#so first I had to watch the show to figure out every relevant episode and make an outline

[sergeantpixie]

tell me about whichever WIP isn't about elena gilbert if you can

Anon I know you're trying to be mean but a) I have no shame about how many Elena verses I have, that's my Girl, and b) I am so delighted to be able to talk about the one verse on that list that has nothing to do with Elena Gilbert, that's why I put it there! So thank you!

"I am willing to take more hurt if it's from you" is a project I've been working on for so long and I'm finally making some real progress on it which feels amazing! It's my Alison DiLaurentis/Aria Montgomery (Pretty Little Liars) fic that is supposed to be as canon based as possible, just using the subtext between the two characters to create a story where Alison and Aria were secretly hooking up before Alison disappeared.

Instead of giving you the full pitch on why they make sense as a ship (and why they are basically canon, or at least Alison having feelings for Aria is) I'll just refer to a post where I went off in the tags about them because it says pretty much everything I would say about it here: this post.

In summary: When Alison asked Aria if she knew why she picked her, the answer is: Ali's obsessed with Aria.

The premise of the story would be Alison and Aria's relationship being Rosewood's best kept secret, then when the liars discover Alison has been alive all this time, Aria feels compelled to confess what happened between them all those years ago in order to get ahead of Alison and prevent her from using that to alienate her from the other girls. (Alison is still Alison, I have no interest in changing that.) It's the girls' reaction to that as well as an exploration of Aria and Alison as characters. And maybe Ezra really is A but that might just be implied we'll see.

Between Jake, Ezra, and her first love’s girl-Jesus resurrection, Aria’s love life has never been more complicated, and that’s like, really saying something.

the tiniest excerpt :)

@randomestfandoms

[justchillandshipit]

Allow me to take a moment here. Tim just acknowledged couch theory?

Moving on to Buck and Tommy’s breakup, talk about your approach to it. Why was Tommy sure that Buck would break his heart?

Tommy’s older and Buck is very new to this, and whether Tommy was correct or not, I think what he felt like was exactly what he said: I’m not your last, I’m your first, which is a special thing to be, but as Tommy says, it doesn’t usually end up being the same thing. And I think based on what we know of Buck, he’s maybe not wrong. Buck’s a little impulsive when he’s feeling a certain kind of way. He’s like, move on in, bring your couch. So I just think because Tommy’s a little older and wiser or maybe at some level he feels like he doesn’t deserve Buck, I don’t know. But I think he accurately diagnosed Buck. Buck’s still figuring himself out, and boy, that would be quite risky to move in with that guy as much as you would love to.

---

We have a couch reference.

---

Somewhat unrelated but relevant:

I also think that I have finally caught up on all the articles. In every article, someone says Eddie is straight. I want to say about four articles have a reference or a mention of straight Eddie, and there is one in-canon statement from Eddie. So what do we think about that? I instinctively want to say that to have that many denials is sus, but I also have to acknowledge that the question was asked before the response was offered. I honestly don't know what to believe when it comes to the show's direction. I'm still here though and sticking with my original plan to give them until the end of Seasn 8 to move Eddie out of the closet. I will not accept the demise of this ship a moment sooner. It doesn't help that actors are excellent liars. Oliver always makes me second guess myself. lol For now, I'm still here and still clowning.

Other things to consider in favor of Buddie:

There was one article from TVInsider where the interviewer reminded the reader that Eddie said he wanted a beard. Most of us know the gay coding of that word, and that was promptly followed by the Priest pointing out that Eddie was wearing a mask/disguise. This is all within the same conversation where Eddie assumed the Priest was hitting on him, and he called himself straight.

I'm also low-key wondering about the possible conflict between Eddie and Buck coming up. I need more info on that. What?? These two haven't had beef since Buck sued Bobby in Season 3 and Buck and Eddie argued in the grocery store. We all know how Eddie served c#nt like a professional in that fight. Eddie ended up forgiving Buck soon afterward, but Buck was still apologizing four episodes later. lol

I saw in another post where someone compared the image of Eddie in the confessional with the image of Eddie seeing Buck through the peephole of his door. (Hint, both looked like confessional images.) That has to be deliberate.

Tim's comment above referenced Tommy and a couch in a similar context to Eddie and Buck's conversation when Buck said his last few couches came with girlfriends, and Eddie corrected him to say his girlfriends came with couches.

@stagefoureddiediaz 's color theory is still proving accurate as well.

Updates

Buck looking less than thrilled at seeing Laker tickets. Tommy tells him he can use the gift with Eddie and Buck perking up at the idea, only for Tommy to say nope. Joking. (On a second watch, I think I read too much in to this one, but I'm keeping it on the list as very loose interpretation.)

Oliver admits that Buck looked Eddie up and down when he opened the door and knew something was going on with him, but then the whole sit in silence thing. (I know the breakup was on Buck's mind, but I swear he looked like he was trying not to think about Eddie being half naked beside him.)

Also, Eddie was half naked just sitting beside him. I can't help but think of them sitting there like that. Buck and Eddie are going to the same place, but they are taking totally different paths to get there. At some point, they are going to meet each other face to face and be like, you're here.

(I saw a theory. You always have to take these with a grain of salt, but I can't deny the theory sounds good. there have been a lot of parallels that are relevant for Buck and Eddie with the exception of Eddie's shooting.) I did read one interview, it may have been TVInsider, where the interviewer said they hoped Buck wouldn't be in danger. Oliver hinted that Buck was always putting himself in those situations. I think it might be a hint for what is to come. Also, if Buck is putting himself in dangerous situations again, this might be something that has Eddie angry with Buck. I think there is a lot of room for this theory. We'll have to wait and see on that one.

In a previous interview, Oliver told us there was an upcoming scene where Buck and Eddie sat in silence and that it was a testament to their friendship. In the latest interview in Variety, he talks about the scene again but this time he says "that it speaks volumes about their relationship that they could be going through things and handling it so differently but still be there for each other with little need for words. (This is the same interview where Oliver admits that Buck looked Eddie up and down.) At the end of this question, he reiterates that it speaks volumes that they were in different places and could still be there for each other. He says, "I think it really speaks volumes to the strength of their bond."

[number5theboy]

I just want to talk about how TUA’s pilot episode uses specifically the Phantom Medley, ‘I Think We’re Alone Now’ and ‘Istanbul (Not Constantinople)’ as interconnected character (re-)introductions, because they are so, so good.

So, the Phantom of the Opera Medley gives us our first, mostly silent introductions to five out of the seven siblings. Everyone is doing their thing: Luther is on the moon, Diego is being a vigilante, Allison is at her movie premiere, Klaus is released from rehab and instantly relapses, and Viktor is playing the violin part of the medley by himself on a stage. It establishes what each of them has going on in their life, and it establishes that all of them are alone. The Medley is an instrumental arrangement of several songs from the musical adaptation of the Phantom of the Opera, which is an interesting choice in itself, being a story about a brilliant, reclusive, and unhinged genius who harnesses a young girl’s talent for his own personal gain. There is more to it, but this is the relevant part, for obvious reasons. This is also the scene where we see the siblings find out about the death of the shadowy figure that nurtured their powers and abused them for selfish reasons. If the medley had used the lyrics of the musical, the first song used in the medley �� the main theme – has as its key lyrics the following: “The Phantom of the Opera is there, inside my mind.” And isn’t that something for the adults introduced to this melody, whose puppet master messed them up so badly during childhood that that still lingers in all of them, a throughline of that first season?

