#so you are welcome to disagree with me

[silverskye13]

talks to u

You will regret talking to me I'm very very sorry

So recently my sister has been reading out loud to me [it is very fun I wish I had someone to read out loud to] and the book she picked was Haunting on the Hill. This book was an absolute minefield of a read because it was advertised as a spiritual sequel to Haunting of Hill House and HOHH is probably one of the books I've been the most emotionally invested in ever. Mostly because I see people take the book and Try To Do It Better constantly, and they do it wrong over and over and over again. I don't know how this became My Hill To Die On, but no one can do a remix of the genre right, especially those that pretend like they're trying to.

Hell House, for example, a book that I hate with my entire being, was a very intentional stab at HOHH. It took the trope of four people -- one a slightly older gentleman who is doing research on the property -- two women -- who is a lonely homebody, and one who is a (implied) bisexual psychic -- and one younger man about their age who has some Obvious Substance Abuse Problems, and sets them in a haunted house to try and figure out why its haunted. The author then spends the rest of the book punishing those characters for obvious perceived societal slights. The old man's sin is being old, and dies because he isn't virile and strong enough to withstand the house [unlike the young male protagonist]. The psychic is punished for believing she is psychic, being a confident woman who lives alone, and being implied bisexual [this is evident in the nature of her death, which I won't share here. It's fucking bad]. Then after these characters die, the white male savior comes back, something to do with the old owner of the house haunting it with his willpower, in a closet with a glass of water? It made no sense. But the metaphor the book was obviously leaning towards was, the Good Guy can win and get the girl if he has strength of mind, is vaguely psychic [but better than the psychic lady obviously] and fucking stands around long enough while his friends are killed.

House on the Hill, which should have been marketed as a reference to Hill House and not as a spiritual successor, is a passable haunted house book that attempts to remix the story by making all of the main characters theater kids. There is an older lady who has been ousted from her community for being too old, the young woman main protagonist who is the Ellie parallel, the Theadora parallel is her girlfriend, a bisexual actress who is maybe a little too full of herself, and their single male character has a substance abuse problem involving cocaine instead of alcohol, like Luke from the original book. The author even seems to have grasped some of the original intention of HoHH as a conversation about isolation and loneliness. However about halfway through the book, it takes a turn and seems to punish Theadora for being the character she was written as, in the same way Hell House punished its Theadora allegory character. The rest of the book proceeds with a lot of standard haunted house tropes -- not a bug exactly, but they don't reinforce any extended metaphor. They're mostly there to be spooky. Which would be fine for a standard haunted house book, but not for a haunted house book that claims its the sequel to HoHH.

You see, Haunting of Hill House, and by extension, Shirley Jackson, the author, have a very subtle but also deeply impactful metaphor about loneliness going on in the background, and everything from the haunted house to the fallout of the characters reemphasizes this theme.

Ellie, Eleanor, is an exhausted housewife-style woman in the 1960s, whose never gone anywhere or done anything with her life, because instead of marrying and moving across the country somewhere, she stayed home to take care of her ailing mother. Now that her mother is dead, she lives with her sister and brother-in-law, and believes herself to be a general tax on the family. She fills stuck, alone, unloved and unwanted. The story is in her point of view, and you quickly realize her way of coping with her trapped feelings involves fantasticizing the world around her. She dreams of who she would be if she just lived over there in that little cottage, how differently her life would turn out if she had a cute little life in that one room house. Etc. When she accepts the summons to Hill House, she steals her brother in law's car and drives there on her own, her first trip alone anywhere in her entire life.

Theadora is a psychic who, if I'm remembering right, lives alone and owns a flower shop. She lives a much more interesting lifestyle than most women in the 60s, in a big city with many different friends and lovers coming and going, completely independent. There is an implication that she has trouble keeping interpersonal relationships -- she's a little too flighty -- and really a woman who can't settle down with a man is a red flag.

