.twitter.com/xkwysFO3et

— WWE (@WWE) February 4, 2020

Mega-heat – Randy Orton said nothing. And we LOVED it! That’s how you draw mega-heat my friends. Less is more! We are going to have one helluva Road to WrestleMania between Edge and the Viper.

New blood – I’ll give the WWE credit for continuing the Brock Lesnar-Ricochet storyline for a payoff at a big spot at the Super Showdown in Saudi Arabia. Instead of falling back into yet another Rollins vs. Lesnar or a short-term Lashley vs. Lesnar spot, it made sense to follow-up the Royal Rumble low-balling storyline between the WWE Champion to give Ricochet his first shot at the company’s top title. Of course, we know he has no shot at winning, but at least it should be a good match.

Tempers are high in this heated matchup between @NatbyNature and @WWEAsuka on #RAW! pic.twitter.com/6MPkk5yBBV

— WWE (@WWE) February 4, 2020

Asuka vs. Natalya – Good, old-fashioned slobberknocker right here! Two of the most physical superstars in the women’s division going at it is a must-watch.

Hello, Angel – It may be just a short-term fix until Andrade returns from his 30-day Wellness suspension, but it’s good to see Angel Garza get the call-up for a face-to-face with his cousin Humberto Carrillo and Rey Mysterio, Jr.

See you Wednesday, @MsCharlotteWWE. #WWENXT @RheaRipley_WWE pic.twitter.com/wju4PLrKUd

— WWE NXT (@WWENXT) February 4, 2020

Charlotte vs. Rhea – We told you it was coming! Realistically, can we see Charlotte Flair heading back to NXT full-time, nope! But it will be interesting to see these two go back-and-forth for a few weeks over RAW and NXT on the Road to WrestleMania.

What we didn’t love:

RAW needs something – Remember back in the day, we had Piper’s Pit, The Barbershop, the Brother Love Show and more. Well, it’s time for RAW to have something like that. It just seems like the show’s getting repetitive with run-ins and in-ring long promos time after time. It needs to have something outside the ring to turn to on a semi-regular basis, not every week. Make it an attraction and something to look forward to. And no, it has to be more than the Saturday Night Live Update rip-off we get from The Street Profits.

Meh:

Ruby Riott returns – Ruby Riott returns to attack her former Riott Squad member Liv Morgan and seemingly join forces with Lana. But why? Do we now get Sarah Cross joining Morgan soon to even the odds? Underwhelming for a return IMHO.

NXT

RESULTS

Angel Garza defeated Isaiah “Swerve” Scott

Dominik Dijakovic defeated Killian Dain

Mercedes Martinez defeated Kacy Catanzaro

Non-title NXT Cruiserweight Championship Match: Jordan Devlin defeated Tyler Breeze

Tommaso Ciampa & The BroserWeights (Pete Dunne & Matt Riddle) vs. The Undisputed ERA (Adam Cole, Bobby Fish & Kyle O’Reilly) went to a no-contest

What we loved:

WE. ARE. NXT.

Just in case you forgot, @MsCharlotteWWE. #WWENXT @BiancaBelairWWE @RheaRipley_WWE pic.twitter.com/VSkp2YAAP7

— WWE NXT (@WWENXT) February 6, 2020

Double-teaming The Queen – Not only did Charlotte Flair come back to Full Sail, but she got Rhea Ripley and Bianca Belair over before going over, literally, herself as Ripley and Belair topple her ot defend the NXT turf. They’ll be time to cement the Flair vs. Ripley WrestleMania match, but a good, creative job of booking to hype Ripley vs. Belair for TakeOver in Portland first. Belair’s stock continues to rise coming off the Royal Rumble with some quality mic time showing she can handle it with it the top stars.

Double-duty Angel – Monday night. Wednesday night. What’s next for the former NXT Cruiserweight Champ? Maybe a trip to Smackdown to complete the trifecta!