To this first introduction, ‘I Think We’re Alone Now’ serves as a re-introduction. It’s the same principle: a musical montage that focuses on each sibling to an overarching song. The theme of being alone is carried through, but this time, surprisingly, they’re not lonely. They’re not unified, they are certainly not getting along, but you get a feeling of their shared past. There is something that tethers them together. And where in the Medley, only Viktor could hear the music, because he was playing it, this time, the music is fully a part of the world. They’re all listening to the same song. They’re alone, but they’re not. They’re alone together, which is a step closer than it was in the Phantom Medley. And while the first montage focuses on what they were doing, established their occupations, this montage just gives us them…being. Existing, without anyone watching. Not their father, not the other siblings. We get such good insights into their personalities. Luther’s un-awareness of his own body leading him to accidentally punch the plane model. Diego’s array of dorky dance moves. Allison’s hesitance before she gets more and more into the song and allows herself to let loose. Klaus dancing with the ghost of his father. Viktor’s dancing being contained and unassuming. The title line, ‘I think we’re alone now’, just perfectly fits, and it’s a great example of visual media recontextualising a song’s lyrics. The original song is about sex, specifically the prohibition and taboo of teenage sex, and with the framing of the show, the lyrics instead become as literal as they could be. “Children behave / That's what they say when we're together / And watch how you play / They don't understand,” becomes about their childhood, about how they were never allowed to be kids, how they had to obey their father’s whims. And now he is gone, and they are alone, and it is good. Kind of. Sort of. While that iconic slow zoom-out visually shows that, their unity, despite all their differences, it is also all of them inside the Umbrella Academy. Them, and Grace, and Pogo, still in an environment that Reginald made. Reginald is still inside their minds. He is gone, but the structures he built, the damage he did to them is not. It’s this moment of catharsis, this instant where each and every one of the siblings allows themselves to be, to live, just for a moment, brought together by Luther playing a song loud enough for everyone to hear, where they think they’re free of Reginald’s abuse, and the rest of the show is them finding out that the death of an abuser doesn’t erase the effect he had. And then the music gets disrupted by someone quite literally crashing the party. But he crashes it from outside the house, because he is the one least concerned with (and, in this season, very clearly least affected by) Reginald.

Five gets his own musical (re-)introduction, and he gets it seven minutes before the end of the episode. Different from his siblings, we get to see his personality before he gets his musical key scene. And we meet him as a kid first, his arrogance, his powers, the use of teleportation to knock a guy out with a stapler. He then appears to inadvertently interrupt the first moment of unity his siblings have had in decades. He brushes off their father’s death. Casually reveals that Reginald has been dead to him for 45 years. It doesn’t matter to him. He has other things on his mind, but of course he doesn’t tell them, why would he? The arrogance is still there, his powers too. He’s insufferable, the viewer understands, and different. Different because he looks like a kid, a literal embodiment of the Umbrella Academy at its height, all knee-high socks and blazer, frozen in time, while at the same time having lived a very different life from his siblings. That’s all the viewer knows of him, by that point. And then ‘Istanbul (Not Constantinople)’ happens, and the understanding of the character shifts abruptly, as do the stakes for the entire show. While the introduction scene with the Phantom Medley and the re-introduction scene to ‘I Think We’re Alone Now’ are about these different siblings, apart, but maybe closer than they think they are, united by the loss of their father, ‘Istanbul (Not Constantinople)’ shows you that this one has a completely different set of problems from his siblings. Namely, he is being tracked down, a wanted man, a very skilled killer. The two montages are so calm in comparison to the breakneck (pun intended) pace of Five’s kill spree. He takes out half a dozen men armed with machine guns by outfoxing them, killing them with a wide variety of items in a wide variety of different ways. While ‘I Think We’re Alone Now’ contrasts the Phantom Medley, ‘Istanbul (Not Constantinople)’ contrasts the Five previously established in the show, especially his childhood self, and shows how his skills have developed. The innocence of the school uniform is quickly lost when he uses its tie to strangle a man to death. The first line in the song is ‘Istanbul was Constantinople / Now it’s Istanbul / Not Constantinople / Been a long time gone, Constantinople.” It’s about how something is technically the same thing – a schoolboy, perhaps – but time has irrevocably changed it, and it can never go back to that old version, because it hasn’t existed in a long time. It’s about Five, and it’s about the apocalypse, and the Commission, but it’s not about Reginald. ‘Istanbul (Not Constantinople)’ is the only non-diegetic song of the three discussed here, as in, it is not part of the show’s internal universe. The song is not playing in a jukebox in the diner. It doesn’t partially exist in the universe, like Viktor’s violin being the violin in the medley, or Luther playing the vinyl in the house. It is so different in principle and execution from the other two scenes, but it is still a scene meant to convey an understanding of the character, just like the other two are.

And despite it being purposefully and obviously different, I still think that ‘Istanbul (Not Constantinople)’ belongs to the other two scenes, that they form a united whole of introductions to the Hargreeves siblings. The diner scene rhymes with the other two, I think, in its marked differences, but there are threads that tie them together. How the violin is a key instrument in both the Phantom Medley and ‘Istanbul (Not Constantinople)’. How the medley shows the Hargreeves in the lives they had carved out for themselves away from Reginald, ‘I Think We’re Alone Now’ positions them in the house they grew up in, in the Umbrella Academy, Reginald’s domain, whereas ‘Istanbul (Not Constantinople)’ is set in a place where the kids defied Reginald. How the theme of loneliness and being alone threads through all of them. How the songs are, in order, partially diegetic (siblings apart but tied together by their past), fully diegetic (siblings enjoying the same thing despite being physically apart) and non-diegetic (the one sibling that is apart from them in age, time, space, part of his upbringing, you name it). How pertinent the lyrics are in each case, even the ones that aren’t technically in the song. I just think all three of them are brilliant needle drops that add so much to the story, the understanding of the characters and their relation to each other, just in the microcosm of this one pilot episode. Also they’re all incredible bangers.

[rose-morose]

I finished Harley Quinn, and I've got to rant about Kite Man for a second

(Harley Quinn spoilers and very very long and bitter hatred under the cut)

it fucking boggles my mind that Poison Ivy would go out with this rich, incompetent, ignorant, heteronormative, entitled, arrogant, borderline, if not outright, misogynistic trust fund child who is a massive cunt, and seemingly the antithesis of everything that she stands for

most of the time she seems to find his clumsy and ignorant conduct to be endearing, which is actually understandable, but beyond that and a positive review of the sex (I think I can't remember) it kind of seemed like she wasn't fully invested in their relationship

this isn't even a "she's out of his league" thing either, he is just genuinely a terrible terrible person, and I think many people give him far more credit than he deserves

putting aside his goofy kite motif, his naive demeanour, and his clumsy antics he just has a dull shitty personality

when they first met, Kite Man spent an entire evening making unwelcome advances on Ivy despite her clear and succinct rejections of every effort he made, stole from her, and then he took Ivy asking him for an emergency ride back to her apartment to literally save the lives of children that HE poisoned for no reason as not only validation of his relentless advances, but the beginning of what he believed to be a "date" in his deluded rotting brain

upon arriving at her apartment, unprompted, he disrobed and waited for her in her bedroom to have sex, and when Ivy asked him why, his response was along the lines of 'that's usually what happens after a great date when you go back to the girl's place'

Ivy was understandably upset by this, so what happened? what changed? in what mad world is this given any amount of consideration to even be tolerable, let alone acceptable behaviour?

"I'll do all the heavy lifting so you don't have to break a nail." fuck this twat he sucks, and this is only episode 2, the first fucking episode that he is in

"I'll protect us babe!" dude fuck right off she is literally the most powerful person in the room

"If my girlfriend sees me hanging out with you hot young coeds she is going to be green with envy." people still call women attending uni "coeds" that's fucking insane, someone just put me out of my fucking misery

HE DOESN'T EVEN KNOW HER FUCKING NAME! "Poison Gertrude Ivy" 0/3 fucker not even remotely close, and he doesn't learn her name until after the third fucking time he asks her to marry him

so what if it's played as a joke, it's still true

what am I missing here? why is this guy getting a pass, not just from Ivy, but from the fandom at large? why is there such widespread admiration of this asshole?