Doctor Montague seems fine on the surface, if a little jaded. He's a professor at university who is being slowly pushed out of his scientific field because he believes in the supernatural, and wants to prove it using empirical evidence. You find out his wife is very supportive in this venture -- too supportive. He thinks all of her contributions are nonsense, and so is she. His loneliness is self inflicted. He has a fan club right there with his wife, if he gave two shits about her opinions.

Last is Luke, an alcoholic, and the person in line to inherit Hill House. His loneliness is that he, doesn't want the fuckin' house. But because of his alcoholism and gambling problems, the family has decided he, as the cursed child, gets to take care of the cursed mansion no one else wants to touch. So Luke, ostracized from the family and a little shitty about it, decides he might as well rent out the place for some extra cash to fuel his various addictions. The family is going to be cutting him off soon anyway...

These four characters, over the course of Hill House, become haunted by the house, not because of tragic deaths there, or because the house is alive in any literal sense of the word. But because the House has the quality of an overbearing mother, smothering its children with its expectations. Any piece of furniture moved in the place is replaced as soon as they leave the room. Any door opened to allow air or light inside is shut the minute they walk into the next. The house rights itself back to a self-inflicted perfection that is unlivable, and it wants to isolate you too, to be like it. Hill House tells you exactly what it is and what it wants to do in the first paragraph: And all who walk there, walk alone.

Shirley Jackson wrote this very intentionally. As a woman in the 60s trying to have a successful writing career, none of her books were taken seriously. She was pigeonholed into mother and housewife first. Articles that wrote about her works at the time held the patronizing tone of someone congratulating a child who found a new hobby -- not a serious writer wanting to make poignant stories. Her books are lovely now, the few that were published. But Shirley Jackson lived a life that was full of anxiety and agoraphobia, in a world where she felt belittled and token. Her books are written the way they are for a reason. There is great loneliness in being shoved in a box.

I really love that exploration. I love how the people in the book descend into the box of Hill House, the expectations they place on each other, and the way all the women feel tonally dissonant in their token roles. And that's why I hate so many modern adaptations, or inspired-bys, or spiritual sequels. Hill House is a metaphor before it's a ghost story -- and that is why it succeeds as a ghost story! It is scary because you get invested in the characters' wellbeings, their doomed qualities, their individual, very subtle, madnesses. Watching new writers read the book and punish those characters over and over again for not acting right [especially Theadora, Jesus Christ.]

In fact, since I'm already ranting, I'm going to give you a quick rant in defense of Theadora.

Theadora breaks into the book as a very bright star in Ellie's world. She is, literally, everything Ellie wishes she could be. She lives an interesting life, alone, without being too cripplingly lonely. Theadora, used to a little bit of flirting and over friendliness, falls in with Ellie and Luke immediately. She is charming, and bright and beautiful, and Ellie, who's character flaw is romanticizing everything, falls head over heels for her. They get scared together. They comfort each other when the ghosts start acting up. They get haunted together. And Ellie decides, in the way of someone romanticizing something, when all this is over, she would like to live with Theo. But when she tells Theo this, Theo laughs it off. "This is just a holiday, Ellie dear. We will have to get back to our lives eventually." It's unfair to say this is a game for Theadora. I feel like her feelings in the book, all her charm and her flirting, are genuine. But they're genuine in the way of someone going on vacation and flirting around with the people they meet -- she has a normal life she enjoys that she plans on getting back to. Ellie, who is incredibly alone, and who feels like she has only just tasted happiness now that she's come to Hill House, doesn't want to go back home after this. This is the happiest she's ever been.

Ellie informs Theo she is going to follow Theo home, and Theo turns very, very mean. She starts hitting much harder on Luke [something that makes Luke uncomfortable, but something he never really stops, because Luke also likes the attention he's getting] and belittling Ellie and her wild fantasies. She pushes Ellie away. It isn't kind, but what else can she do? She told Ellie she doesn't want to be followed home and Ellie, trapped in her daydreams, doesn't listen.

The rest of the book unfolds. Hill House isolates Ellie, and makes her feel like she can have no happiness outside its smothering walls. She gets taken by it.

In every book that takes on the mantle of trying to tackle the themes that made Hill House great, I would like to ask you all this: Why do they always punish Theo?

