#shes one of the most compelling characters in the whole fucking show to me and every day i mourn that her and madi never got to meet

[cashmere-caveman]

the thing w putting jackanne and flintmiranda in the same pot is that to me those are entirely different constellations lile yes ok weve got the superficial comphet marriage lifepartners parallel but beyond that?

jackanne is just. like yeah ok in theory the whole backstory/power imbalance is kind of compelling but in practice jack is just annes annoying purse dog to me that she brings into her marriage w max that max only tolerates bc she knows shell outlive that dumb thing twice over

meanwhile flint and miranda are like theee core relationship, theee key to understanding flint as a person to me bc miranda is just such a fundamental character and she elevated flint and challenged him and Shaped Him (but above all i was mother!!!!) and that whole thomas business is honestly such a footnote to me like these two are not part of a poly constellation in my eyes like yeah sure their bond was born out of that blah blah blah but they literally transcend everything that blonde man ever meant to either of them by leagues and miles like idek how to put it except . miranda. i love her so much.

[utilitycaster]

Do you think this episode is so boring because they brought back the Nein and reminded us how good they are? I keep thinking about this as I'm absently watching this episode, saw your post and would love to hear your thoughts on it. Because like, at least to me, most villains this campaign are painfully boring. But the Weave Mind are also boring. That was fine, M9 handled it perfectly and I loved it. Ludinus is arguably the only kinda interesting bad guy and a PC's mom is in mortal danger and I can't manage to care.

I don't find Ludinus and the Weave Mind boring! I don't find Liliana boring either! And I found Ozo Cruth and Otohan Thull DREADFULLY boring but actually, the fights with them are pretty fucking great. I mean, I have a LOT of criticism about the first Otohan fight that boils down to "this was EXCEPTIONALLY poorly signaled and I'd be PISSED if my character was killed for someone else's arc at this point in the story" but Otohan being boring is about the non-combat elements; she felt very real and compelling as a THREAT, just, she could have been a giant blender of magic knives that the party was going to be dumped in for all she had an impact on the story as a person. But I do think it is because we've seen the Mighty Nein and Vox Machina recently and remembered that they're orders of magnitude more compelling.

I think it's really like...I don't even want to say Bells Hells isn't bonded, but they lack something. I think I alluded to it in the tags of one of my posts but there's no banter between party members or sense of urgency. Like, I enjoyed the whole All-Minds-Burn/Myceit scenes a lot, actually, but after Imogen's initial (justified) panic the pacing felt unbelievably slow until we got to combat. I have found that really, for a good deal of the campaign, you have to kind of take things episode by episode and enjoy the good set pieces and scenes because it simply does not make for a pleasing and rewarding whole. The reason I didn't care about Liliana is, to be fair, partly because I think having her die would be an interesting development, but also because there wasn't a sense of "we can't stop and fuck around with mushrooms, LILIANA IS DYING" within the episode itself. No one was comforting Imogen as they ran through the tunnels. The Mighty Nein showed more personality and investment in the lead up to a fight that really, they had no more stake in other than the broad world-ending ones. As someone who's been playing a LOT of Veilguard which is all about building a close-knit team, and who's had VM and the Nein the past month to compare Bells Hells with, that lack is immediately apparent.

I said, over a year ago (possibly over two, I don't recall) now about one of the relationships in the campaign that it felt like when I see a single episode from a soap opera I don't follow. The actors are imbuing lines with emotion, but everything feels kind of disconnected. Like, this is all in a deeply subjective realm, I cannot give you a strong argument based on logic here as it's very much vibes-based, but I feel like when I watched this, my thought process was "BAFTA-winning Actor Laura Bailey is doing an excellent job of conveying the emotions 'terror and anguish over a dying relative' in this line read, and not "Imogen Temult, a character I've been familiar with since October 2021, is devastated over the potential demise of her mother.' " And I never had that issue with C1 and C2. Like, you can call it je ne sais quoi or the juice or the sauce or chemistry or the spark or whatever the fuck but Campaign 3/Bells Hells simply doesn't seem to have it for a huge number of people who have adored pretty much every other Critical Role work, and that means something. My personal thought is that it's because this has been such a plot-focused campaign without strong DM prepping of what kind of characters would be appropriately invested that we've had the problems we did (rampant indecision, lack of party chemistry due to lack of early opportunities to mingle and meld, lack of investment in each others' lives due to insufficient time focused on backstory-related plotlines), but I could be wrong, and ultimately the root cause isn't super important to this question, which is just. they don't have the it factor.

[judgeanon]

So About That BATGIRL #1...

I put this review up in another site, but since folks here on Tumblr seem to be realizing I have a lot of Thoughts about Lady Shiva, I figured I'd transplant it here. So here's how I feel about it. The short of it is that I think it's a strong start with a few small quibbles because I'm not sure how much of Shiva's writing is her being intentionally OOC and how much is Brombal trying to humanize her.

The long is here:

Now, one of Shiva's main issues as a character ever since they finally split her from the League of Assassins (God bless you Bryan Hill) is that, instead, writers have stapled her to Cass. Literally every major Shiva appearance since 2017 has involved Cass in some way. That is a problem not so much for Cass, who gets to have her own stories and series with and without the Batfam (although mostly with), but for Shiva, who doesn't get nearly as much exposure as her daughter. If there's a Shiva comic coming out, odds are it's gonna have something to do with Cass. Well, except for the other Shiva comic coming out this month that's gonna suck shit.

But at the same time, I don't think that means nobody should ever do another Shiva/Cass story, because I still feel like that's rich soil that nobody has had the time, space or desire to really commit to mining. Hill in Outsiders was writing a whole ensemble cast and couldn't linger too long on them. Writers like Grayson and Cloonan/Conrad both teased Shiva trying to reconcile with Cass but never took it anyhwere. A Shiva/Cass story can still be compelling and interesting as long as the writer is willing and able to Actually Write It.

So when literally the first panel of this new issue is Shiva addressing Cass and their relationship directly, I'm already perked up. Right from the get go, you can tell that Tate Brombal is absolutely here to tell a story about these two women and pretty much nothing else, and also that Tak Miyazawa and Mike Spicer are a killer art team. I adore how hard Tak's figures look without (usually) being stiff, thanks to some solid body language and expressions. And Spicer's colors have a cool kind of dark-but-vivid look. The last leg of the issue, with everything illuminated by fire, is especially cool.

Going back to the opening, it's curous how despite this being an issue #1, there's very little in the way of character introductions or set up. There's no slow burn here, no lengthy creeping intro like previous Shiva/Cass stories. And while I can't help but feel that it must be a little awkward for readers unfamiliar with them or their current situation, I think it also accurately reflects one of my favorite parts of the comic, which is Cass' being just absolutely fucking DONE with her mom.

After years of hyper dramatic standoffs and tearful moments of cheap heartbreak, it's fun to see a Cass who has no time for her mother, who's not interested in what she's got going on, and who's confident enough in herself to even be a little shit about it. It's fun and refreshing and fits Cass very nicely.

That not-quite-breakneck but still fast pace keeps up when the Unburied show up after just a few pages of setup and you know, in a couple of interviews, Brombal mentioned being influenced by Daredevil. And this is the page that made me go "Ah, yeah, that tracks." 'cause brother, those are some MILLER-ass ninjas.

Why Shiva fears these guys or thinks Cass can't handle them is not yet explained, but her desperation to keep Cass around does lead to a small but very meaning-heavy moment: the first punch in this series is not thrown into the face of the new enemies, but it's Cass decking her mom in the face and Shiva loving it.

It's an excellent touch and a perfect mission statement about the series. I love it as much as I love the ensuing fight, full of cool moves in big and small panels, but the most fun thing to me is how it's choreographed as Cass fighting her mom almost as much as she's fighting the Unburied. And on top of being a great fight, it ends with a small nod to QUESTION #1 or the 'Tec '88 Annual, in case I was somehow not sold enough already.

And while I still love Cass being so willing to call Shiva out on her lies, it does bring up one of the small gripes I have with this issue: I don't like it when Shiva lies constantly. I think she's best when she's strong and confident enough to not need to lie, when she just lays everything out on the table the way this comic is almost doing. It's good for Cass, as it keeps showing her as someone who has grown to understand her mother, who sees Shiva for who she is and what she does. And it does set up a slightly heartwarming scene at the end.

Of course, that's personal preferrence, and I'm not gonna say this is a bad comic because it doesn't follow my own idea of what works best for Shiva, especially since it's clear that Brombal is writing her with a lot of intention here. But that leads to the other big-ish issue I have with this issue: it's a bit hard to tell, from this story alone, how much of these moments are Brombal building his own personal version of Shiva and how much of it is Shiva, in-universe, acting out of character for the sake of some hidden scheme. After all, Cass points out that twice in the issue Shiva backs down, first from a moral fight and then from an actual fight.

So it's possible that even the constant lying is Shiva playing a role in favor of a grander scheme which will be revealed in later issues. Which, fair enough, I'm willing to see where it goes. But that second moment of yielding does lead to what's maybe my biggest problem with BATGIRL #1, and it's the Unburied themselves.