I tried watching the Kite Man spinoff show to figure out what people see in him, but it honestly just made him look even worse if that's possible, and while the entire show has not yet been released, it is set after the conclusion of Kite Man and Ivy's relationship so it's not even that relevant

if anyone from the Harley Quinn show deserves a spinoff it isn't this cunt

this shitty excuse of a human being maps out their entire future without consulting Ivy, self admittedly stalked her, constantly does things that she explicitly asks him not to do (admittedly Harley is also guilty of this), mansplains simple bullshit to her constantly, and takes not even the slightest bit of interest in anything remotely associated with Poison Ivy, he doesn't even really seem to know that much about her

on paper I can't see why the hell she even seems to like him at all seeing as she repeatedly rebuffed his initial unwelcome attempts to hit on her, was embarrassed to be seen in public with him, did not tell anybody she was dating him, constantly comments on how fucking stupid he is, rejected him every time he tried to take the next step in their relationship, and before they got together the nicest thing she had ever said to him was along the lines of, 'you're almost tolerable when you are completely silent' and yet in practice Ivy seems to be very loving and affectionate towards him, she even attributes her recent bout of happiness to him

yet Kite Man himself admits that he had to repeat every step of their relationship over and over and over again because she constantly rejected him at every turn

and she was the only one putting any effort into their relationship, always doing things to make him more comfortable or happy and in return occasionally getting a ride and that's it, he just breaks down and starts crying when anything doesn't go his way

Poison Ivy deserves so much better than this cunt who weaselled his way into her life, not the other way around

I saw something from a showrunner about how this iteration of Poison Ivy has self esteem issues that may have lead her to date someone who isn't worthy of her just because he was nice to her, but I don't see how he was nice to her

he's usually polite, sure, but he is super misogynistic, he asks her to drop her name to get things that he wants, he is super arrogant and full of himself, and he seems to objectify her every time he tries to give her a compliment

and that hardly explains why so many fans are all for this terrible relationship, normally supporting unhealthy relationships in media because you want to see them improve and evolve is fun, but this guy does not change, he doesn't even think that he needs to change

and I think most of the show's fans are for Harlivy, which is a relationship that isn't super healthy but is compelling and improving and is fun to root for, but why do I see so many people saying that the writers should have kept going with Kite Man and Ivy?

I don't think it's outright homophobia, or at least the majority isn't homophobia, but I just don't get it

now did Kite Man deserve to be cheated on? I don't think so, that's just a pretty shitty thing to do to someone, but why the fuck was he even here in the first place?

I guess the heart wants what the heart wants or she didn't think she deserved better or whatever, but fuck why does anyone tolerate this asshole? is incompetence really that charming?

maybe I just don't get it because I'm aroace, but regardless of what you think of the relationship or the character, Kite Man is undoubtably a shit person and a complete asshole, that doesn't make him a bad character, just a bad person, and I wish more people that liked him as a character would recognise that, it's fine to like characters that are bad people, but don't outright deny it

just my final thoughts, I would love to take this opportunity to assure all 0 readers that have made it this far that I am not genuinely upset and do not take issue with people that like a fictional character that I don't like ok thanks bye

rant over

[the-chessboard-is-personal]

season 2 time wahoo another damn liveblog am I right??

(liveblogging ii season 2, for if it's not obvious. same style as last ii liveblog)

1 - woahh! okay I love the style tbh. wait. Super Mario 3D World/Initial release date: November 21, 2013. this episode: Apr 2, 2013. INANIMATE INSANITY PREDICTED THE DOUBLE CHERRY???? ...huh. weird. why does MePhone have an app for that? y'know, RESURRECTION?

2 - MePad ? can teleport? ?? yeah that egg is gonna be relevant again isn't it

3 - BOW INATOR?? holy shit holy shit ohhg waow,,there is something in this episode that I want so much. lmao. "umm huh, lmhuehyahahuh.." (<- me attempting to spell what test tube said at the end of the ep)

4 - I didn't think the elimination song sucked.. hey wait why does it sound like they get killed or something when they go through the portal. also where does the portal lead

5 - SEVEN?? MeOS SEVEN??? oh huh. is that why someone who dies in space can't come back? OH THE NO SERVICE COMMENT WAS FORESHADOWING!!? wait why is that how it works. why does MePhone specifically get notifications about people dying. wh- okay?? that was ominous ?MePhone what does that rnean. ..chESS MENTIONED

6 - aaand there's another one. ANOTHER TWO??? .oh :| ...what the entire fuck. and yep this episode makes me uncomfortable. who would've FUCKING GUESSED

7 - oh so THAT'S where the portal lead. ..as down as the WHAT- ouhjghhu nooo... not a song

8 - ah yes, MePhone got The Common Code- oh. also idc what the objects say, ftrEwy7u9iop8oaTE7gI is a wonderful name for a challenge. or a password. each new MePhone gets less understandable because of the "techy" voice effec- oh he's dead. [sees Steve Cobs's reaction to the egg] ohh okay. one moment [walks away from the computer]please don't be like dsmp please don't be like dsmp please don't be like dsmp please don't be like dsmp plehokay. oh I don't like him

9 - ...I'm not crying you're crying.,, uohg this is the second time a show like this has had something that felt like it was directed at me. and the other time was Gothi talking to Xanu in Fool's Gold,.,. which was also about moving on.. is.. is that wh- oh hey a gravity falls reference. haha lol :) ...oh this is the depression eppisode. BITCH -> 🌮 <- BITCH

10 - aha! I've figured it out! the secret is MPABZCEAS!! holy fucking shit my joke was immediately kind of relevant. wha..suitcase?? y'know that voice kinda sounded like MePhone

11 - wHUH SMG4 SOUND?! oh wait that sound probably isn't from SMG4, that's just the first time I heard it. still though, neat. ...wild theory. I'm gonna sound like Fan here, but. "Is anything on this show real?" seems.hmm idk. sus. I call foreshadowing. hokay something's definitely going on with Suitcase. oH FOR FUCK'S SAKE yep don't like this episode either

12 - oh fuck they're in episode 1. oh fuck they're in HWUH ?? ..ohh MePhone hates Cobs too. hey if anyone's read this far, I want to know who's your favorite character from the alternate timeline, because why not! mine is Traffic Light

13 - woahhh MePhone backstory! oh. oh I do Not trust that "screen protector". HEY HEY WHAT WAS THAT WHISPER [turns on captions] oh. oh REALLY. HMM. ...wh. what. what what what what what ROBOT ADAM?? MEPHONE 3???? WHAT WHAT WHAT AAAAAAAA UH OH! UH OH OH NO UH OH!! ohkay this is the panic time, the time in every show tumblr freaks out about where things go CRAZY. OKAY OKAY I'M READY AAAAAA

14 - so the person who told me I should watch ii said I need to watch all of season 3 after this episode. I have no idea why! oh fuck! but anyway. that rneans I'll be splitting this section into actual paragraphs since this is the last episode of this liveblog. (<- said that before starting the episode). anyway.

okay. okay Fan just got abducted. ..hhhow did he know that. how did he know that MePad let Marshmallow leave. .hey hey what's with the shot of that panel with the hole in it. maybe I'm just tired but that doesn't seem..right. and not in the bad writing way.

uhm. hey 17:36 isn't supposed to be hitting me too whY IS IT HITTING ME TOO WAUGH.

"is that what you said to Pickle" OHH DAMN MY HEART DROPPED LIKE THE SCENE HOLY SHIT. wait IS FAN DEAD FOREVER??

wait didn't test Tube get eliminated? why did Microphone go through the portal??

looking at the comments for. tbh I forgot what reason when i saw this one

uh knew what KNEW WHAT OH FU-

anyway. so Fan glitching is. gonna be foreshadowing? oh boy let me guess... uhh.. wait why would Fan glitch. other things that glitch are..the tree MePhone made for Cobs? MePhone himself when Tissue Box sneezed on him?? that MePhone 3?? but none of that has anything to do with Fan..

unless.. AHA!