Hell House straight up kills its Theo allegory in a very brutal, overt way, implying she deserves that brutality for her promiscuity. The House on the Hill kills its Theo for being too full of herself, for believing she was entitled to greatness.

Why?

You can make a case for the queer aspects of her probably. Or for misogyny. Or for infidelity. Or for the fact that she appears to choose Luke over her relationship with Ellie. But I notice none of these books punish their Ellie allegory for also falling for Theo. For also aspiring to be something other than a stuffy housewife somewhere. For also falling for Luke, and wanting him to be a part of her happiness fantasy.

In honesty, I really think these authors read Theo and think she's the antagonist. So they write their stories to punish the angry woman who was mean to poor, lonely Ellie. But, here's the kicker, Theadora isn't the antagonist. The house is. Loneliness is. The house leads Ellie to a perfect world, and Ellie, who is the way that she is, cannot fathom a world where that perfection is broken, so she ignores it. So she scares people with her over-attachment. So they try to send her away, because whatever is going on with her, it's not safe and it needs to stop. So she decides she would rather die than leave.

Theadora is only "the bad guy" because she's the one that reminds everyone that the fantasy of this perfect house must break eventually. The Doctor will have to go back to his university that doesn't take him seriously and his wife who takes him too seriously. Theadora will have to go back to her shop with her rotating friends who aren't as close as she'd like, but whom she can't force to stay. Luke will have to go back to his place as the unwanted, failing heir and Eleanor --

Well. Eleanor doesn't leave Hill House.

Everyone gets so mad at Theodora because of Ellie's investment in her. Because Ellie is lonely, and sad, and relatable. The first time I read Hill House, some of Ellie's lines made me want to cry they hit so close to home. All her assertions that when she spoke to people she said too much and was too stupid, she would be better tomorrow. All her quiet chastisements that she needs to be more interesting. All her attachments and how scared she is of being spurned. All her wonder when she looks around at the world and tries to imagine a better life. But it's not Theodora's fault that Ellie doesn't get that. It's Ellie's fault for becoming too attached to something that isn't there, and it sucks, and if this were a story with a happy ending, she would realize that and grow past that, but she doesn't. That's not how the story is written.

On one of the nights when the haunting happens, Ellie and Theo are sharing a room. They are laying in bed and holding hands while the house comes alive around them. Knocking on the walls. Slamming doors. Claws, and whispering, and scraping and screaming. Ellie and Theo hold each other's hands tightly. She hears the torturous sounds of a baby in the other room, a child in pain, screaming for its mother, and she's terrified and she's holding tight to Theadora's hand.

And finds, when the haunting stops, that Theo was out of reach the whole time.

Ellie asks, who's hand was I holding?

[The Haunting of Hill House is a metaphor.]

One of these days I'm going to sit down and write the Haunting of Hill House remake in my head, that I am just egotistical enough to believe I could do well. I would find a more modern metaphor first. Something to do with the loneliness of an infinitely interconnected world. Something to do with how boxed in we all feel, how trapped, and how so many people blame it on computers, even though they should be able to connect us more.

I would build a Hill House where the four characters meet on a forum, the first time they've found someone with similar interests. They would meet in person for this haunting expedition. They too would take in the oddness of a house that rights itself on its own, pretends they were never there. They two would fall in love with each other, and bond, and find community in a group of people who are constantly isolated and are glad to finally find someone they relate to.

They too would have to dear with the objective, lonely horror of realizing this doesn't magically fix their problems. That they were alone in the rest of their lives not just because the world isolated them, but because they're bad at forming connections. They would get catty, and disagree, and worry about the lives they need to go back to, and complain about spouses and partners. And one of them, as is Hill House's tithe, wouldn't be able to cope.

One of them, as is Hill House's tithe, wouldn't be able to leave.

Anyway, not sure where exactly this rant was going. Uh. Nice Sunday we're having anon. Got any niche special interests you've been meaning to unload recently?