There's nothing in that initial fight with the Unburied that suggests Shiva and Cass would've had trouble dealing with them. Hell, there's very little to suggest even one of them would've had trouble with them. Now, I'm not suggesting that this issue should've started with the titular character and her mom getting their asses handed to them. But it feels like there's just not enough to these new enemies yet to justify the escape. Ninjas show up, Cass and Shiva beat them without getting hit once, more Ninjas show up and Shiva self-defenestrates herself.

Again, entirely possible that Shiva has something up her sleeve here, and issue #2 did promise to show us the main villain behind them, but as it stands it leaves me with this weird mix of not quite intrigue, not quite disappointment. It's just odd. They could've had, I dunno, a bomb set in the building or some other reason for Shiva to exit the venue like that.

Speaking of odd things, however, I did NOT expect to be reading a comic that brings up Shiva's cult from Puckett/Scott's BATGIRL #25. It's an "Order of Shiva" now though, with chapters and temples and stuff. Which is a bit of a change, since back in #25 they came off more like a gang of fanboys than an order of servants or anything like that. And after being summarily disposed by Shiva in that same issue, they were never really explored again.

So this is Brombal not just bringing back a bit of old lore, but also shifting it slightly, turning it into a more organized group... and then summarily disposing of them one panel later.

Also, I don't know what it is but I *LOVE* this panel. Shiva's face, her "wut" pose, the O.O, it's just... beautiful.

Anyway, once they're in the temple for the last bit of the issue, I start to see a bit more of what Brombal's doing. Like Gail Simone and Bryan Hill, Brombal seems to want to soften Shiva up a little, to make it clear that deep inside, she does have at least a bit of a heart, or enough of it to feel sadness at the wasteful death of people she may feel like she owes something to. Compare it to BIRDS OF PREY #62 for example:

This one is not quite as dramatic or vulnerable, but it's clear that Brombal wants to write Shiva with a slightly more human heart. Which, again, I'm not opposed to but I don't think it's the best thing you can do with her. I prefer Shiva being more detached in regards to death, like the most she'll do is see it as a waste but she's not gonna get emotional about it, she's going to be way more matter-of-fact. Death happens and such. But I think that kind of aloofness often gets interpreted as monstrous disdain for life by writers trying to make Shiva into a villain, and if I had to choose between what Brombal's doing and what, well, what Tom King's probably gonna be doing in a few weeks, I'll take this anytime.

Anyway, I also didn't expect to see the apprentice from BATGIRL #26, having apparently gotten a promotion somewhere in the last 20 years. Good for him! Less good for him is the shitload of arrows he eats two pages later but oh well.

The last couple of pages lead to a nice moment of sheer badassery for both Shiva and Cass and one last showcase of Miyazawa and Spicer's glorious team effort. Those two work really well together and I'm excited to see more of them in future issues. And while we're at it, I gotta give props to Miyazawa for being one of maybe two artists to draw a visibly older Lady Shiva.

His version isn't just aged but hardened by that age, looking stern and determined without having to rely on gritted teeth or angry looks. And on top of all that, he still finds more than enough moments to give her the kind of cocky smiles that bring out the more playful side of Shiva that some stories tend to either gloss over or turn into outright sadism.

Man... I just love to see that momma smile.

Other than that, there's a couple of minor quibbles I have with the issue. There's a funny moment where Cass pulls a Batman on her own mother (who charmingly acknowledges Bruce's influence) but it's undercut by Cass poofing back into existence on the next page. And there's also the weird, almost surreal emptiness of the city around them. Even after a building explodes, there's literally nobody on the streets other than Shiva and Cass.

On one hand, it speaks to the intentions of this run. This is VERY much a two-woman show so far, with no room for much else. But it's still glaring enough to be distracting.

However, it's that intentionality that ultimately wins me over. Even with all my personal little issues with Shiva's characterization, it's obvious from the start that this is a writer who is genuinely trying to write her as a character, who is ready to engage with her and with her relation with Cass on a deeper level than just hero and villain, or good daughter and evil mom.

Brombal, Miyazawa & Spicer have put some meat on the grill, and although I don't think the biggest pieces are there yet... I'm ready to let them cook.

[abyssal-author-and-artist]

oh shit i just realized i forgot to post the trans dipper essay

oh well, better late than never!

Introducing - Why Mason "Dipper" Pines is Trans and Why that Matters - an essay I spent more time on than I did my actual college project today

Mason "Dipper" Pines from Gravity Falls is trans. Trans masculine, to be specific. Do I believe this was intentional? No. Do I believe that there's a seriously convincing case to be made? Fuck yes.

So first off, he's just like me frfr, which is pretty compelling in and of itself. But that's not enough for a whole essay, so we move onto our second point - character designs. Dipper is designed like, well, like every modern-era trans man I've ever drawn who isn't goth. The shorts, the one shirt in the one color, the absolute insecurity. He even does the hunch of the back! Also, I think I heard somewhere that the vest is to make his shoulders look broader, which I'm not entirely sure is canon but I am accepting this whole-heartedly. It's such a trans move of him. He's too young (and it's summer so it's too hot) to wear a dysphoria hoodie so he picked a vest. (I say too young because dysphoria hoodies usually cover your chest and Dipper and Mabel probably haven't hit puberty.)

The second part comes directly from science. According to this article, and many others, sex in identical twins is complicated, but most identical twins will be born the same sex. There are cases where this isn't true (which might be the case for Mabel and Dipper) or they might be fraternal, which is also pretty likely. However, looking at them when they were younger (and listening to their very similar voices), it's likely they were identical and both girls. That's not to say I dislike trans Mabel - every trans woman I draw dresses like her, so I do love her being trans as well and them hitting the age of like. 10. and swapping genders is incredibly funny and adorable to me.

So, we can't reliably use the aforementioned evidence, then, can we? After all, identical twins can be different sexes, although rare, and we don't have any proof they are identical beyond their visual (and when they were younger, audible) similarities. Well, first off, I'd say that's pretty compelling evidence already. In a cartoon, especially one as detailed and beautiful-looking as Gravity Falls (the art is good and I will die on this hill), visual language makes up for a lot. And Alex Hirsh has gone on record saying that he very much wanted Jason Ritter and Kristen Schaal for Dipper and Mabel respectively, to the point where he would have canceled the show if Kristen hadn't signed on, so I wholeheartedly believe every character (with the exception of Grenda and any other characters who had last minute va's picked) had their voice actors picked very specifically. I can't find whether Jason Ritter voiced younger Dipper, though, so that's a dead end.

Now, that's all well and good, but it's a lot of visual language, isn't it? Why don't we move into something more based in the writing itself?

So the first and most prominent example of Dipper being transgender is the episode Dipper vs Manliness. You know it, you probably have emotions on it, it's the episode where Dipper is trying his hardest to be a man's man. The episode was supposed to be about toxic masculinity and how to be a real man is to stick to your morals. It's a good lesson and in my opinion, holds up even in 2024. Pretty good. Does a great job of what it wants to do. Now, Dipper vs. Manliness has been dissected to hell and back already as a transgender allegory, so I'll keep this brief: the episode centers around Dipper being mocked for not being manly. While Mabel and Stan still see him as a man, albeit an effeminate one, it gets to Dipper. He proceeds to do anything to prove himself a real man. If viewed as a trans allegory, Mabel is teasing her brother and not realizing how deeply it actually hurts him (whether accidentally because she fails to realize how insecure he is over it or because she hasn't been there before, depending on how you want to headcanon it). As for Stan, I like to pretend he's supportive but regularly forgets Dipper was ever a girl, so he makes a serious slip up because of that (and/or he's regurgitating stuff said to him. That hits harder if you also headcanon trans Stan, which I am warming up to). Dipper proceeds to try and prove himself a man, crying when he takes even one more blow to his self esteem/sense of identity as a man, and eventually gets comfort from his family when they realize just how BADLY they messed him up. He is affirmed as a man and the episode ends. Everything that can be said, has been said - including that you don't have to act toxically masculine - or even masculine at all - to be a real man. Remember this part, it will be important later.

So, other trans moments for Dipper come a little sparser. Dipper vs. Manliness is the example for a good reason. But still, there's other moments. The short Voice Over from one of the short story compliation episodes is another one that's commonly referenced as a metaphor for voice dysphoria. Yes, Dipper's voice is cracking in ways common for a cis pre-teen boy his age, but the pitch and tone of his voice can also be seen as his more feminine voice peeking through. Taking the potion can be seen as taking testosterone or other hormones. Granted, this falls apart when you consider that Dipper is later discouraged from taking the potion, because that could be read as Dipper being discouraged from transitioning, but on the other side of the spectrum, it could be read as Dipper being affirmed as a real man despite his voice. From that perspective, his family prevents him from taking (possibly dangerous) homebrewed hrt. Also, the euphoria he gets when it does change his voice is just. Absolutely adorable.

Now, my favorite resource for Dipper acting trans is in the episode Headhunters. He's asking Manly Dan questions and Manly Dan calls Dipper a girl. And MAN the discomfort on Dipper's face. He immediately attempts to correct Manly Dan, but is shut down and the episode moves on. I think that for such a short moment, it does a good job of making Dipper seem trans, though. He is called a girl and feels extreme discomfort around it. He does not like being called a girl. He is not a girl. But he's not shocked or surprised or even really offended - he's resigned. He's used to being called a girl. Sure, he hates it, but he doesn't cry or scream or anything. Sounds to me like a trans man who's absurdly used to being misgendered but still hates it. That pain never goes away, but sometimes all you can do is flinch in discomfort, try to correct and move on, like the episode does.