D

R

E

A

M @DreamWWE has his

on you, @roderickstrong! #WWENXT pic.twitter.com/ALg7wygoog

— WWE NXT (@WWENXT) February 6, 2020

It’s not a Dream – Welcome back Velveteen Dream! Just when it looked like The Undisputed Era had the upper hand again, back comes the Velveteen Dream to make it a nightmare for Cole and company! The only down side to it could be a possible injury to Ciampa heading into TakeOver.

What we didn’t love:

The look – We will continue to say it until it changes. The WWE rarely does anything that looks small, especially against a rival. Yet, when going up against AEW on Wednesday nights, the look of NXT appears lesser when put in the cozy confines of Full Sail. It’s times to take it to the road a few times a month. The talent and the audience deserve it! As for quality, NXT has it. Now it’s time to sharpen up the look. The WWE, with its lucrative TV deals and Super Showdown money from Saudi Arabia, can afford it.

Too little KC – Yes, I’m biased being a Ninja Warrior fan, but I need more than just under three-minutes of Kacy Catanzaro. It was nice to see her return to TV, but in pretty much a squash match against Mercedes Martinez doesn’t cut it for me.

SMACKDOWN

RESULTS

The Usos defeated Dolph Ziggler & Robert Roode

Elias defeated Cesaro

Daniel Bryan defeats Heath Slater

Sheamus defeated Apollo Crews

Smackdown Women’s Championship #1 Contender’s Match: Carmella defeated Alexa Bliss, Naomi and Dana Brooke

Here’s the thing about this week’s Smackdown. It was perfectly fine. Nothing tremendously great, but nothing over-the-edge bad. It just was there and that’s not how I think the WWE wants to have its only show on broadcast TV to be looked upon, especially when it has two major events – Super Showdown in Saudi Arabia and WrestleMania coming up. Every week should be treated as special.

"HERE'S YOUR BREAKING NEWS: #TheFiend @WWEBrayWyatt, YOU'RE NEXT!" – @Goldberg #SmackDown pic.twitter.com/QDQxuCB6IH

— WWE (@WWE) February 8, 2020

This week, Goldberg’s return was more of a throwaway.  A rematch for the Universal Title a year later against The Fiend, who wasn’t even the person to beat Goldberg last year? Huh? I get that they want to deliver a big-time feel match for the Prince, but it just doesn’t make common sense and give you any reason to believe that Goldberg could win.

WE GOT A MAKEOVER MONTAGE!!!

@otiswwe is getting READY for his #ValentinesDay date with @WWE_MandyRose!#SmackDown @tuckerwwe pic.twitter.com/a0Oanfqh0r

— WWE (@WWE) February 8, 2020

The best thing may have been the Otis vignette getting ready for his Valentine’s Day date with Mandy Rose for next week. Now that’s MUST SEE TV my friends.

Sheamus, after weeks and weeks of saying Smackdown doesn’t have any challenges for him, is making that seem true as he doesn’t really have a true suitor – no, I don’t count Shorty Gable’s, ahem, short feud.

Good to see Heath Slater is alive, losing to Daniel Bryan via a ref stoppage. You have to wonder what’s next for Bryan and the born-again YES movement.

And no, I can’t believe they are trying to give us yet another King Corbin vs. Roman Reigns match at Super Showdown inside a steel cage. It’s the feud that no one cares about that will never end!

On the positive side, the Dirt Sheet returned with a few funny moments from The Miz and John Morrison, complete with cameos from Lance Storm and John Laurinaitis. Elias and Cesaro was pretty fun.

.@CarmellaWWE PICKS UP THE WIN… but the SmackDown Women's Champion immediately takes out her challenger on #SmackDown! @itsBayleyWWE pic.twitter.com/RRnzwMHQIT

— WWE (@WWE) February 8, 2020

Naomi looked good before bowing out in the main event fatal four-way as Carmella wins a shot at Bayley’s title before Bayley gets her shots in on Carmella.

Parting shots:            

The official trailer for WWE #RuthlessAggression is HERE. The new docuseries premieres Sunday Feb. 16 on WWE Network! pic.twitter.com/TiRlPfI6Id

— WWE Network (@WWENetwork) February 6, 2020

The trailer for the WWE Network’s new series Ruthless Aggression looks pretty good.