[ray935sworld]

Again - Bez needs physical contact (according to the Bez episode of Migno's podcast - didnt watched it yet but saw it somewhere)

Now please consider this: He was properly to nervous to establish first physical contact with Vale in the early stages of being in the academy (relatable). But maybe he was already more comfortable with the other boys, Franky, Pecco, Cele, Luca, and Vale noticed. And realized what's going on. (Or he didn't and was worried that Bez didn't felt safe around him) So he started the physical contact for Bez to make sure he knows that he's okay with it

[demonir]

Anyone wanna know the weirdest thing my mom said when watching s2 of good omens?

ok here goes

When aziraphale hit crowley with the "I forgive you" my mom gasped lightly and went "It's because religion forbids him" and I honestly just sat there like ???????????????????????????????????

[askinkiskarma]

some of the people in this fandom don't have a lot, but they do have the ✨audacity✨

[almalvo]

I been angry, but I am just pissed as sh1t rn let me be petty like?? So ima talk. After all this time, after seeing all I have seen, hearing all that I have heard, received all that I have received - Ima talk. Nuff silence; block me all you want but - Ima talk.

The "Star Trek" fandom is literally full of bullsh1t.

For a source material that speaks most largely on exploring strange NEW worlds, to SEEK out NEW life and NEW civilisations, to boldly go where no one has gone before... (though nothing is really new...) ... yall are just so nuzzled up and comfy over here in this hive echo-chamber you call a "fandom" because you can so easily and comfortably pervert the principle of differences and diversities in Star Trek so that you can surf the dunes of your own politicised, discriminatory, prejudiced, distorted delusional sandbox of what "freedom of speech" and "freedom of identity" and "liberty itself" (whatever tf THAT means lol) and what fake twitter/tumblr-sjw and chronically online "woke culture" look, sound, and feel like, gone most greatly uncontested because as soon as one person says or people say something, then they risk outting themselves for the same sh1t they pull in this "community", which would ultimately lead them to lose this sickening "freedom" that they cultivated for decades to say and be the sh1ttiest in a homogenised sh1tty social environment where they won't ever be conspicuous or scorned; to blend right in (worsening over time).

I been silently lurking around in this pop-culture space, observing for the better part of a year, and it's ALL I need to see more than enough - and what I seen is precisely why I stay the fvck a w a y from most all of you and do not involve myself with most activities or events (if any) being done - and if I do, I do so with utter self-awareness and caution. I been seeing what so many of yall doing and been doing. Whether you out here drawing strictly pink red-blooded Spock's; bleaching Uhura; being anti-SNW Uhura; accusing Spock to be anything near an anti-sem1tic symbol; forcing pressurised and uncomfortable messages to many artists over the years in their DMs completely unsolicited and unasked for without consent to make them draw Kirk the way you see yourself for your own restrictive agenda while completely disregarding the everything the artists say to you; talking about race theory when you don't even know what a hypothesis is; being a spokesperson for the population of people you have absolutely z e r o agency over; talking about or participating presumptuously or dismissively in subjects regarding identity that you have no idea about and don't investigate; using your identity as some kind of ticket of immutable correctness when you in fact still have to actually be correct; blindly believing and bandwagoning any ideas and social/emotional/political subjects without even at least questioning what it is that you are nodding your head to; refusing to do your part and put in the actual time and effort to do your own research into things that you dont actually truly understand; not admitting to your own ignorances; not having conversations with yourself and others in efforts to think learn and grow; not having the capacity to identify fault in yourself or actively recognising erroneous commentary elsewhere; being an utter bystander and doing nothing in the face of total ideological evil; being hypocritically super "identity-phobic" by using your own identity as some kind of justification and validating mouthpiece to push others beneath you to feed your insecure ego; being an unapologetic hypocrite at all; unchallenging the problematic nature of the environment around you or in even the people you know or talk to and encounter whether irl or online; committing to silence and performative activism for things that you should/need to care about; being lazy with caring; perverting social spaces in favour of your own unconditional freedom to harbour and flourish with your criminally bad takes and mentalities and ideologies where others around you will only be of the species to agree with you; thinking of Star Trek as just "oh next episode of entertainment oo ahh shiny shiny funny funny sad sad oo woke haha" instead of understanding that these things raised in the show are based in reality and are things to actually think about and reflect on regarding others AND YOURSELF and are not just solely thought-pieces for entertainment value; detaching the relevance of what you should've understood and learned from "woke" media to the real world/vicinity around you offline or online as two NOT-mutually-exclusive things...