For a (mostly humorous) video of more of Dipper acting trans, check out this video.

So I think we've made a pretty compelling point for Dipper Pines being trans masc here. Looks pretty good, yup, this is a great essay, let's wrap it up. Oh? What's that? The name of this essay?

Why Mason "Dipper" Pines is transgender and why that matters.

Well, let's dive into section two of this essay - why does Dipper being trans matter?

Someone could easily say it doesn't matter. Just fun fandom headcanons, that's it, wrap it up now. Nothing more to say. Dipper is trans and that's just a fun reading of his character.

But I don't think that's the case. I think that Dipper being trans means so much - to trans fans of the show, to fans who have never seen or spoken to trans people before, and to queer fans of Gravity Falls and similar shows. (I personally am a Steven Universe fan who really valued the representation there, so Gravity Falls and all it's queer coding means a lot to me.)

First and foremost, I'm not going to keep you in the dark as to why you're remembering my earlier point. As a recap, it was this: Dipper vs. Manliness, and by proxy, Gravity Falls as a whole, says that you don't have to be traditionally masculine to be a real man. For a show that spends a lot of time mocking a kid commonly headcanoned to be a trans man, that says a lot, and a lot of stuff I think more people need to hear.

You do not need to act like your gender to be your gender.

You do not need to present like your gender to be your gender.

You do not need to fit some rigid box that society enforces to be who you are.

If you are a man, you are a man, trans or cis, regardless of how you act. (And the same goes for women and nonbinary people! You don't have to fit a mold.)

You don't owe anyone anything.

You don't owe people masculinity. (Or femininity or androgyny for that matter.)

I think that's part of the reason Dipper vs. Manliness ages so well. Dipper reads as trans, especially to queer fans, and his story in that episode tells us that we don't have to be someone we're not for people to take us seriously as who we are. At the end of the day, the really masculine thing is staying true to you - a sentiment echoed and reversed in The Last Mabelcorn, where the most feminine thing you can do is to stay true to yourself. I can't find it right now, but I could swear that there's a That GF Fan video explaining my point a little better. The point is, there's nothing that makes you more of whatever your gender is than staying true to yourself.

Additionally, if Dipper really is trans and someone sees themself in him, that can help them explore their gender or explain it to other people. Young kids who have never interacted with trans people before can see Dipper and grow up to connect the dots - or grow up to have him crack their eggs.

I know I'm new to the fandom and I was already out before watching the show, but he really helped me explore my gender. I like dressing like him - he's very relatable, even though I'm old enough to be in college now. I see him as a very anxious, slightly paranoid trans kid, and I see a lot of myself in him. He has a lot of issues, and a lot of issues that aren't trans specific but definitely hit harder when you are trans. He makes me feel seen on a level that I never thought a cartoon character could do.

Honestly, here would be a good place to put a rant about representation in kids media - queer kids under the age of 12 exist and struggle. I liked a girl (before realizing I was trans) in fifth grade, so about 9 years old. There are kids who experiment with their gender when they're younger than that. We're here and we exist, and every single time a character in children's media is made and is prevalent, another kid is able to really see themself.

That's really the point of this section. Dipper is trans. That matters. People - mostly queer kids but people of all ages - see themselves in him. He's here and we see him as queer because it's validating. It feels so good to hear Stan affirm him at the end of Dipper vs. Manliness, because it proves that at the end of the day, you don't need to present as super masc or femme or androgynous to be who you are.

Gravity Falls, through coding Dipper as trans, sent a message:

You are seen. You are loved. You are valid.

Thank you for reading this all. Trans Dipper means a lot to me, and I love writing him and seeing him in general. I want more of him because Dipper being trans means the world to me.

I love you all. Have a wonderful day. Remember to stay true to yourself.

[chirpsythismorning]

Mike's character regression can be explained in large part by one emotion in particular: guilt

Just want to preface this by saying that, this is not Mike slander. I love this dude. In fact, I think what makes Mike such an interesting character is that a lot of his behavior throughout the series can be explained in part by previous moments, and after really looking at all these moments together, what you end up with is a pretty fucked up story.

So while some might want to take this as Mike slander, these points I'm making are a part of Mike and things he has done and said and whether they were intentionally harmful or not, it's Mike. It's all shaped him and his role in the story. The fact that we're seeing a visible shift in his behavior at all, with plenty of moments from the show to back up what brought us here, makes it compelling enough to talk about.

So, without further ado, back to our roots:

Ah yes, the infamous canon proof disputing Mike's I think my life started that day we found you in the woods, claim during his monologue. Not only that, but in this original scene from 1x02, it turns out Mike actually intended to send her away the next day (all of which El could hear Mike saying from the open bathroom door).

Mike outright calling El a weapon, again telling the others they need her because they stand no chance at getting Will back otherwise.

I wont elaborate on this now, because there is way too much to unpack that'll honestly be more worthwhile discussing further on.

For now, this is a secret tool that will help us later.

These next couple scenes right here though, are pretty painful if I'm being completely honest. The way its shot, specifically El's very visible exhaustion, accompanied by the varying priorities of others around her, leaves me feeling pretty unsettled upon rewatches.

I obviously can't remember how I felt when I watched these scenes for the first time, but I imagine I viewed them as this huge romantic moment for Mike and El (I was tricked by heteronormativity, okay?). But, again, upon rewatching them since then, I've realized I get this sort of sad feeling by the end. You'll see what I mean.

El obviously just went through something extremely traumatic. She tried to go find Will and Barb in the void, only to find Barb dead and Will presumably alive, but then slipping through her fingers at the last second (no, literally).

We then got a moment where Joyce held El while the others sat by quietly because she clearly needed a moment of comfort given what she just endured.

Then in this scene shortly after, everyone is leaving to get ready for their final attempt at saving Will.

Now, notice how not only Lucas, but also Dustin make the effort to reach out to El to comfort her affectionately after that traumatic event, with those twos' actions specifically being showcased in sequence?

Lucas, who spent the better part of the season being critical of El, is now ending the season rubbing El's shoulder to warm her up, literally soothing her to make her feel better.

Then there's Dustin, who right after Lucas' gesture makes a gesture of his own, putting his hand on her knee reassuringly, to show her he's there and he's happy she's okay.

And lastly there's Mike, who is so kindly allowing El to rest her head on his shoulder. This placement of Mike and El here is definitely a testament to the fact that Mike has vouched for El this whole time in contrast to the others and so, understandably, she put her head on his shoulder for reassurance, because out of the three of them, he's the one whose been looking out for her the most. (Right?)

Now you might be thinking that this sequence's only purpose was to show Lucas and Dustin's development with El, and that it wasn't intentional that they focused on Lucas and Dustins' priorities in this moment in contrast to Mikes'. And I raise you, this next scene.

Here we have a focus on Mike looking on to where everyone left, while the others beside him are presumably just processing what went down and taking a rest (and boy oh boy do they (El) need one).

Mike on the other-hand decides to take this moment of rest to display the most cliche and universal forms of distracted unrest known to man: he checks his watch.

Mike then stands up abruptly, causing El to fall without his shoulder there for her to rest on anymore, all while her and Dustin are looking on after him, sort of like... Okay?

It's small. It might seem insignificant. But if you actually pay attention to what this scene is trying to make you feel, after really looking at it for what it is, it's kind of sad.

In a moment that chooses to highlight the other boys' acknowledgment of El after what just happened, and not only that, but at the tale end of their final battle of the season, Mike is... distracted?

Mike, who has been presumably looking out for El more than the others in the party this whole time, is conveniently out of commission? And right now when El is looking for his reassurance the most? Mike doesn't even have a moment to say, 'Hey I'll be right back, I just want to check something. Can one of you?--', asking Lucas or Dustin to sit next to her in his place. No. Dude just stands up without even acknowledging her.

If it was any other moment in the show, under less post-traumatic circumstances for El, then I wouldn't even think much of it. But it's at this point in the story when El is essentially at her most exhausted and quite literally seeking out support from others, specifically Mike, that makes his distractedness so eery.

Again, you might still be thinking that this isn't that deep. However, I think based on the events leading up to this, and what follows right here, could quite literally hold the answer to the guilt Mike is still keeping to himself to this day.

So... How are we feeling?

Are we feeling like Mike None of you are thinking about El's wellbeing right now! She could get brain damage from using her powers too much! She's not a weapon!* Wheeler is a little bit of a hypocrite? (I told you that tool would come in handy!)

It's actually quite terrifying how similar this scene is framed to the scene in Hopper's cabin in s3, where Mike pretty much says the exact opposite. In s1 Mike goes from being one of the first people to refer to El as a weapon within the context of them using her powers to find Will, with him being completely un-attuned to the fact that she is exhausted in this moment while the others are saying El's rest and safety is the most important, to then in s3 completely flipping script and saying El was using her powers for nothing, blaming the others for treating her like a weapon and not taking her wellbeing into consideration.