FAN IS A PROJECTION MADE BY ONE OF THE NEWER MEPHONES

COBS IS GOING TO KNOW WHERE THEY ARE AS LONG AS FAN IS THERE!!

although with Fan eliminated, th- oh there's an after credits scene?

UH. UM. WHAT THE FUCK IS THAT

AND THE OMINOUS OUTRO THEME. UH OH

okokokokokokayokayokayokay. that's obviously some kind of MePhone. the Meeple logo is there and it's phone shaped, so. that's pretty obvious. but not one that's been seen before, right? like not even a model that's been seen before, because none of them have the grabby hands.

because of the red X imagery I'm gonna guess this one is called MePhone X. and if not, well I'm gonna refer to it as that until I find out otherwise

with how scary that moment was clearly intended to be, we can all agree that Toilet just got permakilled, right? like. despite not being in space? that was definitely. not anything good that happened to Toilet there. I'm just gonna assume Toilet's dead, yep that just happened. aaand now there's a seemingly murderous (although maybe it had a grudge against Toilet for some reason, but I find that unlikely) MePhone roaming around. n e a t .

thiiiiinking that thing is the exception to the "each MePhone we see is dumber than the last" rule that seems to be present. hm. wonder who the Big Villain is going to be

welp it's too late to binge s3 rn so uh. yeap. okay. sure. that's a thing

[yurisorcerer]

I'm not gonna pretend I have anything super new or innovative to say about Mobile Suit Gundam. It's one of the most-analyzed anime ever, and I pale in comparison to some of the people who *have* analyzed it, but here I am, thinking about it regardless.

For context, I am watching this as part of a---as she called it---"comet swap" with my good friend @charaznablespeteevee, where I watch a mecha anime she is obsessed with (Gundam) and she watches one I am obsessed with (Code Geass). I'm not sure if I'm going to write a big long post like this about every episode (since I'm going to *try* to watch at least one per day, that would get quite exhausting), but I am liveblogging it more informally over on the worst website on Earth, if you're willing to put up with that Nazi-infested hellhole long enough to read some posts from yours truly.

In any case, Gundam and Code Geass. are many differences between these, the main ones being that Code Geass is more recent and also not widely hailed as a masterpiece of its form. It does *draw* notably from Gundam though despite having very different artistic aims and a different tone, so watching this makes sense in a way. I spent way too much of my teenagerhood obsessed with Lelouch, and now I'm watching the anime that his archetypal grandfather came from. (Goddess have mercy on my soul.)

My experience with Gundam as a franchise prior to this is very limited, but I do have some. For reference, I have seen all of:

Gundam 00, back when it aired on the SyFy channel when they had an anime block many years ago. I really liked this as a teenager but I don't remember it super well.

The Witch From Mercury, lesbian space combat, with a notable Code Geass staff connection. WFM was not perfect or anything but I loved it a lot and Suletta is very dear to me. I actually bought an Aerial gunpla a few months ago that is currently sitting unassembled in my closet.

the first Gundam 0079 compilation movie. Now, it might seem weird that I've seen this and am now going back to watch the TV series. But, while I remember the general outline of what happened, I was SUPER sick when I watched it, and I only remember what happened really, really vaguely. While I have some idea of the general outline of what's to come, I'm mostly going in genuinely blind.

like 4 or 5 episodes of Victory Gundam, which I liked but kind of fell off of. So we're giving the franchise a proper second go here.

I'm a mecha fan more generally, and I'll get into some of that as I write these, but for now that's the relevant stuff.

Anyway, my main impression of 0079's first episode is actually a structural one. It's REALLY well put together. We introduce the setting, we introduce our main characters, and we introduce the main conflict, all very economically and with a lot of style---more style than some shows with significantly less room to work with manage, in fact---and I'm immediately invested in the fate of our main character, Amuro Ray.

From what I gather here (and a little bit from outside information), my impression is that of a kid who loses his innocence very, very rapidly over the course of this story. Here, the space-hab-thing he lives on is attacked, and he ends up in the cockpit of an experimental superweapon called a Gundam (maybe you've heard of them?). I LOVE how the Gundam is framed here, like some kind of genuinely scary war machine. It's an intentionally othering effect i mostly associate with later mecha anime, especially those with outright monstrous mecha like Evangelion or even The Big O, so to see it here in such a comparatively early series in the genre is impressive.

The episode's climax sees him kill two soldiers from the enemy nation of Zeon, but it's not a triumphant thing, really. He's portrayed as kind of not really knowing what he's doing, flailing around inside this gigantic walking tank / mechanical war god. But then when he *does* figure things out, well, he has to deal with the fact that he just killed two dudes. Going by the cliffhangery ending here, it doesn't seem like his troubles are over, either.

[formerheroeswhoquittoolate]

why I'm unhappy with secret invasion: an accidental essay that turned out WAY more aggressive than I wanted it to (sorry about that)

I'm furious about how Secret Invasion is going. It feels like Marvel just went ahead with a Samuel L. Jackson vanity project, but and it's barely interesting and it's fucking with canon characterization. And it's fucking Secret Invasion! This could be meaningful! But instead it feels like it's trying to redo what TFATWS already did and did better. We already HAD a show about a global terrorist movement and the evils of white privilege, and it was actually really good, so what is this show supposed to be again? Oh. I see. It's different because Nick Fury is in it. Gotcha.

Oh, and [spoilers for ep 1 and 2]

They killed Maria Hill in the first episode. Not only did they kill her (which is bad enough from this studio, considering they've also killed Gamora, Natasha, and Wanda), but they fridged her. And not even kind-of-fridged, like with the aforementioned characters, where the death was required and mostly reasonable by in-universe circumstances, even if it was an easy out. No. Maria was literally, actually, to-the-letter fridged. They even confirm that in the dialogue of the second episode. Fury actually says that Gravik killed her to hurt him. She didn't have to die -- hell, if she wasn't going to be relevant to the rest of the show, she didn't even need to be in it in the first place! (More on that in a minute.)

And the thing is. The thing is. I would be so much happier with the show if the roles were reversed. Canon Fury is all "I still believe in heroes! There's good in people! Befriend the aliens!" He's a badass spymaster, yeah, sure, but he's also pretty optimistic about people. And then there's Maria Hill.

[Image description: Maria Hill, saying "Best advice you'll ever get from me, a dedicated law enforcement officer, to you, an amateur looking to go pro: 'Assume everyone is a broken, nightmare, garbage person and then be pleasantly surprised if it ends up not the case.' It'll save you a lifetime of disappointments."] [Image credits: Bendis and Pichelli's Spider-Man #12 (2017)]

That seems to have carried over into the MCU fairly well. And to see her? Struggling to fulfill Fury's goal after his death, operating without her mentor for the first time, trying to figure out how to reconcile his faith in the Skrulls with her natural instinct that everyone is lying all the time? To see her actually doing the work, speaking to the security committee and telling them to piss off, because Fury was in Moscow to do a hero's work and he died a hero, no further questions? To see her, the character who has long been reduced to the sidekick of male characters with a much shorter stint in Marvel's canon, fully come into her own as the protagonist of this series? It would have been perfect. We could have actually gotten a show full of espionage and intrigue instead of a hamfisted... racism metaphor? I'm not even sure at this point. This could have actually been something besides a Samuel L. Jackson vanity project. I know I said that already, but I am going to say it again. This show is here so Jackson can look cool and badass and also be a funny old man. And I wouldn't care if they weren't reducing every other meaningful character in the series to a Skrull, a corpse, or a realpolitik adversary. Like, fuck this false advertising. Maria Hill, Everett Ross, and Rhodey were all in the trailer like they were going to be relevant. As if this was going to be an interesting web of an ensemble cast. Instead, it's the Nick Fury show with a few redeeming scenes from the terrifyingly cheery British spymaster lady.