... how so many of you art people drawing even caucasian people with skin that aint just white but like white white like an office drywall - like where all the blood at? god you must really hate colour that much dont you damn; how none of yall ever out here complaining about how restricted and problematic it is on multiple levels that only japanese people are constantly the MAIN group from all of asia that show up at all in Star Trek fr - and liking TOS/AOS Uhura only actually because of how close/how she compares and contrasts to WHITE beauty standards and not cuz yall really think they are beautiful for who they as bipoc/black women are without that prejudiced caucasian perspective (and I BET you so many of yall dont even KNOW you're doing it cuz you are so subconsciously conditioned to think and upkeep and pursue eurocentrism by society...) (wont say more for now...) I see you.

I never expected much of anything from a community of something I newly entered in not so long ago, because I know the world is not great and I seen too many fandoms to be pretty trashy (with very very VERY few exceptions - like a good percentage of BTS Army lol and I aint even really into kpop) But I think it hurts most when it is for something that I value so much, so deeply - That this fandom is a sham. That it is often the very antithesis of what birthed it. That it is just a guise for fools to use to live in problematic peace.

Such a critical portion of yall at this point for who knows how long these last 57 years are really just appropriating characters like Spock cuz IDIC is fvcked.

"Trekkie" is nigh equivalent to a moniker of insult by the rabid sickness of thought I see being pedaled everywhere by so many, many of you.

And that sheer lack of shame.

Not all, but I never said all. Of course there are exceptions. But don't let this ^ make you feel comfortable.

Because it's undeniable that so many of yall just dont care.

Just dont care. Complacy's a fvckn disease.

Like why the fvck am I here? How could I endure and strenuously press-on in such an insufferable place?

Because I ain't here for you. I am here for what brought me here and any who uphold thus to be true and just.

I love Star Trek.

But I hate to be thought of as a Trekkie.

Not while it stays the label it has become and will remain for long. Egregious. I grieve for the contributions and dedication and original vision that the greats like Mr. Nimoy and others had graced this pioneering of human creation with that have been so marred and abused.

I grieve for Star Trek.

I grieve.

To any and all who read through this entire thing and feel the fire of anger as I do against all that is so terribly misled and lost - do.

To any and all who read through this all the way and felt embarrassment, humiliation, shame - feel it. Admit it. Learn from it.

And grow the fvck up.

[apollokyler]

want to jumpscare people with my opinions on this blog so bad like i'm allowed to speak my mind on a weirdos speaking their minds website right

[someonefantastic]

The further I get through these later seasons of Charmed, the more it’s got me thinking about why they just don’t resonate with me the same as the first three seasons did. And yes the obvious big reason is both Constance M. Burge and Shannen Doherty being forced off the show but I’ve been trying to examine it beyond that in a “what specifically in the narrative isn’t working” way and I think one of the reasons I’ve landed on is that the sisters aren’t effected by something that haunts their every move as much as in the first three seasons.

Let me explain. Throughout seasons 1-3, there's Something that is constantly influencing the way the sister's behave and interact with each other. For Prue its her fear of ending up like her parents and thus abandoning her sisters. For Phoebe its feeling like she can't measure up to anyone and will never be adequate. And for Piper it's that this life that they've fallen into will rip away everything she loves. And sure, there's some of that in season 4 and beyond but it feels more because that's how the characters were originally built than intentionally written in. (Brain Drain is the only exception but that episode is written as Piper "conquering" that fear--though you do see her experiencing remnants of it with the preparation of her upcoming child being born but I'm not sure if that's intentional or, like I said, built upon the Piper we've seen in the previous 4 seasons.) But overall we don't really see these deep rooted ghosts repeatedly coming back in the same way that we did in the first season which is a huge miss, in my opinion. As I touched on, Piper's fear of being a witch taking away everything she loves would be a really interesting part of her pregnancy journey and preparing to be a mom. Or Phoebe feeling as if she'll never be enough would make her choosing to stay with Source!Cole even though he's evil really interesting and layered or later when she completely consumes herself with her work. And yes, there are remnants of both of those but the way those themes were so overt in the first three season really helped the show feel grounded and about people who also happened to be witches. There was a relatability that I think the later seasons are lacking because the sister dealt with every day issues that the audience could be experiencing in addition to demons and warlocks and the like.