WrestleMania card – confirmed matches

WWE Championship: Brock Lesnar vs. Drew McIntyre

Thanks for letting us share our thoughts! Shoot me an email at jcrowe567@gmail.com. We’d love to hear your comments and suggestions! You can also check out my blog, The Crowe’s Nest as we delve into more pro wrestling, sports entertainment and the World of Sports. My apologies ahead of time – I AM a Patriots and Red Sox fan! If you’re not down with that, I’ve got TWO WORDS for you… NEW ENGLAND!

[nigeiadigitalmarketingcompany]

Netflix Numbers

Digital Elixir Netflix Numbers

They’re killing the golden goose.

Because price matters. Otherwise everybody would use an iPhone and a Mac, but Netflix is not a premium product, it can’t win appealing to a sliver of the public, it needs all of it.

This is how the publishing industry killed digital books.

Despite the hosannas of boomers boasting that they saved the physical book, it won’t be long until they lose the war. You know change…it looks like it’s never going to happen, you laugh at the predictions, and then overnight, it takes hold. Can you say digital photography? Can you say internet connection?

People had been using digital cameras for years, but they were expensive. Just like people were communicating via bulletin boards utilizing low speed modems with arcane software. But non-traditional consumer camera companies, like Panasonic and Sony and Samsung, put out products while Nikon and other high-end manufacturers sat by, as well as the everyman’s company Kodak, and then in a year, digital eclipsed film, just like that. Kinda like AOL turned everybody into an internet user, they made it easy.

Now we had a similar situation in the music business, with the iTunes Store. At first the labels considered it a joke, being Mac-only. But then when sales far exceeded expectations and distribution included Windows, suddenly this sideshow was throwing off revenue… And what did the labels want to do? RAISE PRICES!

And who said they couldn’t?

STEVE JOBS!

The labels are greedy, short-term thinkers, why else would Universal have stored all those masters in an unprotected facility? The music business was always run on intimidation, but finally it came up against someone who wouldn’t play that game, Apple kept prices low until consumers were hooked, then they jumped from 99 cents to $1.29.

99 cents. Ever notice no car is advertised at a round number? How it’s always something 99? Even gas! Our minds trick us into thinking $3.249 is equivalent to $3.24. But the truth is it’s only a tenth of a cent from $3.25.

And going back to books, did you see that Pearson is going digital first on textbooks? Physical was killing them. They got no revenue on resale. And prices were so high, sales were less frequent.

Instead, they went to the subscription model. That’s right, for less than print you get something that can be upgraded on a regular basis, like a streaming music service. Your subscription to Spotify, et al, is not a fixed picture, but a constantly rolling enterprise that adds new titles on a regular basis…and as long as you keep paying ten bucks a month, you can hear them.

Ten bucks. Spotify is a public company under earnings pressure. It could immediately raise prices, but it would start hemorrhaging customers. If it’s under ten bucks, it’s a throwaway. Once it eclipses that number, you start to think about it. I mean there are months when we barely watch Netflix, but we don’t cancel. But if you’re counting your pennies, supporting a family, every little bit counts and you look for alternatives that are good enough, like Android and Windows.

There’s a huge market in good enough. Not everybody needs to buy Nike or 7 jeans or… They’ll settle for the knock-off.

So Netflix is under Wall Street pressure, to pay for all that programming. So it keeps raising prices. Now you think they’re going to keep going up FOREVER! You feel the company no longer cares for you, the bond is broken and you start evaluating cash versus benefit.

As for HBO… On one hand, people are accustomed to the $15 price point. But the dirty little secret is that most people don’t pay that $15, or don’t think they do. The HBO fee is baked into your cable plan, which is a negotiation worse than buying a car. I got so frustrated I told my provider to cancel everything but the internet, and just before the clerk did this, she told me for $9.99 more, I could get essentially all the channels I was getting, including HBO…believe me, I don’t think HBO is costing me $15.