It would be one thing if Mike had a little arc where he acknowledged this script flip. Because that's what it is. It is them having Mike use a word in s1 to describe El, that being weapon, only to say the others are treating her like that with that same word being used. It is them having Mike not agknowledge El's well being after overusing her powers, only to say the others aren't taking her wellbeing into consideration for overusing her powers.

And it would be one thing if Mike had spoke to El or literally anyone about how he felt like he wronged El for planning on sending her away the next day after they found her so that they could go back to looking for Will, or how he said she was a weapon that they needed in order to find Will, essentially being no better than the people she just escaped from, who also used her for her powers. But we don't get that (actually we do.. but it's not acknowledged for what it is aka survivor's guilt. It's instead seen as romantic... another tool for later...)

Now, don't get me wrong, I don't think any of Mike's behavior takes away from what Mike did do for El, because yes he was kind and accepting when the others weren't. But even despite all of that, at the end of the day, he was often at the forefront of expecting El to risk her life for them, even if he wasn't outright asking that of her.

Before you freak out, No. I don't think Mike, a literal child, was capable of fathoming that El was going into these situations risking her life. She's a superhero. El's alternative was literally going back to the lab, running, or staying with Mike. This was her safest option.

After a bunch of rewatches and putting together a lot of these moments as a whole, I've come to a point where I believe that Mike's behavior throughout s1 was him thinking that because of who El was, she's already in danger at all times. That is a constant reality for her. And so why not have her help them find Will, because she is able to, all while he can also help her. And El clearly wanted to help them, because she wanted to help good people and finally do something meaningful with her powers for a change. Unfortunately, she also had to endure PTSD flashbacks almost every single time Mike and the boys had her use her powers to help find Will.

Speaking of Will, he is currently missing and possibly dead. Will also, in contrast to El (for now...), does not have any sort of superpowers.

Mike's concern over the threat of Will's livelihood is much greater than Mike's acknowledgement to the true risks El is exposing herself to each time she uses her powers to help them. That is s1 canon.

Is there times when Mike is focused on El and her well being. Absolutely! But is there also times when Mike is not showing any display of concern to El's well being in the moment, in complete contrast to the other characters around him... Also yes.

And so the events happening the way they did, with Mike himself not fully comprehending the severity of what's been going on during these high stake situations going on around him, makes sense.

And that's what makes it all the more sad that when Mike finally does realize what he's truly been asking of El this whole time, which is to risk her life for them, it's too late.

This whole scene is obviously very emotional. All of the boys are crying, but the focus on Mike calling out for El painfully is heartbreaking.

But what's even more sad to me, is that El has been sort of used to mistreatment her whole life. She's used to having to find any comfort she could get from people in her life, all the while they were using her for her powers. I mean even despite Brenner being who he was and doing what he did, she still showed these signs of wanting to love him despite it. Which is very very fucked up. But knowing what she's gone through, makes sense.

Mike on the other-hand does greatly contrast Brenner because he was one of the first people to actually treat her with genuine kindness right from the start (before he even knew she had powers), making it a lot easier for her to care for him even despite that pesky trait of using her for her powers being almost synonymous with Brenner's very similar trait.

So when she looks back at Mike, and points him out specifically before sacrificing herself, it feels like a few things at once.

It feels like her acknowledging the fact that she appreciated him specifically for taking her in and supporting her more genuinely than anyone has in her entire life.

And yet it also feels like her, either intentionally or unintentionally, acknowledging the unfortunate side affect caused by days of Mike leading the efforts to find Will, with the expectation of her to do things to achieve that, which could have all lead to her demise technically. And so now when it all comes down to it and the stakes are at their highest yet, same as the risk, she's got to a point where she believes there is no other choice but to do just that, risk her life, especially if it means saving them.

While this is happening, Mike is backtracking in real time. He is trying to get El to stop and it's because he doesn't want her to die. Obviously.

But that's the fucked up part isn't it? When he finally realized what he's been asking of her this whole time, it's too late.

Which takes us to S2 Mike Wheeler, known by many for being a boy whose been calling his true love everyday for almost a year now because he's just so in love, but is actually in fact a boy suffering the most intense form of survivors guilt, one that involves a person who genuinely feels responsible for the persons death...

But that will probably take at least another 2,000 words so I'm thinking maybe I better split this into multiple parts.

I will tease that the next part involves one specific detail in particular that I never see anyone talk about, a detail that I think, in combination with what's discussed in this post, is so important to understanding Mike's breakdown for what it truly was at the end of season 2. I will also probably do more posts beyond that for s3-4, to delve into the impacts these moments from the first two seasons have basically put in place a perfect recipe for what is currently going down.

So feel free to stay tuned for those nonsense updates.

Continued

[salamispots]

watched alien romulus, liked it, spoilers below :0

I...liked it? like there were some really nice things about it, like the opening scenes of the movie/maybe first half? and then idk the parts where they start interacting with the xenomorphs themselves didn't really feel that tense

-I DID really like the demon baby scene/buildup a lot

-like going down the ladder to find this normal sized baby and watching the foot/hand prints get larger and larger and the first reveal they show you is this weird thing crouching in the shadows and when it steps out it's like o H D:

-andy going up to the sister and when he turns around it's like all the sound cuts out and it took my brain a couple seconds to figure out what I was looking at but oufughdhgfjhg creepy very very good

-ALSO A+ for andy's dad jokes :'D and acting

-the characters are all young looking (not necessarily bad?) but they weren't as compelling compared to others in other movies

-sound design at the beginning when you're settling in is really nice, esp. when they're taking off to space; set design too is gorgeous

-the scene where they first enter the ship and somebody throws a flare/the camera tilts is neat haha

-the little slip in of david's theme/music when the other android's talking about the black goo goOD

-hmmm thinking about it or maybe just me imagining the gore/body horror scenes (for the most part) felt kinda held back? (not talking about the uh wall vagina egg or the xenomorph aspects haha)

-like the scene where the wall egg is dripping blood on the guy

-I think what makes me fond of prometheus and covenant is the fact that they run around on these weird/dead planets and the whole thing with the engineers

-noticed similarities/mashups from the other movies in this one which isn't necessarily bad but it did break immersion a little or made me like 'oh! third act pregnancy like prometheus or a cargo hold battle sort of like covenant, or alien resurrection where the alien gets sucked out into space through that tiny hole

-idk how I feel about the offspring design, will need to watch/see it again; it's a little goofy hahah (again not a bad thing) but I do like that they have the engineer/marble statue alien face and how the hips were a bit off/twisted

-the part where it was grinning was creepy; also when it was hovering over the sister with the mouth retracting I thought they were gonna do a very strange/fucked up version of breastfeeding but it doesn't look like they did? or at least couldn't tell

-edit: oH according to reddit it did happen dfghjf plus they mentioned when she draws her hand of her shirt with weird goo on it

-also slappy slimy facehugger proboscis >:'D

-some of the action scenes reminded me a little of the alien movie that had the underwater alien fight scenes haha

-will need to rewatch in general (movie theatre audio/words getting eaten up in the sound + no subtitles) it's good but I think covenant and prometheus still win out for me

edit: this also makes me wanna go back and watch the movies in chronological or timeline order haha

edit: oH I figured out how to word it haha but it felt more on the action side genre than horror (like prometheus and covenant were def. horror; and the whole demon alien baby towards the end for sure)

[thewistlingbadger]

idk if this is a 'hot take' but i see way too much of people lusting after Sevika only after erasing her less palatable elements. in headcanons she's admittedly tough and violent but wouldn't hurt anyone unless she had to (i've even seen one where she "only raises her hands in self-defence"). bitch one of the first things we see her do is attempt to square up to a bunch of teenagers for the crime of trying to free their dad! she's willing to kill children with her bare hands. she personally enacts the edicts of a drug kingpin. she taunts vi and jinx during their altercations with the most provocative, soul-destroying shit she can think of. she's the type of fighter who grins manically as she scalds her opponent's cheek. she is not simply someone who nobly sacrifices her own moral purity for 'the greater good' but is otherwise a soft loving Mama Bear™, she gets *nasty* with it! and don't get me wrong, i give enormous moral lenience to most Zaunite characters because the violence of the oppressed is by definition incomparable to the violence of their oppressors. there are myriad explanations and justifications for every single thing they've done. but beyond that, i NEED it to be ok to say that she's a fucking dick sometimes - both interpersonalliy, and on a greater ideological scale - because regardless of how justifiable we find her actions, we should collectively be in a place where we can thirst for Sevika without defanging her as a character. she's compelling and fascinating and attractive BECAUSE she's imbued with agency, which necessitates the capacity for genuinely immoral actions and unlikable behavior! i mean come on! if the white twitter lesbians can so eagerly embrace the moral greyness of their rich fascha femme, we can do it for our butch freedom fighter!! i believe in us!!!

anyway tldr i love Sevika warts and all and everyone do your thing but if you don't love her warts i think you're missing out

Valid valid and valid. Not a single thing you said was incorrect. Sevika is DEVIOUS point blank period. In season 1 she is a minor character so I can understand why she's overlooked a lot but when you actually do look at her she can be VILLAINOUS at times. "It's just a matter of time before you implode and Silco finally gets the hint that you're just about as good for our cause as you were for your family. Jinx." Like DAMN Sevika!! Okay it's like that!! This rudeness that she showed Jinx is a bit fascinating to me because the only other character in this show that is just about as rude as Sevika is in this scene is Mylo. I made a post talking about how she has some similarities to Mylo and someone responded to that by also highlighting that at least Mylo was a teenager beefing with a child, meanwhile Sevika is a whole ass adult beefing with Jinx. I just think that's interesting and funny.