It's almost like Marvel knew no one would want to watch the show if they just straight-up said it was going to be all Nick Fury. And I haven't even started on the bullshit that was the train conversation (a whole monologue about sitting in the colored section on trains and then straight-up telling Talos there's not enough room for his people on the train? Was I the only one thrown off by that?) or the dialogue between him and Rhodey in the bar ("even when I'm out, I'm in.") or the Skrull wife reveal (which felt like it wanted to be some big important twist but it also had exactly zero setup) or... whatever is happening with Talos and Gaea. The next episode comes out in two days, and I'm still crossing my fingers that a miracle of plot will happen and it will get better. But it's going to take a miracle.

[affiesque]

As promised, here’s the second half of my random thoughts and observations about Desire Catcher now that I’ve finished my latest rewatch (links aren’t working for me right now, but if you want to read the first half just click on one of the tags on this post and it should come up easily). The entire series is 24 episodes, most of which are somewhere between 35 and 45 minutes long - so, depending on what types of shows you usually watch, it might be a bit of a commitment. But I definitely think it’s worth it.

OK, time to brace yourself, as there’s a lot going on in this second part…

At the halfway mark the relationship between Luo Fei and Lu Fengping is starting to fray (oh look, it's my good friend angst again) - essentially, Lu Fengping is frustrated that his mom’s murder remains unsolved and Luo Fei hasn’t given him much in the way of clues like he was supposed to. Lu Fengping ends up working with the main villain (Bai Ya Xing), who is behind all of the crimes/murders that have been happening, to find his mom’s killer and get revenge. (I won’t spoil the details, but I will say that this particular storyline could probably have used some fleshing out, as the details and motivations don’t quite come together in the end. As I’ve noted before, the real draw with Desire Catcher is the relationships, so you can kind of wave those plot holes away - unless that sort of thing really bothers you, which I totally get.)

There’s a bit of a cat-and-mouse game going on throughout the middle episodes, with Lu Fengping getting more cagey and Luo Fei chasing after him a bit, attempting to figure out what he’s hiding. You get Luo Fei trying to casually inquire with multiple people as to Lu Fengping’s whereabouts when he’s gone for no more than a couple of hours at a time (we get it bro, you’re obsessed), not to mention lurking in the shadows near his apartment at night (yikes, dude). During this period there are definitely times when Lu Fengping looks almost guilty for pulling away and for what he’s planning to do, like he wants to confide in Luo Fei but he can’t - there’s a particular wistfulness to his expressions that’s so on point and gets me every time.

One nice little touch throughout is the many dinner dates the two leads go on - granted, one ends with Luo Fei leaving before they even eat anything, and another has him answering Lu Fengping’s question “Does everyone look like a suspect to you?” with “Yes - you look like one too,” so not exactly the most romantic situations (social skills are not Luo Fei’s strong point). But I am a sucker for those little intimate moments - misty evenings with blurry streetlights, tables piled high with steaming dishes and clinking glasses, the muted conversations of the people around them - and of course the sharing food = love symbolism.

Speaking of tropes, if you’re a fan of jealousy, then DC has got you covered. Again, no big plot spoilers here but Luo Fei finds out Lu Fengping has brought a girl home one night - not for the reason he (or anyone else) thinks, but you can tell he’s in his feelings about it (and Lu Fengping, I love you, but maybe in the future do not kidnap a stranger - even if you had your reasons and you were sort of helping her in the moment). He ends up getting arrested (twice!) for the abduction and when Luo Fei fails to help him, their “big breakup” begins in earnest - Lu Fengping saying “I shouldn’t have counted on you right from the start” got me right in the heart, ngl.

*Books as symbolism alert* - we get just one shot of some books strewn around Lu Fengping’s apartment in the second half, but I did find it interesting that the subtitles call out two of them specifically, which feels important. Those are “The Sea, The Sea” by Iris Murdoch and “It Takes More Than A Carrot And A Stick” by Wess Roberts. The former is about love and loss and romantic ideals by an author known for writing about morality and the power of the unconscious - things that seem relevant to a hypnotist, I would think. The latter actually made me laugh audibly when I noticed the subtitle: “Practical Ways Of Getting Along With People You Can’t Avoid At Work.” Sounds about right for them.

Here’s another alert - BIG GIANT SPOILERS AHEAD!! Click below with caution…

OK, so the big event of the second half is Lu Fengping faking his death(!!) in order to give him the time and space away from Luo Fei/the police to move ahead with his revenge plan. Long story short, Luo Fei thinks Lu Fengping has blown himself up, goes through the five stages of grief, figures out he’s still alive and somehow manages to be like, “Hey, thought you were dead but no biggie - let’s not even hug it out and instead just go right back to teasing each other and solving crimes - it’s all good.” Honestly, I’m glossing over a lot here - how absolutely devastated Luo Fei (and everyone else, for that matter) is when he thinks Lu Fengping is dead, how they finally yell a bit about their feelings and come clean about certain things when they reunite, how the OST rips your heart out again and again in these moments (“Did we meet just to be torn apart?” - I mean, come on), how relieved Lu Fengping looks when he realizes that Luo Fei doesn’t hate him for what he did, how Luo Fei suddenly can’t stop smiling (you’ve come a long way, baby). I think these are probably some of the strongest scenes in the entire show, but I must admit that the way they don’t truly address the fallout of something this intense still bugs me (stay tuned for a fic I’m writing on that very topic, in case that sort of thing interests you - and @thinkonce-acttwice, I ✨promise✨ I’m actually working on it!).

I know I haven’t mentioned Liang Yin in this second-half review yet - what happened/happens to her still plays a major role in the story of Lu Fengping’s mom’s death. I won’t give the details here, but do note that there are some flashback scenes of her getting attacked that might be rough for some viewers - so please keep that in mind. However, aside from a couple of moments where the men in her life feel the need to protect/shelter her despite her being quite capable of handling things herself, I will say that the story gives her back some agency, and it does feel as if by the end she’s come to terms with her past and is in a good place overall. And the relationship between her, Luo Fei, and Lu Fengping gets a really nice resolution - a sort of found family thing that brings them all together.

There’s lots of plot movement as we work our way through the final episodes - the big bad villain is vilaining, there’s an evil nurse who’s in on the shenanigans, poor Professor Ling (Lu Fengping’s mentor and fellow hypnotist) gets accused of being a fraud and ends up in the hospital, Lu Fengping almost stabs himself in the heart while hypnotized by Bai Ya Xing (though of course Luo Fei shows up in the nick of time to save him - I swear, despite knowing that this is just a “bromance” show, every time I watch that scene there’s one split second where it seems like they’re about to lean in and kiss - oof), poor Liang Yin gets kidnapped by the big bad villain (unfortunately, more “man pain”). I tell you, this show is a roller coaster ride every freaking episode.

I won’t spoil the final ending too much, but rest assured Liang Yin is fine. Stuff happens, Lu Fengping ends up in prison - though he sort of puts himself there on purpose, sacrificing himself for Luo Fei, even if he doesn’t come out and say that’s what he’s doing. And he basically gets a form of justice for his mom’s death. The very last bit sees him return from prison on parole - he reunites with the police team and Luo Fei in a slightly cheesy but rather touching moment, though, again, even just a quick hug would’ve been nice…

Bottom line, I love all of them, your honor, and will probably never be over this show - there’s so much to unpack in terms of the role of fate in our lives, how broken people can find something in each other to live for, how to forgive others and, importantly, yourself.

OK, again, this one got away from me, and I know I’m probably forgetting like a million little things, but hopefully I’ve managed to entertain at least one other person with my ramblings. And if anything here has sounded intriguing, please check this little show out so it gets the love it deserves! 🖤

[moviemunchies]

Another miniseries review!

Kaleidoscope is a limited series based on a gimmick: a heist story through several episodes, told in a random order. Now the question is: does that gimmick work?

Hm.

Giancarlo Esposito plays Leo Pap, a criminal with a feud against Roger Salas, the CEO of a corporate security company because of their personal history. Leo decides to rob Salas’s state-of-the-art vault in New York City, pulling together a crew of crooks to pull it off. Of course, no heist goes exactly according to plan, and a couple of episodes are dedicated to the aftermath of the heist. It gets messy.

