#some people are genuinely baffled that this show is a narrative and that choices were made to enhance the narrative

[blind-slime]

of course he did, moving right along...

[olderthannetfic]

Someone recently left a comment on one of my fics that they were disappointed I wasn't addressing any of the criticism or comments I got on Goodreads. After all, I reply to comments on the actual fic. Why am I ignoring the Goodreads commenters?

Well, 1. I didn't know there was a Goodreads page for my fanfic 2. I think if they wanted a reply they'd say it where I'm known to reply to every single comment without fail and 3. the kind of dumbass who treats 800k of free fanfics in a series like something they paid for is not the sort of person I want to engage with. If 800k of stories, with main stories, tie-ins, prequel asides, missing scenes, etc. for free wasn't to your liking, just... go read another? We have stories in this fandom whose whole series clock in at over a million words. We have stories where people have done fan songs and fanart and fancomics tying into their main work. We have stories with multiple timelines. You have so many options, all of them totally free and easy to access. If my stories, which I fully admit ares flawed and show some of my weaknesses as an author, don't do it for you, you have options. You have wonderful options.

If I had an editor and a publisher and my stories were actual books, I wouldn't have this reaction to this comment. But these stories have one person working on them total. I'm not making income off of this. This is what I write while working two jobs, for fun. As much as I do view writing fanfic as something that helps me learn the ins and outs of writing and put my all into it, it's going to be rougher than if I'd had help with it or had time to do more drafts than the three I normally do.

And if I was known for ducking criticism, I would get having comments on another site. There are authors in my fandom who delete anything that's not praise. But I have had long conversations with my haters in which I take everything in good faith and explain my writing choices, word choices and ideas. I have my tumblr which is just about my fandom stuff listed in the AN of every chapter. DMs are open and anon is on. My Dreamwidth account, also under the same name, also has DMs open. I have publicly stated when I have made shit narrative choices and owned that yes, sometimes I have genuinely dropped the ball. This has influenced later chapters where things go off of the original outline in order for the shit choice to have consequences in a way that makes sense and feels true to the characters in the story.

So "why are you hiding from the Goodreads commenters?!" feels like the most baffling thing I've ever been asked. I tried to be nice about it, but all I could think was, "why didn't the Goodreads commenters who wanted a reply post their comments where they know I 100% would've responded to it?"

--

Madness!

(Also, lol, half the pro shit with a lot of comments on Goodreads is barely edited. Maybe they were bitching about content? But if it was whining about craft, the bar is in the floor and they have nothing to complain about.)

[rawliverandgoronspice]

New anon. I've been a few reading your thoughts and general posts, and I really agree so strongly to many of them. Some of my biggest pet peeves in the story were really how weirdly disjointed it felt, with missing reasoning and foundation? If I may share my thoughts? I wish they had genuinely focused more on characters besides Zelda, because by the end of the storyline, and having watched all the tears, I was left more confused and empty, and not satisfied at all. Not to be rude to Zelda, but I really stopped caring about her because I was so hyperfocused on wanting to know more about the Zonai, Sonia, the Sages, and Ganondorf... and then nothing, well except two tears, and they gave almost no plot relevance? It was such a pity. The sages? Who? Why? How? Every sage showing the exact same memory with only a tiny bit of their personality sprinkled, but nothing about them as sages made me miffed. Ganondorf felt really like a missed opportunity, I think you, other anon's and everyone has already said it. In my words: Lost potential. I don't even need a big sobstory or anything, a monologue like in WW? Yeah he's angry that the Zonai are wasting their "god like powers" but WHY is he so angry about it? How are the lives of the Gerudo? Why are they split? Even if he was raised to crave power, just getting more of a look at why would have been nice. The Gerudo sage would have been a perfect candidate to get some explanation. (I'd have much preferred that over some of the more slice-of-life Zelda tears tbh.) I know it's called "The legend of ZELDA!" But I always took that to be more along the lines of "This is the legend of Zelda, but we (the player) see the legend from behind the scenes." Zelda being a major player and royalty would obviously be more interesting to in-universe historians, and easier to write down, with Link always just being "The hero clad in green!" But us, as the player, we see what really occurred, how the hero came to be, and that he's not "just a hero" but he's actually just a guy, who then takes up the mantle of hero. I just wasn't too invested in Zelda's story, especially since she's just background noise for a lot of the story. (Idk how to best word it, pardon me.)

Hello, thank you for the ask and sorry for taking so long to reply!!

Yeah, I mean I don't even think that Zelda got much opportunity to be a character either, despite her being the throughline for most of it. I don't feel like I learned anything new about her character that I didn't know from BotW, and some aspects developed in that game were gone entirely. As you said, she does feel like background noise, a witness to other people's story. Her nerdiness is set-up and then never really paid off (despite her and Mineru interacting), she gets no personal interaction with Ganondorf... I actually don't think they ever speak to one another directly, for the whole game????