Which is why Disney is so brilliantly starting with a low price for its streaming service.

And what Netflix kept doing was adding loads of product while raising the price.

But the truth is most of this product sucks. And it’s an experiment, if it doesn’t immediately generate an audience, Netflix kills it. That’s right the Northern Californians are so into algorithms and spreadsheets that they miss the essence… One or two great shows make up for a slew of crappy ones. Kinda like the CD business!

And I can’t say there’s been a killer show on Netflix this year. No water cooler moment.

And one thing we’re looking for from Netflix is something DIFFERENT! Not only from network, but HBO too. Come on, HBO never would have aired “Babylon Berlin,” no way, not enough people would watch it. But if you struggled through the first few episodes on Netflix, you got hooked, I haven’t stopped talking about the show and I saw it YEARS AGO!

And it’s not like history is unwritten. “Sex and the City” ended and HBO suffered, they needed more hits.

I scan the sites all the time, looking for what to watch. And when I rarely find new Netflix shows, it frustrates me.

And screw the algorithm, showing me what I should be interested in, I have no idea what’s actually on Netflix, I read about a movie being available on the service, but it never pops up on my screen. Where’s the website where I can scan all the content? Hell, it looks to me like they don’t have that much, even though they keep telling everybody they do!

There’s too much television for mediocre to survive. Not only are there so many other options on TV, there are non-series/movie distractions only a click away, like YouTube, Instagram, Snapchat…

In other words, Netflix has lost touch with its customers.

Just like the publishing business. Who in hell is gonna buy the digital version if the hardcover is cheaper, or only a dollar or two more? It’s a bad value proposition. Kids are down with virtual purchases, as they do in video games, but the oldsters still need to be convinced. Most people who are anti-digital readers never even read that way! But when all books were $9.99 or less… If you bought something and it sucked, no big deal. But when it’s $15?

Yup, the book business is just like Netflix. Not aware their business depends on customers. Amazon was growing their business, adding customers and sales. I used to buy a physical book a year, maybe two or three. It just didn’t make sense, $25? But with digital, I buy a book every other week if not more often. But I must admit, I think twice about my purchases at these inflated prices, and I’m pissed they’re so high when there’s no printing and shipping…

You want your customers to LOVE you, otherwise you’re the record business. Devastated at the advent of this century. Customers had been ripped-off for so long, they didn’t feel bad about stealing, And what did the execs say? Nothing could replace CDs, they were perfect! But the customers didn’t feel this way, and they wanted instant accessibility and portability, qualities that are the essence of digital.

And streaming saved the music business.

But sales don’t equal the pre-internet heyday, so the streaming services are…waiting to raise prices.

Let’s not talk about what something is intrinsically worth… It’s only worth what a buyer is willing to pay.

And one thing’s for sure, I’m not paying for every streaming video service, no way. I’m gonna end up paying as much as cable and getting less! I’m trying to hold off on Hulu. I don’t have the time, and I feel it’s an insult.

But, I did pay for Mhz Choice to watch a foreign series, I thought twice, but it was only $7.99 and opened up a world of proven quality television that otherwise I wouldn’t have access to.

Now is the time for Netflix to ensure that it trumps the competition.

All the news is negative. It’s losing “The Office,” “Friends.”

I don’t watch either, but there’s such blowback that my fealty to Netflix is wavering, I want to be a member of a winning cult. And I know Netflix is countering with all the product it still has, and the press is talking about viewer numbers, but entertainment is not facts, it’s about hearts and minds!