This series was advertised as being in completely random order for whoever watched it. I don’t know if that’s still the case, because the order I watched it in happens to be the order of episodes listed on Wikipedia. Maybe it’s not random now, but was when it came out? I don’t know. 

The order I watched in was mostly helpful; the first episode I watched wasn’t the one that took place first chronologically (it took place months before the heist), but it showed Leo getting his crew together, and briefed them on the basics of the job, so I knew who was who for the most part, even if I didn’t understand why Leo had a bone to pick with Salas.

One of the major problems with the series is that some of the problems that actually come up in the heist are foreseeable. As in, “Wow, you trust that guy on your crew? He’s an idiot.” Or, “These two people don’t get along at all! Maybe that feud will be relevant in a high stakes robbery?” The result is that it feels less like, “Master criminals doing a master plan,” and more like, “Several lucky douchebag crooks stumble around.”

Speaking of the cast: who am I rooting for, here? I understand that in stories like this, there are shades of gray, and you’re not supposed to find anyone entirely sympathetic in every aspect. That being said, many of the characters make absolutely boneheaded decisions that make you wonder if you’re supposed to like them at all, and the ones that you might maybe sympathize with end the story in a way that’s not tragic as much as just terrible. At the end of the day, you see who comes out on top, and it’s no one you have much reason to actually care for or identify with. So not only is it that you don’t really sympathize with too many of the characters, you get through the series feeling like it’s all a kick in the gut.

Which makes the entire thing feel more than a tad unsatisfying. You get the final piece of the puzzle and say, “Wait, that’s what happens?” It’s complete, sure, but it’s not rewarding.

I like the idea of the series, to be sure, and there is some fun in watching it the way I did, diving in and trying to figure out how it all comes together. That being said, having finished it, I couldn’t help but feel as if the story couldn’t achieve a satisfying ending. It didn’t work for me when all the parts came together, even though I kind of enjoyed the journey to get there. So while I think if you like the idea of the gimmick, then you can try it out, just be aware that in all, the story isn’t as fun as other heist stories out there.

[maschotch]

I was rewatching season 5 and I'm sorry but I find the episode immediately after hotch gets his shit wrecked by foyet so funny bc they're all treating him like he's this unhinged psycho like abdjfjds yeah I GET that that's what he was supposed to be like but the way they executed it, he really wasn't that out of order. It's just funny to me when he did like literally anything the other character on screen would look at him like 😧😦🫢

i actually find this soooo interesting for so many reasons.

foyet is the first "big bad" we really get for criminal minds. i've said a lot about whether this was a good directional shift for the show, but it was an interesting move to target the team leader first. hotch has, for the most part, gone largely unrecognized by the drama of the show so far. sure he's had his divorce blah blah, but he doesn't talk about it much. if he doesn't talk about it, the team's curiosity will fade sooner rather than later. that seems to be his strategy whenever something is going on with him. and it tends to work.

but now it's different. this was a serious event that happened. they can't help but recognize the severity of what just happened, and there's a palpable difference in the team dynamic because of it. so when everyone has their eyes on hotch, scrutinizing his every move, i don't think it's necessarily because he's acting different (even tho he is--even if his general risk assessment is the same, he's still initially snappier towards friends and strangers than they're used to seeing from him), but because they're aware of his presence in a way that they're not accustomed: he's vulnerable. he's not the unbreakable monolith of stability the team has believed him to be this whole time. i think a big reason why it hit the team so hard isn't just because of what happened, but the way their relationships have all developed up until now.

morgan and garcia are very clearly the most concerned out of everyone. beyond their closeness, i think that has a lot to do with both of them losing a parent/parents at a young age. seeing their leader--who they have so much respect and love for--severely wounded fucks them up!! hotch more or less holds a father figure role in both of their lives, and it's not something that appeared out of nowhere (and here i'll add reid since he doesn't have the trauma of a parent's death, but he does see hotch as a parental figure). it's the result of years and years of building trust, both in character and as a symbol of strength and security (which is now relevant to jj, whose whole character development is about trying to emulate that mythical strength). their faith is shaken in him--not because of his own actions, but because of their own idealized concept of him that was challenged by hotch's very very human fallibility. even emily, who doesn't rely on him emotionally the way the rest of the team does, is disturbed, but only because she sees him as a protector of the team--as a protector of the new chance of life she has with them. now that that's threatened, she needs to see his safety through with her own eyes (which is why she's the first to notice him missing, and the one who needs to drive him to and from work after this). he's the rock of the team, and no one expects the rock to crack.

i hate when rossi ends up the voice of reason, but in this case it really makes sense. he doesn't have any aggrandized notions of who hotch is: he watched hotch grow within the bau. rossi knows how to push hotch, when to push hotch, because he knows hotch won't break easy. even when hotch hates himself, like the original omnivore episode, rossi doesn't hesitate to shove a gun in hotch's hand and tell him to kill himself because he knows hotch would never. rossi's perfectly aware of the weaknesses hotch refuses to let the rest of the team see. when rossi tries to assuage derek's worries, it's not because he doesn't care, but because he knows not to stifle him. he knows hotch will get through this, he just needs time. i think everyone's reaction to hotch's return is perfectly emblematic of their relationship to him: morgan questions his authority suddenly because the inherent trust is lost. emily is above all worried about his safety because she knows that jeopardizes the team. reid is worried but he doesn't interfere because, as far as he's concerned, hotch can handle it. garcia is worried but doesn't interfere because she doesn't know how to help. jj's concern is more akin to pity because the bastion of strength she's respected for so long ended up being just as human as the rest of them. rossi's concern for hotch is on the back burner because he sees that the team is fracturing around the edges

i love 5x02 because we spend surprisingly little time on hotch dealing with his emotions; instead, we focus on the team dealing with hotch's vulnerability. they're fully aware of him for the first time, and they overreact to everything they would normally accept at face value. they rarely question his judgment before this because they trust him implicitly. he's proven himself, and it's heartbreaking that--through no fault of his own--he has to build that trust back. rossi says to derek "we have to show we have his back." derek interprets that as watching his back, to double check every decision and making sure he's alright based on those decisions. even jj knows that, given the heat he's getting from his superiors, that's the last thing hotch needs.

[onekisstotakewithme]

Top five favorite stories you’ve posted this year

oh this is a good one! thank you anon. this is going to be a fun mix of fandoms, hope that's okay 💜 but also not me forgetting every story i wrote this year.

None of Us are More Than Caretakers (The West Wing) - I had so much fun writing this, I had the whole thing written in about six weeks, and I see it as sort of the transition-era story we didn't get... all because I was reading on wikipedia and saw that Gerald Ford died over the holiday season in 2006. Anyway, read if you enjoy CJ/Danny seekrit relationship, a story about transition of power, and taking care of the country (and each other). 66k.

Close to the Heart (M*A*S*H) - Okay, I know this one is ongoing but hear me out: I love writing about the dynamic between Hawkeye and the Hunnicutts. I love taking tropes and subverting them, turning ideas on their heads. Close to the Heart aka subverted noir AU does ALL of those things for me. It's fun to have canon echoes and twisted dynamics, and fun to keep the audience guessing. 💜 23.5k but still ongoing.

A Night to Watch (The West Wing) - It shows a tiny bit that this was one of my first TWW fics, but tbh I don't care, because it still has one of my favourite headcanons in it: Danny driving the seven and a half-ish hours from manchester to DC on election night because he thinks CJ needs him. 6.1k.

Perfect (M*A*S*H) - One of my favourite things, as stated previously, is subversion. I love the idea of Peg and BJ both wanting to make their anniversary "perfect" (and then of course realizing that they're together again so it is perfect). This idea of them growing post-war and slowly growing back together while also seeing how they've grown separately is just... chef's kiss. to me. love those two. 2.5k.