You brought up something that truly is just a plague to all fandoms. Whenever someone says they like a character that has a negative reputation in the source material, everyone starts coming out the woodwork to say it's bad to like that character. People don't seem to understand that just because you like a villain and find their character to be enjoyable doesn't mean you actually condone their actions and would be ok with someone acting like them irl. There are many reasons to like a villainous character and sometimes one of those reasons is BECAUSE they're a villain. Sometimes you like that a character does bad things because it's interesting and entertaining, and liking that doesn't make you a bad person. You should be able to like antagonistic characters for their villainy. Do I understand what they did was bad? Yes. Do I still like them? Yes, and not in spite of it but BECAUSE of it. And you don't have to erase those parts of a character just go openly admit that. You should be able to openly like a character in their full extent. You shouldn't have to ignore certain aspects just for your adoration of a character to be accepted.

Sevika really always has been That Bitch she has no problem telling people how it is directly to their faces. She calls Vander weak in front of everyone. She tells Vi Vander "had his chance" knowing damn well what Vander meant to her. She calls Silco out on his bullshit SEVERAL TIMES in front of him. Sevika isn't restrained as a character at all she's always being her full self. I feel that season two has made Sevika more popular and because her screentime was limited and the writing was different in season two people have allowed her character to become warped. I definitely think that if someone is ok with justifying and excusing the actions of Caitlyn and/or Vi then they should keep that same energy when it comes to Sevika. Sevika is a tough, loyal lady that has a very fun personality and she's also a criminal who has done terrible things for the sake of the cause and most times? Most times she enjoyed doing those things. Most times she went out of her way to revel in instigating. Silco didn't even know Vi was back yet and did that stop Sevika from almost killing Vi? Did that stop her from whispering "who Jinx? She's like his daughter" and looking dead in Vi's eyes just to see her reaction? No. Sevika is a bit messy like that she likes to play with her food lol and honestly I don't blame her lol

[nekropsii]

asking you this since you’re the only person who understands mituna in the entire fandom in my perception of the hs fandom

is it okay to headcanon mituna as autistic? sorry if you get this type of ask a lot/have already answered this type of ask

Instead of answering this question, I will give some food for thought: Mituna has a TBI. He has Brain Damage. This is a core element of his character. Probably the biggest one. In fact, it's so important to him that it's an injury that has remained with him in death. His TBI is a huge, huge part of what makes him... Well, him. It's why he's interesting.

So... Why is a need felt to also declare him as Autistic? Assuming this is a projection thing, since it tends to be most of the time - if you relate to him for his already canonical Neurodivergency, which is Brain Damage, why does one need to give him Autism as well?

Oftentimes when people headcanon him as Autistic, they tend to minimize or even outright erase his TBI. Oftentimes, people say he's Autistic as the reason he's canon Neurodivergent representation... Even though he's shown no real signs of it, but instead is fully written as a character with a Frontal Lobe Injury, and is constantly stated to have Brain Damage.

TBIs and other Neurodivergencies are often seen as less palatable than Autism. On Tumblr especially, it's far more "acceptable" to be Autistic or ADHD or headcanon a character as such than it is to have Brain Damage or literally any other Neurodivergency or acknowledge that a character is written with those. Autism and ADHD are seen as cute and relatable - even though they're very complex and at times devastating disabilities that do have the potential to seriously fuck up your livelihood, much like Depression and Anxiety, and I'm saying this as someone who has and struggles with all 4 - and are often used to erase the presence of other Neurodivergencies. Hell, it's to the point where people use "Neurodivergency" as a synonym for ADHD and Autism.

Again, I'm not going to answer this question for you. I think there's a way someone could potentially make the narrative of Mituna having Autism prior to the TBI compelling - the TBI has essentially stripped him of his ability to mask, after all, so one could make it be a situation where some of these symptoms are ones he already had, but is only just now really getting shit for because he's no longer able to hide it, and part of that tragedy is knowing that had he never been good at masking, his "friends" would have never accepted him. You could get some interesting questions about that. Was the repression worth it? Would it have been better if he'd just been himself the whole time? I think it's extremely valuable to ask yourself why you see any character as any specific minority - necessary, even - and how that affects not only the character's writing in its original text, but also your relationship with said character. Consider optics. Consider the way in which this character is meant to function in the source material. What purpose do they serve, and what is the driving force behind this character? Is Occam's Razor applicable? Are there other explanations as to why they are the way they are? Perhaps ones that are more succinct, and cover more ground?

Yesterday, I watched a film that has provoked a response in Tumblr that I think is applicable. I Saw The TV Glow. It's a film about a Trans Girl who never finds the strength to accept herself or come out. It's an incredibly gut-wrenching watch. It made me cry several times, and there are parts that made me feel a deep pain in my chest. I sat through 95% of the film with a pit in my stomach. I had to lay on the floor in the dark for a while after I finished. There's a scene where the main character is asked whether she likes girls or boys. She says she thinks she likes TV shows, and elaborates by saying that every time she tries to think about that kind of thing, it feels like someone's cutting her open and shoveling out her insides until there's nothing left. Not that there was anything in there to start with, of course - she says she knows there isn't, but she's too scared to look for herself and see.

That scene was about how Gender Dysphoria can completely disrupt your sexuality and repulse you from the thought of that level of connection with others, because it is, in essence, a deep disturbance with the nature of who you are as a person. Many people who are Asexual, or Aromantic, or both, related to that scene because it, on the surface, depicts discomfort with romance and sexuality. What they failed to understand by chalking it up to its own sexuality, is the fact that that scene wasn't depicting a Sex-Repulsed Asexual, or a Romance-Repulsed Aromantic, it was depicting a Trans Girl who is at such deep odds with herself and her identity that she cannot grapple with the concept of loving or being loved.

What, functionally, is the purpose of slapping an extraneous label onto a character that is meant to depict a certain thing? What is the purpose of assigning the label of "Autistic" to a character meant to depict the tragedy of a loss of support after gaining a disability, or "Aromantic" or "Asexual" to a character meant to depict a deep internal struggle with unresolved Gender Dysphoria?

Ask yourself these questions, and carry on from there. See where your mind takes you.

[lotstradamus]

i'm loving all your vampire posting lottie! if you're ever so compelled i'd love to hear what you make of the books vs the show and if there are any book things you'd especially like to see done on the show! (also, bookwise, are you a lestat girl or an armand girl or a louis/marius/david/akasha/claudia girl or or or)

as someone who tried to read Interview with the Vampire thrice (THRICE!!!) pre-AMC show revival and simply could not get through it (it is melancholy), I cannot BELIEVE how down bad I am for these books right now. I keep seeing bad reviews on goodreads and girding my loins for each new book expecting the quality to nosedive, but 1 star bitch WHERE? WHERE??? I AM HAVING THE TIME OF MY GODDAMN LIFE

in terms of books vs show, honestly after a point the books are kind of Unadaptable unless they radically change the main cast, vibe and format of the show every single season, and the changes they made to IWTV were good to the point of sending me fucking insane so they can just keep on doing whatever their little hearts desire with the source material imo!!! howmever I DO have some suggestions for the upcoming seasons:

Lestat crying twice an ep (non-negotiable)

I would kind of love it if Lestat is the only character who tells the truth. the most reliablest narrator and normal girl to ever live. and yet every time he says something like "I killed a pack of wolves single-handedly" or "I woke Those Who Must Be Kept by playing violin" or "I snog my mother with tongue" Daniel is just sitting there like "............riiiight."

Gabrielle. Gabrielle Gabrielle Gabrielle. mainly I would like to smash cut to Gabrielle in the middle of really intense Lestat/everyone else scenes and she's just like peacefully sleeping in the ground... strolling through a distant jungle... sitting on a mountain looking at the stars in silence...

EXCEPT that one scene where she pulls up to Lestat's concert like she's in 2 Fast 2 Furious

it'll be interesting to see how they adapt Queen of the Damned because so little of it is actually from Lestat's pov, and all of it is amazing and cannot be cut out: [Stefon voice] the Twins, Jesse, specifically Jesse being haunted in Louis and Lestat's old New Orleans house, everyone hanging out/playing out terrible interpersonal dramas at the Sonoma compound, NIGHT ISLAND...!

I cannot stress this enough: GHOST CLAUDIA.