I think Paige is the biggest example of this theme falling off the radar the how goes on because she doesn't really have something haunting her throughout the show. There are plenty of opportunities for that something to arise--comparing herself to Prue (trying to measure up to a sister she never met), Phoebe telling her off when she thinks Cole is evil (being the odd one out in the three of them's sibling relationship because she wasn't there for most of their lives), her meeting Grams and then Sam (not wanting people to replace the family she's already had), her not wanting to live in the house anymore (feeling stifled as an only child who is no longer an only child)--but it doesn't really. Or at least nothing really sticks. Which I think is a huge missed opportunity. Giving Paige an overt theme that haunts her throughout the show, informs her actions and pushes her forward, would be really good for the narrative. When Phoebe got upset at her at the end of The Fifth Halliwheel for not trusting Cole, I legit thought there was going to be a whole Thing about how Paige doesn't feel like she quite belongs as a Halliwell and what that means for her and there sort of are bits and pieces of that but it didn't really catch on. Not in the same way as Prue throughout her centric episodes or Piper every time she tried to give up her powers or Phoebe as she tried to get a job and couldn't and then eventually went back to college. It's there but it's not really.

Don't get me wrong, I love Paige and I enjoy these seasons but it's missing the same spark that drove me to spread out the episodes so I wouldn't finish a season too fast and caused me to obsessively think about the characters and their motivations rather than how the show structures its narrative. And I definitely think that not having those core motivators that haunt the character's every decision is part of the reason for that missing spark

[ride-or-die-otps]

It is so interesting watching 911 with my roommate. She really liked Tommy (she knows Lou from other shows she wayches) and really liked Bucktommy. When we watched this week's episode with the break-up her reaction was: 'oh that sucks I really liked them as a couple.' And that was it. My roommate isn't on 911s social medias or involved in the Fandom, she is the general audience and probably similar to the average viewer: straight white woman in her 30s (i know there isna very large queer demo who watches Im part of it). I dont think the general audience is going to be that upset about the break up, because honestly Tommy wasn't in the show that much (he is super important in Bucks journey though). I thought his character was fine and if he would've been end game I would've been disappointed about Buddie but I would've been happy with bi buck. But it's like buck said - it was a transformative relationship just like his one with Abby. Which was a catalyst for so much growth and development. It is not a bad thing that it ended, sometimes relationships do that and it is no one's fault (I do think the break up was rushed and written not super well). I just really hope that this means we are actually getting Buddie. I think we should wait for the rest of the season, or at least this half to see where the storyline is actually going before casting too harsh a judgement. Maybe Tommy will be back maybe he won't. Maybe buddie will never happen but we will have to wait and see. Stories need time to develop!

[akuma-is-here]

okay so the queen did it because she’s sus, john brown did it because he is lord Polaris and also in the anime he is replaced with ash landers who happens to be one of the perpetrators, and undertaker did it because he could be seen as a parallel to angela blanc (w the whole stitching up the phantomhives thing) and ik this because there is nothing more deceptive than an obvious fact.

I could go into heavy detail but only if someone says please.