And Netflix is losing them.

~~~

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[game-of-thrones-season]

Game of Thrones writer Bryan Cogman breaks down season 8, episode 2's big scenes

Bryan Cogman on the 'play-like' episode 'A Knight of the Seven Kingdoms': 'This is really a love letter to the characters'

By

James Hibberd

April 21, 2019 at 11:16 PM EDT

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HELEN SLOAN/HBO

Game of Thrones

TYPE

TV Show

GENRE

Drama,

Fantasy

NETWORK

HBO

Game of Thrones co-executive producer Bryan Cogman penned the second episode of the final season, “A Knight of the Seven Kingdoms,” which devoted an hour to quietly spending time with fan-favorite characters before their apocalyptic battle against the Army of the Dead. While fans expected the six-episode final season to be action-packed (and it will be), the producers also felt it was important to slow down and savor the show’s ensemble lineup of characters now that they’re together in one place and facing what is almost certainly their last night all together.

“This episode is really a love letter to the characters,” Cogman says. “With most of our battles you get about 15 minutes of calm-before-the-storm with the characters participating in that battle taking stock of where they are in their lives before the dam breaks. This is an entire episode of that so that episode 3 can hit the ground running.”

Below, Cogman (who previously wrote a terrific GoT re-watch viewing guide) gives some behind-the-scenes insight into some of the episode’s biggest moments…

— Jaime’s informal trial: “This was not unlike the trial episode I adapted with Tyrion in season 4. It was a chance to revisit Jaime’s arc and the different perspectives that they have about him. Brienne’s perspective mirrors the audience. One thing I have to remind myself is that not everyone on Game of Thrones is watching Game of Thrones. The characters only know what they know and they only know their own experiences, but the natural thing for you to want is to say, ‘they’re both good guys, just put aside your differences.’ What’s fun about Brienne’s testimony is she’s the only character who’s bore witness to the amazing changes Jaime’s gone through over the course of the season — apart from Tyrion who has his own reasons for loving his brother and knowing he’s different than how he’s perceived.”

— Jaime asking to serve under Brienne and Brienne being knighted. “Jaime does something here you would never expect the Jaime of season 2 to do. For Jaime, to humble himself to serve under anyone is a huge thing. He would never do that for anybody other than her. Jaime has been a knight of the Seven Kingdoms his whole life, but he’s finally becoming the knight he’s been chasing.” And later, Jaime knighting Brienne in the Great Hall: “We wanted to take the audience by surprise. It’s not a ceremonial scene on a cliff at sunset with billowing capes. It comes out of a throwaway moment that even some people in the room think is a joke and then they quickly realize it’s not. It’s a monumental thing. It’s a moment of grace and beauty in the middle of a nightmare and the main reason I wanted to write this episode. The episode’s title, ‘A Knight of the Seven Kingdoms,’ refers to both Jaime and Brienne.” (By and by, EW asked Brienne actress Gwendoline Christie which scene she’s most proud of in the entire series and she said it was this one. “I think the knighting scene,” Christie replied. “I thought about it so much and what it means to me conceptually. It’s so emotional for the character to get something she wants and to be acknowledged.”)

— Arya and The Hound: “Arya asks, ‘When have you fought for anything or anyone other than yourself,’ and The Hound says, ‘I fought for you.’ There were glimmers of ‘goodness’ — for lack of a better term — in The Hound before he encountered Arya — certainly in his occasional protection of Sansa. But that scene in season 4 when he fights for Arya he was protecting her in his mind. He believed Brienne was there to do her harm. The tragedy of that scene was, again, if they had just seen each other’s subplots they would know to work together. Yeah, The Hound is always going to be a killer, he’s never going to embrace the life of peace that Brother Ray was preaching. But that time with Brother Ray fundamentally changed him and the seed of that was protecting Arya which grew into who he is now.”