I want them to do Body Thief. fuck it, why not. must haves are Mojo, a random hunk with a PhD in Sam Reid's mannerisms playing Lestat for 6/8 episodes, Lestat nearly dying 25 times cos he pilots his human body like a drunk muppet, and, most importantly, Lestat BEGGING David Talbot for some old man pussy

oh and an entire episode set on a cruise ship

my favourite scene from the whole of Body Thief was Lestat turning David at the end against his will cos it was genuinely quite awful and frightening but also. um. you know. awooga

if they include Gretchen, then I would like the opposite of my Gabrielle request for everything post-Body Thief: whenever there's a peaceful, quiet scene it smash cuts to the wilds of South America where Gretchen is absolutely stark raving mad on the floor of a chapel with stigmata

I can't even begin to think about how they'd adapt Memnoch, but regardless I want them to keep the scene where Lestat drinks someone's period blood. thanks

also his cunty little lilac-tinted sunglasses that he will not fucking stop talking about

and finally, human Armand getting drunk and falling into the Grand Canal

bookwise, I am a Lestat girl the house down boots... I love his over-dramatic idiot crybaby ass!!!!! although the final page of Memnoch the Devil made me burst into tears and cry my whole face off until I confirmed that Lestat comes back as the narrator in future books soooo maybe like calls to like. self recognition through the other, etc. I do also get a shot of pure joy every time Armand shows up, especially in Lestat's pov. 'ah, there he was, the Botticelli angel, so beautiful. I fucking hated him. we kissed.' sis THEE dopamine.

currently suffering because I want to a) stop reading the series immediately so I can go back and reread The Vampire Lestat, and yet also b) never ever stop reading the series for love nor money. please help me budget this my family is dying

[hotvintagepoll]

Propaganda

Joan Crawford (Dancing Lady, Mildred Pierce, The Women)— God, where do I start!!! Her face is so UNIQUE and compelling and stands out so much. I love her thick brows and high cheekbones. She has a school-marmy hardness too her that makes her a little scary and therefore sexy. Her low thick voice also does it for me. Despite being an unusual looking woman with an unusual face, she never loses her glamour. Just a gorgeous talented actress, AND she was some sort of gay!!!

Louise Beavers (Imitation of Life)—louise beavers spent her whole life forced to play maids and housekeeper characters so as VENGEANCE, i am bringing forth every elegant picture of her i could find to demand justice! black vintage beauty! [pics below the cut]

This is round 3 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Louise Beavers:

Joan Crawford:

I just love women that are very mean.

she was a smoke show in every decade, from the 20s to the 60s.

64.media.tumblr.com

The classic matronly beauty with amazing eyebrows

of course there's a space for MILF joan but i want to just take a second and say she was so cute in her early movies (like grand hotel and the women)! those parts often get forgotten but her stardom shines in them just as much as in her older #queen #icon roles

Misremembered for wire hanger hatred, this original screen queen mastered the art of the comeback and refused to let Hollywood toss her aside as she aged. The term “auteur” is usually revered for directors or writer-directors, but most critics have one actor they’ll give that title to as well: Crawford—anyone who knows classic movies already has a “Crawford picture” in their head. She knew how to style herself and promote herself. She made herself a star and kept herself fixated in the Hollywood firmament. What’s hotter than knowing just how hot you are?

(don’t think about Mommie Dearest right now) Joan was known for being super nice to all the like crew of the movies she worked on and she’d get everyone gifts. Joan would hold movie nights at her house and knit at the back of her home theater. Joan was sooo obsessed with other women including Greta Garbo, whos dressing room she would obsessively and purposefully walk by. She said that while working on Grand Hotel, Garbo grabbed her face and “if there ever was a time in my life where I would’ve been a lesbian, that was it.” But like Joan also probably did sleep with women including Barbara Stanwyck. Joan was so obsessed with Bette Davis, screening multiple movies of hers in a day at her watch party, constantly trying to spend time with her or do a movie together, insisting on the dressing room next to hers at Warners and sending her daily gifts… etc. Once Bette said that sex was gods joke to humanity and Joan said “I think the joke is on her.” Joan fucked a lot. Joan got caught publicly fucking a man and sent a letter to the woman who saw them basically saying “I bet it excited you” and the woman was like you know what. It did. Joan was best friends with a gay man. Joan was an actually genuinely good actress even though people mocked her a lot for being like cheap and stupid (partially because she never finished school because her family was broke). Joan was so insane and so cool that’s all.

[saltlickmp3]

☕how the writers delt with river song

SCREAMING CRYING THROWING UP THEY DID MY GIRL SO DIRTY there are so many. good river song moments. and there are so manythat make me want to tear a strip off steven moffat like every goddamn episode with her they have to make some obnoxious sex joke or some Honey Im Home type shit & i understand this is like. A Moffat Theme & i dont always hate it but goddddd its so reductive like there is so much!!!! that could be done with her character !!!!!!!!!!!!!!! that is overshadowed by haha what if she was sexy like STOPPPPPPPPPPPP.

like silence in the library was a really good character lead in & i like her!!! as a character !!!! even the overly flirtatiousness unfortunately that would work on me but even aside from that. she is a good character let down but the sheer pull-it-out-of-your-ass writing of her backstory. like?? she could regenerate cos she was conceived in the tardis okay thats really cool much weirder stuff has happened when it comes to tardises & making babies but then WE SeE THIS FOR LIKE. ONE OR TWO EPISODES BEFORE THEYRE LIKE WHOOPS THAT DOESNT WORK ACTUALLY COS SHE'S DEAD UHHH SHE BETTER UHMM IDK SAVE TH E DOCTOR OR SOMETHING WHATEVER> COS HER ENTIRE LIFE HAS TO REVOLVE AROUND HIM. HASHTAG MARRIAGE AMIRITE like even the fact that her entire life was shaped around him isnt a Bad Idea it just feels like no one considered the tragic impies (implications) of this, & simultaneously doing amy so dirty in the process as well like??? she loses baby mels & then discovers she was her (never previously mentioned) childhood friend but then she uhhhh dies & turns into this woman you already know and them????? barely eveer mention it again???? holy shit?????????????????????? amy & river is a freaking horror story but one that the writers seem imcapable of dealing with because sOMEONE is too busy making obnoxious jokes about married life

a lot of thsi is specific to the General Vibes of the eleven era stuff as well which was in general so so weird about women & while its not like twelve or any of teh other doctors are expemt from this eleven is a massive dick to people quite a bit & a lot of this falls on river b/c he is seemingly (iirc i havent seen some of this stuff for a while though it Haunts Me) almost careless? with her? like a sort of 'welllllll she's here now so it was all okay in the end :)' sort of attitude ignoring that she went through A Fuckton Of Stuff before she was even a concious human(mostly??) being

even the husbands of river song is tragically guilty of some of that stuff like. she's seen some wild shit & she should have known it was twelve wayyyyyy way way quicker. like i understand why she didnt for plot reasons but she is in fact very intellegent like. she's allowed to show that. unfortunatley sometimes women cant be smart & have their boobs out at that same time I GUESSSSSSSSS

also the nine & river audios from earlier this year? i really like archipelago i listened to that a couple of times & i thought it was really powerful but AGAIN the writers make river So Fucking Obsessed With Romance like. you'd let it go by that point. nine had literally just proved he's the most aro guy in the universe (good for him) and shes stillllllll flirting at him. which. imo she wouldnt do anymore because, shock horror, she does actually like him as a person & values his company and you would think you would be friends wit hthe guy YOU ARE GONG TO MARRY OR WHATEVER. NOT THAT THEIR MARRIAGE WAS PARTICULARLY ROMANTIC EITHERIM GONNA BE SO REAL. obviously sex is important to her & good for her but yikes. it doesnt need to be mentioned so often.

like its the whole 'inherent tragedy of waiting for a time traveller' stuff which i do eat up every time meeting her in silence of the library & knowong that there is so much more there - VERY COMPELLING !! really good character intro augahagaauuaajaaajahhahahahhhh but nooooo her Entire Fucking Goddman Life has to revolve around being manipulated & The Doctor AS WELL AS !! the completely uncalled for ohhhh im a PSYCHOPATH ( <- unfounded & demonstrably untrue lowkey this is saneism right. thats an ableism there yes? ) thing they alllwaysssss have her say like well!! shes not !! theres 'youre talking about commiting a murder'/'no im not, i'm actually commiting a murder' which i like & is funny & she would say that and then theres teh vauge oooohhhhh im so Freaky & I Have A Gun or whatevr like augsugsaihuahahaouoauauoouauoauoauoauuo

also twelve & river had freaky t4t bi4bi aroallo sex after the end of husbands of river song but no actual dw writer is enlightened enough to see that because they have to flatten her into The Doctors Wife & she would have had a far better dynamic with 12 than with 11 (not that i'm biased) i wish they got more time togetherrrrrrrrrrr also you should listen to the bekdel test (diary of river song audio with missy)

[myths-tournaments]

Awful Characters Round 4 (2/4)

Propaganda under the cut!