[izupie]

It really bothers me to see fanfiction writers discussing how to/how not to write certain characters. because I'm like, my dudes. we are on tumblr dot com. we are writing stories about our favourite characters like they're dolls in the dollhouses of our mind.

you can't be sitting there on some kind of fanfiction high horse preaching out that everyone "can't" write this certain character in the way you've decided that you, personally, don't like.

i don't care how many hits your fics have got - like that makes you valid?

filter out the tags you don't enjoy on ao3 by all means, but you can't turn around and say that the way you dislike them being written is 'wrong' - that's your opinion and that's great but it doesn't affect how someone else writes them.

who are you that your opinion matters more? who are you to be the judge and jury on what is in or out of character when you didn't even create them in the first place? sound confident and condescending all you want, doesn't make your opinion any more or less valid than any other fan in the fandom.

Write characters any way you want to. fanfiction is supposed to be fun. if another fan tries to police you about the way you've portrayed a certain character tell them that you hope their toast always burns. and that they need a new hobby.

[kenobihater]

it's always rlly funny coming back from a break from this hellsite bc i usually accumulate followers in my months long absences, but as soon as i start posting my opinions and hottakes i lose like 10+ followers within a few days 🫶🏼

[shallowseeker]

I was just saying that I PERSONALLY view Jack as lacking in experience and therefore like a child. Sam is the only father who stands up for Jack in season 15.

Okay.

Jack: I'm not a child! I'm the son of Lucifer. I'm a Hunter. I am a Winchester!

14x14 Ouroboros

[mistbow]

“would you recommend this thing to others” my mode of enjoying things is that I enjoy things for what they are for me myself. who cares what other people think about what I like, we’re all different anyway that’s just a fact.

[pynkhues]

What are your thoughts on Mindy kaling? Are you a fan of her work? She's been receiving some criticism lately and I would love to know if you have any thoughts on her work.

I really like her writing, anon! I think she's a clever, funny writer who has a really distinct voice and can land sweet, emotional beats in a way that never veers into saccharine, which is a real testament to her talent. Her work has bounce to it, which gives it an energy that a lot of comedy shows lack, and I always try to check out her stuff.

I'm a little behind on a few of her shows though - I haven't seen her Four Weddings and a Funeral adaptation or The Sex Lives of College Girls, but I've seen all of The Office, The Mindy Project and Never Have I Ever, as well as Late Night, which I thoroughly enjoyed. I've also read both her books, and liked them a lot too.

I do get the criticisms of her though as well, and don't necessarily disagree with them. I think you can tell what romantic dynamics she likes because she repeats them in different works, and some of her stories can suffer from her voice filtering down through multiple characters too much, and that she doesn't always balance A-B-and-C storylines well. That said, I do think she's a writer who listens and I think she's one who's generally growing, and I actually think too she doesn't get enough credit as a major talent and a major voice when it comes to women in both comedy and in storytelling broadly.

So yeah! I get the criticisms, but I also am really glad that she's here, y'know? Especially as I feel like she's one of the few women in comedy who writes really consistently and unapologetically for a female audience.

[sammybirdseed]

They have a point though? Part of being a good writer is being concise. You can’t just write massive blobs of text. You’re not Hemingway; you don’t get paid per word. Just like a run-on sentence, you can have a run-on paragraph or a run-on chapter too. You have to know how to properly break things up. This is a basic writing skill.

Also… you’re writing for an audience. If your audience gets bored because you have 4 pages of context between 2 lines of dialogue, you’ve done a bad job. That’s not a controversial thing to say. That’s freshman fucking English.

Further rant in the tags below if you care >>>

Do they know that reading is not mandatory? Nobody is forcing them to read?

[dumber-alek]

I'm sorry but I have no sympathy for people who post their opinions on Tumblr and then get mad people contest these opinons.

People being rude or overly familiar? Sure, that sucks and I'm not wishing that on anyone. Missing the point so bad it seems like trolling? Very frustrating, I agree. Making the post about something it's not, in general? Yea that's the worst.

But I constantly see people with popular posts act just sooo indignant because they posted an opinion on the fighting over opinions website and someone dared to disagree with them. Oh no!

There are so many alternatives! You can post on a hidden blog. You can block reblogs and replies. You can also simply not post it in the first place! If you're not ready for a discussion why are you initiating it? So that everyone agrees and moves along?

Like. You got up on the soapbox. You had to be prepared for the possibility you're going to get booed off.