Off the Record (The West Wing) - One of my more out-there concepts: one missing (CJ/Danny) scene for every episode of season 1 of The West Wing. An out-there concept I compounded by also writing them for seasons 2, 3, and part of 4. I had SO MUCH FUN writing these, fleshing out canon and building on it!!! I think it added a lot to canon without ever trampling on it, but that's just me! 31k. + Bonuses (under cut)

6. its torment won't be through (M*A*S*H) - A tag to 'That's Show Biz' that I started a year or two ago, and I loved the opening dialogue so much that when I found it this year, I decided I'd rewrite it. I figured it was just an average beejhawk story, but I went back and reread it recently and it had grown on me a lot! 2.6k. 7. An Idea, Whose Time has Come (The West Wing) - Briefly hesitated about putting this one in, because I need to get back to it, but I love this fic so much. It's a fun, original idea, even if I need to do a shit tonne of research for every chapter (that + grad school is why it's taking so long!), but anyway, CJ runs for President in 2018. Hopefully will not be too relevant going into an election year... 14k (so far).

[gingerteaonthetardis]

Hi! I watched the first season of The Marvelous Mrs. Maisel when it first came out, but didn't like it enough to continue, and I just have to say...seeing your MidgexLenny posts is giving me LIFE. I thought I was being a crazy shipper for picking up ✨vibes✨ when he bailed her out (and I think helped her with her set? or introduced her to a new crowd? details are hazy now) but I feel so vindicated that they apparently did have some romantic moments haha hope the show ends on a high note for you! 😊

hey, thank youuuu! yeah, i think the show maybe had something different in mind for lenny's trajectory (i honestly feel he was just supposed to be midge's comedy fairy godmother/a cool and historically relevant figure) but the fact is that luke and rachel have batshit insane chemistry and every scene they're in together elevates the show and at a certain point, ASP probably had to just write with that in mind rather than try to avoid the inevitable. maybe i'm wrong, idk.

but yeah, when he helps her out at the gaslight at end of season one, that's basically when it started coming together for me the first time around. and then, i mean—

not to do analysis that you didn't ask for, but lenny hides, like. all of his smiles behind his hand or a finger or a cigarette or like... the nearest potted plant or something. his smile is tightly controlled a lot of the time (when it isn't a performance). so to see him already sort of opening up with her just made me feel like, 'oh. they are each going to see the other for who they really are. that's going to be the foundation.'

and it's true! they do see each other, and that is the foundation and the heart and it is so fucking good! unfortunately, i don't think that'll save them, given the real actual history involved and the fact that ASP has a bad record with resolving this kind of stuff.

but frankly, that doesn't matter—one episode left and then it's just me and the fix-it fics, lmao. so i appreciate the well-wishes! but even if the show ends on a low note, i can count on the fandom to help me forget it ever happened

[thegeminisage]

ok ok ok it's star trek update time. last time we watched tng's "liaisons" and ds9's "the circle."

liaisons (tng):

the summary of this one put me off soooo bad but i actually give it an enthusiastic pass because i loved the b plot but conned myself into also liking the a plot. allow me to explain

the b plot of this is of course the fantastic riker e worf e deanna showing the ambassadors a good time on the enterprise. this arc satisfied me from start to finish because it started with riker telling worf he looked good in a dress and finished with worf beating that annoying guy's face in, and in the middle there was also a poker game and whatever the FUCJ was happening in their little meeting room which was extremely fun and flirty

i have not forgotten btw that worf e deanna is supposed to happen in s7. im so sorry the actors hated it but rn it is Fueling me. bring it on.

the a plot is more complicated and the summary of this plot is what initially put me off

like, of Course it's picard and a woman. again.

here's what i didn't know: one, this woman was batshit insane and not to be trusted, and 2, she wasn't real but a fake roleplay character made by this alien. who is a man

THAT MEANS. NOT ONLY DID PICARD FINALLY GET HIS OWN CLOSE ENOUNTER

BUT IT WAS WITH A MAN

picard has canonically kissed a man. or um been kissed by one i guess

and all of that would have been just borderline and barely ekeing out with a pass EXCEPT

i had the thought near the end of this episode: q would be absolutely SICK

as we know. the funniest thing about q and indeed perhaps his only redeeming factor. is how bad he wants to fuck sir patrick stewart. which gets ONLY FUNNIER the more that sir patrick stewart is like, i would fuck literally anyone else in the galaxy first

and now here picard is, having liplocked with another guy, and he STILL hasn't fucked q. i spent so long giggling about this that i simply must give the episode a passing grade

also, i would like to note i figured out they were the same person before the episode told us. i am JUST that good

the circle (ds9):

KIRA MY BELOVED.....................................

absolutely tickled to pieces with the ensemble scene at the opening. first we had this nice little prolonged kira and odo moment 😍 which was so wonderful because of their like general dynamic and history being hinted at and then EVERY SINGLE MEMBER OF THE CAST SAVE SISKO got their sitcom intro. it was the most beautiful thing i've ever seen. they were like, you simply cannot be dismissing major kira unfairly. so true. once again it is so cathartic to see them rallying around her whether they're federation or not. literally treating her really niceys

AND SISKO! his little scene with her in the garden down on the planet...wah. he's literally constantly trying to get her back. his support even when she's no longer technically working for him...EVERYBODY treats her really niceys

um except that vedek guy...idk whether he's on the level or not and i DID NOT like whatever sexy stuff was going on in that orb vision. putting aside the hilarious reality of orbs in general for a second are the prophets saying she has to fuck that guy? not my beautiful queen.

um and also except the circle. i didnt actually see the plot twist coming this time about that minister guy being in on it which is very fun. also i'm sooo glad they staged a speedy rescue

ODO THE RAT! i love when he turns into stuff

also odo blackmailing quark into being his deputy lol i LOOOOVE what they have it's SO funny

anyway i hope vedek winn chokes on her oatmeal when she finds out the cardassians are funding her little r*n d*santis campaigns. i thought that was a fun plot twist if not very surprising ultimately like of COURSE they are. it's crazy how relevant some of this still is

and on a final note, i like that sisko has chosen to Rules Lawyer his way into disobeying the prime directive because it is the right thing to do here. GOOD FOR HIM!

tonight: tng's "interface" and ds9's "the siege," finally concluding this little three-parter.

[anime-lettuce]

I’ve been trying to find to find these two shows I watched as a kid and a movie my French teacher played in middle school but every time I try to ask my friends or google abt them I feel insane so what better place to ask than tumblr (Reddit prolly but that’s my last resort). Idk why I didn’t think of this earlier but any help is appreciated.

The first show was about this girl whose name I think was Luna and she had a mostly black and white outfit that would change colors (depending on her? emotions) and all? of her friends were aliens or bunnies (bunny aliens?) that I kinda remember wishing I could eat. Luna (I’m just gonna call her that) traveled to different planets (I think she rode on a star Kirby style) in a 2d animation (almost like a flat jelly jamm), trying to solve her friends problems and I think combat some villain who had evil bunnies (I’m probably making this part up). I’m pretty sure the show was originally in Spanish but ik I watched it in both English and Spanish so maybe not.

The second show I remember watching on Netflix around think in 2013-2016. It was about this cartoon brother & sister duo living in France during ww2. I think the sister was older and she and her brother lived with their grandparents on a farm, (I think their parents died) trying to keep living their old lives but finding it hard cause of the war. I distinctly remember their classmate who liked poetry getting on my nerves, a blue bike, and an episode where they tried to buy butter but kept having issues. I’d say the art style was more story book-ish (maybe water color) and I wanna say there were at least two seasons.