BENNY

The first thing that happens in new vegas is that benny fucking shoots your character in the face, steals your shit and leaves you in an open grave. Benny is by all accounts a bastard. He kills you, steals from you, he killed his last boss, he is the single most duplicitous man around. His gang are all about honesty- except him. He's a lying, cheating bastard. The guys who helped him catch you? He skipped on paying them and left them to get shot to death. His new boss, mr.house? He stole his robot, broke it open, got someone to reprogram it and decided to use it to TAKE OVER THE WHOLE OF VEGAS. Benny literally kills people, lies to people, steals their shit and takes charge. That's all benny does. He gets fucking CRUCIFIED if you don't help him out just because so many people fucking hate him. And yet. And yet. Benny is the single most compelling character in the whole game to me. He's just a little guy! He's just there! You can get shot in the head and come back and he goes "what in the goddamn" and then if you try and flirt with him he's like "uhhh sure? Okay?" And leaves you a polite note in the morning. He's fancy. He wears a stupid suit. He has a tiny gun with shitty bullets. He's catholic. He talks like an old timey news presenter. Literally nobody else in the entire game does that. He's got an intelligence of 3. He's my funtime boy. My silly little man. He's so funny. The antagonist in this game is a guy dressed like a tablecloth who looks at all times like a confused dog who doesn't understand what a tv is. And like. He's compelling. He robs from you, shoots you, but…. he never seems to actually wish you harm. He kills and robs and lies but like. He apologises for doing it to you. When he sees you again he doesn't attack you, he's just… confused. He tries to defuse the situation. You can convince him to talk to you, alone, with no guards and it's not that hard. If you spare his life, he doesn't go after you, like. Even if you sleep with him he doesn't take advantage of that and kill you, even if you try to. He… he just leaves. He gives you an apology. If he gets kidnapped by Caesar He just… apologizes again. He tells you his whole plan to take over the city, too. He thinks he'll die, and he wants something of him to survive. He's happy that you made it. And if you let him free, he just… leaves. He knows he's beat, he doesn't want to cause any more trouble. He walks out and leaves. The NCR will kill you if you cross them. The legion will crucify you. House? He'll blow you the fuck up. But benny, the guy who lies and cheats and schemes, he's honest. He's polite. He's… harmless. You can kill him with a single shot if you want. And he can't kill you. He doesn't kill you the first time, and he'll never really hurt you again. Benny just wanted to win. When he knows he's beat he just leaves. No lingering, no harm, he's off, off into the desert heat, and never seen again. Isn't that just insane? like have you ever known an antagonist so polite? He just leaves!! He offers you a drink!! His plan is genuinely probably the best one for the people of new vegas!!! He's. Benny is Benny. Anyway if you want to see some REAL propaganda go to the blog letmebegaytodd and look in the #benny tag. You'll Understand < https://www.tumblr.com/letmebegaytodd/717051175751614464/in-another-life-i-wouldve-really-liked-just> <- look at this shit man

AZULA

Azula explicitly considers herself a monster. She says needlessly cruel things to her brother and friends. She kills the show's twelve-year-old protagonist and masterminds the idea of burning down the entire Earth Kingdom to force them to submit to Fire Nation rule. I have absolutely seen people get called abuse apologists for thinking she's a cool character. But she's also a (canonically) mentally ill fourteen-year-old who was raised by her father to see her ability to be weaponized as her only value. Her mother, arguably the only adult in her life who could have had a positive impact, had a strained relationship with her because she was more difficult than her brother, and then disappeared when she was nine. Her uncle, who was her brother's main healthy role model, took absolutely no interest in her. She watched her father belittle her brother for years and eventually throw him away when he failed to meet his expectations, so that was a threat she was always facing. She really had no chance. And she also has moments that suggest she wants some sort of meaningful connection with another person. She lets her brother take credit for killing the Avatar so he can come back from exile, even though it means she'll be bumped back in the order of succession and offers him advice that seems genuine. Her spiral into a mental breakdown starts when her friends betray her. She's just a much more interesting and multifaceted than a lot of the fandom gives her credit for.

[azazelsazaleas]

Set a course...for home

So I just finished Voyager. And I have thoughts.

Endgame, like the series, was good but felt like it could've been so much more. I'm not the first fan to point out that it's weird that the last thing we see is Voyager flying towards Earth, with no coda or montage or anything showing each of the crew when they get home. What really surprised me on this viewing (I saw it once back when it first aired, but it's been over 20 years and I barely remembered it) was how slow the pacing was until the last 20 minutes or so. I kinda feel like the writers could've trimmed a bit out of it so we could have a more satisfying denouement. Oh well. They got home, Janeway thoroughly wrecked the Borg, and I'm not going to lie - I got a little choked up when they fly out of the exploding Borg Sphere and Janeway says, "We did it."

With that said, may as well go through the good, the not-so-good, and any other random thoughts I have in retrospect.

The good :

Captain Kathryn Janeway.

I'm sorry, that deserves to be written thusly:

CAPTAIN KATHRYN FUCKING JANEWAY

Oh my god, I love this woman. I think, at this point, she's my favorite Star Trek captain and easily one of my favorite characters in the franchise. She absolutely radiates an aura of "I am in charge here, and this situation is going to go how I decide it goes," and she delivers every damn time. Strong-willed, controversial, authoritative, intelligent, creative, and just damned incredible. Janeway alone is a major reason to give this show a watchthrough.

Not to mention, Kate Mulgrew is a fucking INCREDIBLE actress. She brings 110% to every episode, and I swear to god, she basically carried the first two or three seasons.

And speaking of amazing actresses, Jeri Ryan was incredible. A lot of people loved her performance in Body and Soul (and yes, watching her channel Robert Picardo was delightful), but seeing her constantly changing personalities in Infinite Regress two seasons earlier was the big "Holy Shit" moment for me. Even beyond that, she was brilliant as Seven of Nine (and say what you will about ST:Picard, I loved seeing her step back into the role). It also doesn't hurt that Seven is one of the most interesting characters on the show, if not on Star Trek.

In general, the show had some great characters on the main cast. I found I really liked Tuvok and B'Elanna as well. Tim Russ nailed that "annoyed Vulcan who secretly cares" thing, and I thought B'Elanna's struggles with her identity were generally well-handled, at least for mid-late-90s TV.

I'm honestly surprised how fine I was with Tom/B'Elanna. I was not expecting that relationship to work as well as it did.

Speaking of "didn't expect that to work," Naomi Wildman was genuinely endearing as the "kid on the starship" character type that Star Trek seemed adamant on having in the 80s and 90s. I"m glad the writers learned their lessons post-Wesley Crusher.

Oddly enough, I also found I enjoyed some of the "bad" episodes - Threshold, Tuvix, etc. Voyager got pretty weird, so some of the more questionable creative choices were just damned entertaining. Not all of them, though. Which brings me to...

The Bad:

Oh my god fuck the Kazon. They are easily the worst recurring villain race I've seen on Star Trek. They don't even seem like ST villains, they seem like the kind of thing you'd see on a b-rate late night 1990s crappy sci-fi action show. They're like an attempt to make Klingon copies but without literally anything whatsoever that makes the Klingons compelling.

Speaking of which, fuck Seska, too. I still have a hard time buying that any self-respecting Cardassian would look at the Kazon and go, "yep, I'll throw my lot in with them."

The whole Neelix/Kes thing was...gross. I'm sorry, there's no way around that. They had no chemistry, no compelling reason to be in a relationship, and the whole thing with Kes's age felt like a variation on the theme of "she may look 12 but she's actually a 5000 year old dragon." Whichever producer came up with that needs to have something solid thrown at them.

In general, Neelix was just the worst character for the first couple or three seasons. He got a lot better, but early Neelix was...yikes. I got genuinely frustrated with how much time was focused on him.

I also have mixed feelings about Chakotay. Sometimes he was pretty great, but the whole behind-the-seasons thing with the "cultural advisor" made for some pretty bad early character building, and after they gave up on that, he felt kind of flat. And now that I think of it, inconsistent. It seems like the writers (at least in the early seasons) couldn't decide between making him a tough hardass who'll punch you if you don't get in line or the more calm, measured, cautious voice in contrast to Janeway's bullheadedness.

Seven/Chakotay was just...no.

Other random thoughts:

I have mixed feelings about the EMH. Robert Picardo was great in the role, but as the character progressed, I feel like he got away with crossing lines he really should not have. The entire episode Renaissance Man just pissed me off. Can't say I was thrilled with some of his behavior in Body and Soul, either. The whole running gag of him having a giant ego seemed to swing between hilarious and painful to watch, as well.

The show was good, but it felt like it could've been so much more. Part of it was Paramount's insistence on not having anything serialized, but part of it was also how actionized it got. There's a number of episodes that felt like they could've done something more interesting but instead the producers wanted phasers and explosions.

I have very mixed feelings about how the Borg were handled. On one hand, Seven is an amazing character, the Scorpion 2-parter is probably my favorite pair of episodes in the show's run, and there are a couple other Borg-relate episodes I liked. On the other hand, I thought the Borg as a direct threat got stale quickly, Dark Frontier nerfed them way too much, they felt underwhelming as an enemy in Endgame, and (yes I know this is more of a criticism of First Contact, but still) the Borg having a Queen ruins a lot of the creepy mystique they have. No matter how you slice it, I think the Borg as a recurring enemy were pretty much spent by the end of Voyager.

Favorite episodes (off the top of my head): Scorpion 1&2, Equinox 1&2, Bride of Chaotica!

Final score: 7 out of 9 (you were expecting anything else?)

[funnyscienceman]

one thing before i forget, i know for sure im in the extreme extreme minority for this, but imo not only was s1 not as much of a masterpiece as people hailed it to be — it didn't even feel like it was about the sisters? Like, vi and jinx?

I remember giving the show a shot because hey, i hear it's about the relationship between two sisters on opposite sides of a war. Siblinghood! Everything complicated about it! I have siblings and it can be hell, i've heard only good things about this show, let's see what it's all about!