— Arya and Gendry: “We asked ourselves what a lot of these characters would do on their final night. For Arya, there’s an attraction to Gendry and she’s like, ‘If I’m going to die, I might as well see what all the fuss is about.’ She executes that encounter and Gendry is more than happy to go along. We were very careful to make sure Maisie [Williams] was comfortable and everything was on her terms. One thing I wrote specifically when crafting that scene is ‘Gendry notes her scars.’ They’re from all of Arya’s encounters but most specifically when The Waif tried to kill her. There are so many things Gendry doesn’t understand about Arya. They’re having this nice flirtation and have this own shared history they draw upon but she’s very different from the Arya he used to know. There’s an attraction for him, but she’s also a bit scary too.”

— Davos and Gilly tending to refugees: “The short little scene with Davos and Gilly tending to refugees streaming into Winterfell. They encounter a girl with half her face scarred who bears a resemblance to [Stannis Baratheon’s sacrificed daughter] Shireen. The name ‘Shireen’ is not said in the scene. But Shireen taught both Davos and Gilly how to read. This is an example of how brilliant [showrunners David Benioff and Dan Weiss] are. I wrote a scene where Davos and Gilly get on the subject of knowing how to read and then get on the subject of Shireen and how she taught them both. It was the right inspiration but it felt contrived. [With the showrunners’ notes it] evolved into this where the scene is absolutely about Shireen, but neither of them are aware of the impact she had on the other. It was a beautiful way of acknowledging all of these threads between all of these characters that many of them are not aware of and never will be aware of — only we as the audience have the privilege of being aware of them.”

— Podrick’s song: “Songs have been important in the past on the show, but they’re more present in [George R.R. Martin’s] books. Pod once again surprises us when we find out he has a lovely singing voice. It was fun to find a reason to get ‘Jenny of Oldstones’ [a.k.a. ‘Jenny’s Song’] in there in a way that feels organic and appropriate. It’s not something we normally do, but I think it works. Dan wrote the [bulk of the] lyrics — about it being warm and having fellowship together and how they wish it could last longer, but it’s not going to.” The song is also covered by Florence + the Machine in the closing credits.

— Jon tells Dany about his parentage. “Jon is avoiding Dany the whole episode because this bombshell has been dropped on him and he can’t even process how to be in the same room with her. She senses a strange tension and can’t understand why. What really upsets Jon is that he’s a blood relative to the woman he’s in love with. In the crypt, Jon is taken aback when essentially the first thing she says is acknowledging that he has a claim to the Iron Throne. And Jon’s immediate concern is the fact that that’s her immediate concern. [Kit Harington and Emilia Clarke] play it beautifully. It’s a very difficult scene to pull off; so much has to go on behind the eyes. But then the horn blasts and the Army of the Dead are at the gates.”

“A Knight of the Seven Kingdoms” is “almost like a play,” Cogman adds, an episode that he was eager to tackle yet proved to be a massive challenge. Cogman praised showrunners Benioff and Weiss for helping shape and edit the final script. “This was the most difficult script of the 11 I’ve written for Game of Thrones,” he says. “The big challenge was not writing a Wikipedia page. In fact, my first draft was a Wikipedia page. The way it works is the showrunners return a Final Draft document with notes written in red in the margins. They returned my first script with a sea of red.”

One suspects the episode will dramatically feel even stronger when watched in tandem with the next episode of season 8, which chronicles the Battle of Winterfell. “There was such a breakneck pace to season 7 that I was delighted when the [showrunners] proposed an episode of just spending time with characters in this space,” Cogman says. “I think it will make episode 3 — which is spectacular — all the richer. The moment that episode 3 starts we’re in full 100 percent battle mode.”

More Game of Thrones season 8, episode 2, “A Knight of the Seven Kingdoms” coverage: — Maisie Williams discusses her surprise Gendry scene: ‘At first, I thought it was a prank…’ — Game of Thrones: Emilia Clarke defends Dany’s reaction to Jon’s parentage — Game of Thrones reveals big battle trailer for season 8, episode 3 — Game of Thrones releases ‘Jenny of Oldstones’ song performed by Florence + the Machine — Deep-dive recap for ‘A Knight of the Seven Kingdoms’

Game of Thrones

HBO’s epic fantasy drama based on George R.R. Martin’s novel series "A Song of Fire and Ice."TYPE

TV Show

SEASONS

7

EPISODES

67

GENRE

Drama,

Fantasy

RATING

TV-MA

RUN DATE

04/17/11

STATUS

On Hiatus

CREATOR

David Benioff,

D.B. Weiss

CAST

Kit Harington,

Emilia Clarke,

Peter Dinklage,

Lena Headey

NETWORK

HBO

AVAILABLE FOR STREAMING ON

COMPLETE COVERAGE

Game of Thrones