The (live action) movie took place in some French speaking country (or it was in Italy and the actors just spoke French) and followed a young boy on a vacation? with his family and a friend out to the mountains where the boy and the friend found an owl that they tried to take care of until I think the dad shot it at the end. There was one scene either in school or church where some authority figure hit a kid with either a ruler or paddle and another scene where the two boys were bathing together outdoors. To be honest I’m not sure I ever want to see this movie again but it makes for an interesting tidbit should I ever find myself in a conversation where this would be relevant, and I’d like to know the name of it (that I think was either kind of long or involved some sort of religious reference)

[gaeasun]

Ok I have watched both episodes of Ahsoka so gonna make a list of pros and cons. will be much more serious cons than serious pros. Not spoiler free!

pros first:

there is a very cute loth-cat. adorable. stole my heart. best live action tooka creature so far.

All or most of the human casting and portrayal was very spot on. Ryder was great and so nice to hear a familiar voice, Sabine was good, also chopper was spot on in everything.

actually all of the droids carried the humor for the episodes. very funny.

the lightsabers look and sound cool.

the non-lightsaber fight was good (and by that i mean sabine kicking around those droids)

SABINE DOES NOT HAVE THE FORCE THANK GOODNESS WAS REALLY WORRIED THERE

sabines art skills are relevant. love it.

yeah thats it i think. sry if you were here as an optimist.

Cons:

NO REX WHERE IS HE

they've got to stop stabbing people with lightsabers without killing them. star wars medicine was already inconsistent, this is pushing it.

where is jacen syndulla. If ahsoka is going to take an apprentice why not him? WHY SABINE THAT MAKES SO LITTLE SENSE.

yeah going on that again. she was training to be a jedi without force. BUT WHY. Sabine has always been a Mandalorian, shes been so proud and happy to be a Mandalorian. she literally threw that away to be a jedi. she hid her armor and grew out her hair and there was no mention of her Mandalorian family? the one she reconciled with?

the casting for hera and ahsoka is not good, the makeup and prosthetics are worse than that, but worst of all they do not actually sound like the characters at all! going into those in detail:

ahsoka and hera just do not have the face shape of their counterparts. i do get that it can be difficult since no one has anime eyes that big. but the face shapes look wrong and every time i look at them it doesnt look or feel like im watching beloved characters brought to life

the prosthetics and the makeup on hera and ahsoka look like either that department got a pittance or they just didnt care that much. even simple details that wouldn't effect stuntwork. like the circle patterns on Hera's lekku, or like how Hera's lips are much too dark and Ahsoka's are much too light. Ahsoka and heras head-tails are way to short as well. if you want to explain it with stunt reasons, than why are heras so short as well? also somehow there is zero texture on hera's lekku, but Ahsoka's look like an old rubber hose that shriveled up? and her montrals are so short and point backwards. if the people making this show are going to take such beloved characters and put them in irrevocable media, these details should have been figured out! if it wasnt feasible than they should never have made it live action in the first place.

the actors for ahsoka and hera do not sound like them. i dont mean their voices sound the exact same, but i mean the inflection and the wordings sound nothing like the animation. a good actor should try to mimic that but it wasnt done. ahsoka especially had such emphatic and varying tone in clone wars and rebels, while live action ahsoka sounds like shes trying to win the stoic master of the year award.

ahsoka apparently learned an entire new lightsaber style! because she only held her lightsabers in reverse grip one. time. and also when she was a kid she was flipping circles and cartwheeling and handspringing and theres none of that here. if yoda can do it in 2008 they can figure out a way for her to do it too

listen. ahsoka has gone through way too much character development to be constantly looking like she doesnt know what shes doing. shes struggling too much in fights, and she doesnt seem to understand sabine at all. she has been a very strong character in the past, and this is because she has gone through many experiences that gave her incredible development.

the plot does not make sense. how on earth does an ancient device know where thrawn went? why is this connected to the dathomirians? are they going to bother explaining this? probably not.

[gildedbarbarian]

Okay, we’re going to try this again. Critical Role has done a million things for me over the course of the 4.5 years I’ve been aware of it. I’ve attached myself deeply and unflinchingly to characters and plotlines, made and lost friends, found company when I was at my lowest, and learned how to not let loss completely wreck me. I have seen myself reflected in fuckups and godkillers, chaos-mongers and law-bearers. I have found pieces of myself in this show, one after another, that I wasn’t ever really aware that I’d lost in the first place. 

But this time, specifically, we’re talking about Opal. 

The first time I watched EXU Prime, I was in one of the darkest places of my life. I was closed off from everyone, not least of all myself, with only a vague idea of how bad things actually were for me under my mask. I couldn’t look. I didn’t dare. I wasn’t ready. So I watched it at surface level: I laughed during the pageant, I cried during the last episode. I displayed the socially appropriate level of investment in every character, every moment, every line. Like so many others, I was mind boggled by the general display of craftsmanship at the table, and by Aabria. (This was my first time really seeing her in anything at all. I’ll always be grateful for the Summer of Aabria.) I loved the series, I raved about it, and then I set it down and moved on. 

The second time I watched EXU Prime was a few months ago. Work had just started slowing down and I needed something to keep my brain occupied while I did mindless busywork at my desk. I figured why not: it had been a little over a year since I’d watched it, and I’d had fun the first time, it could only be more fun the second time, right? For the most part, I was correct. I was in stitches by the time The Crown Keepers got to breakfast in the first episode. I had so much more context for Dorian and Orym and Fearne. 

And then there was Opal. Now, in the interests of absolute transparency, Opal was a hard pill for me to swallow the first time I watched EXU Prime. She’s a masterclass in playing a character as exactly who they are without faltering, even when it’s uncomfortable. My first time around that block, I thought she was selfish and stubborn to a fault and relentlessly insecure behind the self-assured façade. I think I was right. I also think that’s why I couldn’t really look her in the eye at that time. I read once, and I promise this is relevant, that a lot of times the things that make us hate other people are the things we hate to see in ourselves. This is not always true, but it certainly was true of me with Opal. 

The real kicker is that with Opal came Ted. Ted, who I definitely considered the unheard voice of reason for her impulsive sister. Ted, who had given up so much for the safety of the one person in the world she could protect. Ted, whose sacrifice we still don’t know the extent of. Ted, who I could relate to and be unafraid of it, because she’s right and because she’d made the justifiable choices and because she was the one who got left, not the one who did the leaving. 

I was at work when it happened. I’ve gone back and scoured youtube to try to find a compilation of the Opal and Ted conversations from EXU Prime so that I could get the exact quote down word for word, but haven’t been able to find one. The gist, at least as I heard it, was this: Opal wanted distance, wanted power that was hers, wanted to be an individual without the baggage of her past weighing her down or the shadow of her sister just out of sight. She wanted to stand on her own two feet. Without help, without hinderance, without interference. She wanted to be just Opal. And Ted wanted to keep her safe. Would give anything, everything, in fact had already done so, to keep Opal safe. Because she couldn’t see herself without her, because her purpose was to protect her. Because she didn’t know how to do anything else. 

There’s this thing in therapy called inner child work, and it’s the hardest part of the healing process for me. Every step of it is painful, every Little Me I’ve had to look in the eye is a gut punch. But there’s one in particular that I’ve been ignoring willfully for years. She’s waited in my periphery, patient and resigned, for the day that I could give her even a fraction of my attention. That day was a few a months ago. 

I had to get up from my desk after the scene was over because I was beside myself. Literally having a breakdown at my desk, I rushed off to the bathroom to try to pull myself together. It wasn’t the first time, and it probably won’t be the last. Calming down took over 20 minutes of box breathing and other grounding methods, working my way back into some semblance of being present in myself.

And when I got there? All I heard was Her. Over and over again. Almost like she was screaming, like she’d been screaming for years. I’ve been holding this for too long. I can’t do it alone anymore. I need help. I need you. I did this to keep us safe, but it’s too heavy. Help me. Please. I’m afraid of what will happen if I let go. 

I was Opal. She was Ted. 

Both were me. 

I’m still figuring out what all of that means. All I know for sure is that I’m grateful: I don’t know how long it would have taken me to hear Her without Opal and Ted. It’s not easy. There are still days that I have a hard time looking her in the eye, but it’s a start that I needed to heal.