And it's. not. about the sisters. Yeah sure Vi is our POV for most of the episodes but the story felt like it was more about Jinx than it was about Vi and Jinx. Does that make sense?

Like the whole story takes place over the course of… what a few days? Maybe two to three, even? Act 1 was perfect as a story about two sisters being torn apart, but everything after is Vi just getting out of prison, having to process so many things at once, look for her sister, try and fail not to say anything to set her off because how could she know to begin with, she got imprisoned at like 15 and only just got here. She's given no time to really take everything in and say/make fully informed decisions or word choices, and Jinx just blows up about it.

"I thought you could love me like you used to, even though I'm different. But you changed too. So here's to the new us."

Like !?!?!!?!?? SHE JUST GOT HERE!?!??? Then jinx just blows up the council and oh that's the show over i guess.

The sisters had maybe like two minutes of conversation before the dinner party. Before the bridge even! Vi is trying to drag caitlyn to safety and jinx shoots her for 'replacing her' and the show gives JINX the angsty sting song???

I dunno if im even making sense anymore. i guess when i heard people say it was about the sisters, there'd be more… back and forth??? Some reciprocity here?? An equal share and value of screentime???? But no jinx invades the story, jinx ends the show and subsequently everyone else's much more compelling stories, jinx is the face of all the marketing and gets to be the sad broken one who just needed her enabling shitty clingy dad to justify her existence and she's perfect, actually. She doesn't need to change at all. You'd think this was some dramatic irony thing where the viewer's meant to be like oh this is someone who needs help but doesnt want it- no. No, the writers think Vi is the crazy one, actually. Vi who hasnt had two seconds to breathe. Vi who gets tossed around by the plot and everyone else's decisions, doesnt get to have the agency and character she had in act 1. Jesus holy fucking christ i hate yee overton and linke

[dishesoap]

listen. im not saying the Avatar Yangchen duology is the most serious, heartbreaking, well-written, or adult story ive ever read. it isnt. but it also took me by fucking surprise. the torture scene? yangchen's successive breakdowns? jetsun's death and fate? all the deaths?? that one dead kid? (and all the other dead tortured child army kids??) the slow endless horror of the avatar cycle? being literally haunted and fucking lost in the countless incarnations of yourself and the knowledge that you have to dirty yourself for eternity with guilt, failure, death, and sin to save a bare few in the face of a world that will never stop trying to kill itself? having to make peace with that?

yangchen is so compelling to me. everyone loved her brief moment in the Avatar show, because of her stark "You have to abandon your own spiritual needs for the betterment of the world". but the novels drive that home in an interesting way.

yangchen is faced with greed on an unparalleled scale, and it is tearing the world apart. she is so desperate to do some good - shes so haunted by her countless past lives and desperate to at least not have regrets the same way they all do. she builds a spy network from nothing before she's even a teenager because she cant trust anyone, and at every step she is betrayed over and over by literally everyone she cares about, every choice she makes hurts or kills people, she spends almost the entirety of the second novel hopped up on enough drugs to would kill an ordinary person just so she can stay awake bc shes so terrified of hesitating for a single second. i cant figure out if haunted or chronically ill is a better term for whatever is happening in her brain but its. its fucked.

in a lot of ways she is objectively terrible at both avatarhood and being a spy, but she is exactly what the world needs. she so desperately loves her people, her culture, mercy, pacifism, and systematically cuts every tie to these things, no matter how much it hurts. she gets her hands so fucking dirty, she abandons her principles in every circumstance but one (the last Unanimity), she lets murderers and torturers go free and takes immediate economic control of half a world to abuse it.

and its the right decision. i know she gets flak because of how hard kuruk had to invisibly work the next cycle to fight the spirits yangchen pissed off, but yangchen's whole character is about balance, even more than aang's ever was, imo. aang gets a nearly perfect happy ending (which is good! there were good morals and a great story about culture and peace and genocide in the show, im not criticizing it) but yangchen's story really is wholly about balancing the world and the sacrifices you make to keep it even. for all that shes not a great avatar, shes actually a perfect avatar. she fixed it.

alao, kavik is fascinating. im putting him in a terrarium and shaking it. and the stark criticism of the white lotus the entire time... the implication they caused the platinum affair... ayunerak and do flatly admitting they will let (and even help along) the nations crash and burn in an apocalyptic war without fighting to stop it if it means they have control and can pop out of a bunker at the end to reshape society.... augh.

[charmingradiobelle]

My issue with Vaggie and her character

(TW: Opinion‼️)

I’ve been wanting to make a rant about this for a while and I’m sure other people have already done it, but I figured I might as well share my thoughts because I like to think my opinion matters to some people lmao. Anyway, I wouldn’t read this if you’re like a die-hard Vaggie/chaggie fan, but that’s up to you!

So I’m sure some of you by now heard the news that Charlie and Vaggie are getting another duet in S2 which apparently will be about their sex life. Which like, ok sure. In a show like this I expected a sexual-themed song to happen eventually. Here’s my issue with this though;

If you need to make an entire musical number about how much your main couple fucks, because of the severe lack of any hints of a sex life between them in the first season, then it’s not a good pairing, and this feels like a desperate attempt to give them chemistry that they just don’t have.

I saw someone say something similar on Twitter and I really couldn’t agree more. Some of you are going to say “you only say that because you don’t ship Chaggie!!” You’re right. I don’t ship them. Because there’s nothing there for me to root for. Like, at all.

Let’s start off with the fact that Vaggie has no personality outside of being Charlie’s girlfriend. I tried to like her character, I really did, but she’s honestly the most forgettable to me in the entire show. Some of you might disagree with me, but be honest and answer me this; can you name one interesting thing about her character that doesn’t involve her relationship with Charlie? And what she adds to the plot besides being Charlie’s “voice of reason”? (Which she’s not, she basically just gentle-parents Charlie into not doing things that Charlie wants to do)

Let’s take a look at some of the other characters in our main cast: Charlie, princess of Hell, desperately tries to help other people even when nobody believes in her cause. Alastor is a powerful overlord who’s supposedly helping out with the hotel, but clearly has ulterior motives that have yet to be revealed. Angel Dust is a famous porn star in an abusive relationship with his employer and is on a path to redemption himself. Husk is a former overlord who lost all his power to his gambling addiction and is now being forced to play bartender. Lucifer, the king of all Hell, a fallen angel who lost his will to dream, a shell of his former self. For fuck’s sake, even Lilith—whom we have yet to even hear speak—has a more compelling plot; she’s been gone for seven years, she’s in Heaven having made a deal with Adam and we have no idea why.

And what does Vaggie do exactly? She gives Charlie advice, she helps run the hotel, she.. occasionally threatens to hurt people with an angelic weapon (you know, the thing that kills souls for good?)

Ok so she’s also a fallen angel—a former exorcist in Adam’s army that leads to exterminations. Now that could have been an interesting plot point. It does explain a little why she’s so aggressive and skilled in combat. The scene with her practice-fighting Carmilla for answers was probably the most interesting scene that prominently features her. And even then, Carmilla kinda steals the spotlight for me, as I’m actually way more invested in her character and her background (seriously, why is she so knowledgeable about angelic weapons and Vaggie—the literal former angel herself—isn’t?)

This was honestly a twist I didn’t see coming, and it had so much potential to add more to Vaggie’s personality and character as a whole. Seriously, losing her wings and her fucking eyeball must’ve been severely traumatic. She might hold some grudge against Adam and Lute for abandoning her and tossing her aside like she was nothing, even after all that work she put in to be one of the top exorcists. She could maybe miss Heaven and even if she’s content living in Hell, a part of her will still always long to go back to what was once her home.

…But no, the entire reason she’s a fallen angel is just to create conflict between her and Charlie. And that barely lasted a whole episode.

Again, everything about her and her ‘personality’ all narrows down to Charlie. Not only is this a terrible foundation for the main couple of the series, it’s also just extremely unhealthy realistically speaking. Even episode 3 alludes to the toxicity of Vaggie thinking she has no purpose outside of helping and protecting Charlie. And I find it funny that Charlie is so taken aback, but she doesn’t actually say anything to correct Vaggie, because…it’s true.

It’s very frustrating for me to say this. Vaggie had so much potential to be at least a somewhat interesting character, but instead she’s always resorted to being Charlie’s partner/sidekick. Ik this has a lot to do with Vivziepop being terrible at writing female characters but imma be real, even Loona interests me more and they almost have the exact same traits (grumpy, aggressive, insecure, etc.)

I’m gonna try and wrap this up the best I can. Honestly guys, ship whatever you want but for me, Chaggie just has no appeal at all. For the first four episodes, I didn’t even know they were a couple. I assumed Vaggie had some sort of unrequited, unhealthy crush on Charlie. Hazbin Hotel’s writing is already kinda bad to begin with, but if I can’t tell that your main female leads are in a romantic relationship within the first few minutes of their screen-time, that’s really saying something. And I understand wanting more wlw relationships in media, but having two female characters together just for the sake of having a wlw relationship in your show is not good representation. You need to actually have chemistry between them, you need to make them compelling characters as individuals, and sadly Vaggie is too one-dimensional that, on her own, she has nothing going on, and I’m not rooting for her and Charlie.

And I’m sorry but I can already tell I’m going to cringe so hard at this ‘sexy’ duet between them next season💀