Just went out to check that out and... Ganondorf says Zelda's name to her once, then Zelda asks him how he knows their name. That's it. That's the entire sum of their conversation in the entire game, and it happens in the first 5 opening minutes. Unless you count fake Zelda, but even then that would only be a single sentence, and honestly I don't think it counts?

The more I dig around and the more I'm truly baffled by some of the narrative choices made in this game. Like I want to be Normal about it again (and managing, slowly, just getting through the last asks) but.... honestly I don't understand what happened. The straight up refusal to build up any kind of actual dramatic tension between the leading trio is so baffling to me. Like, not to dip back into the TotK Rewrite Well, but: why didn't they fully commit to the OoT route, since they were already so far down, where Zelda is the only one to suss out Ganondorf is out to get them, and so the tension is concentrated between the two of them, where she tries to save Rauru and Sonia from his scheme but can't (which would also give weight to her sacrifice as she turns into a dragon)? Then you'd have an actual reason to feel invested in the plot and want to avenge her and those she cared about! Why are the stakes so split out between Rauru, Zelda and Mineru, to the point where nothing has any oomph and you, as Link, feel pretty much uninvolved in the entire situation?

Like, sure the buildup to the final fight was amazing, the soundtrack is sooooo sososo good, the mood and ambiance is probably at its best, the fight itself is a little treat, but. I really felt like I was a Hyrule appointed cop having to walk into the freaky abandoned basement and yelling "sir I've been mandated by the royal family to formally ask you to stop dumping experimental chemicals into the sewers of the kingdom" to the local weirdo squatter in his broken hot tub, and then fighting about it.

But personal investment and stakes really didn't land for me. I was glad to see Ganondorf, tho I would have prefered him telling me anything other than generic anime villain stuff before repeatedly punting my face into the floor. But yeah. The story was disjointed, and it kept me from enjoying the extremely carefully crafted mechanics to their fullest capacity. :(

[tizzyizzy]

There are two wolves inside me.

One says that the odds of Steddyhands happening are impossibly low. It’s just not the direction the show is going .

But the other wolf says...

This is How Steddyhands Can Still Win

1. Polyamory Already Exists in the Narrative

Polyamory isn’t really a thing in most TV shows. The narrative in the audience don’t expect it to be brought up as a possible, legitimate relationship dynamic.

But through Lucius, OFMD has introduced polyamory as a possibility into the universe. Not only that, Lucius tells Izzy, a man agonizing over his precious pseduo pirate husband falling for Stede. Was this this show planting the seeds of Izzy contemplating a Steddyhands dynamic?

2. Stede and Izzy’s First Meeting Was Turbohorny

When I first started watching this show, I knew that Stede ended up in a romance with Blackbeard, but I did not know when he would appear in the show or what he would look like. I wondered when Izzy appeared if this might be him. And holy crap, that first interaction did nothing to dispel that impression. Izzy ripped up Stede’s shirt in the style of Zorro. Stede said he’d enjoyed their encounter in a low, sexy voice. The rivalry style sexual tension was off the charts.

Sure, the rest of the season pivots to Ed and Stede, but that doesn’t mean the choice of first meeting with Izzy wasn’t significant. Stede even met and established a bickering dynamic with Izzy before meeting Ed. Maybe future seasons will pick this up again.

3. Ed Has Two Sides

While we all know that Izzy gave an ultimatum rejecting Ed in favor of Blackbeard, Stede kinda of rejected Blackbeard. Ed was having a great time with Calico Jack. He wasn’t being pressured into behaviors he wasn’t proud of or acting out due to heartbreak. He was surprised and baffled by Stede distaste for his violent behavior. 

Wouldn’t it make sense for the people who are closest to each side of Ed to come together in some way? They could teach one another how to love and appreciate Ed in different ways.

4. Izzy Balances Them Out

Throughout the show, Izzy has been a spokesman for practicality and realism. It’s really sweet and charming that Ed began get understand one another and get along on their first meeting, but it’s clear they are both reckless in their own ways. Ed wants excitement, and is will to let his mood and whims govern his actions. Stede is naive and inexperienced in piracy. While there haven’t been any lasting consequences or much narrative weight to these issues in the first season, it seems like s2 is a good time to introduce Stede to the dangerous realities of piracy, and to show the consequences of what happens when a pirate doesn’t take their job seriously.

While Stede in particular will likely evolve on this matter, I doubt he’ll even play the role of cynical realist trying to keep everyone alive. They both need that person. Why not Izzy?

5. Ed and Izzy Were Happy Once

Well, happy is probably not the best word. But from Izzy’s loyalty and Ed’s reliance on him, it seems likely they had a closer relationship that soured over time as Ed lost enthusiasm for piracy and continued to neglect Ed in favor of Blackbeard.

While it has sad moments, OFMD is a romance and a comedy that will likely end with all sympathetic better off than they started. For Ed and Izzy, that naturally seems to be a better, stronger, more genuine version of their current relationship. And if Izzy is Ed’s metaphorical pirate husband, then the end point would be a happy, healthy, pirate marriage.

[gayleviticus]

assorted thoughts on the two new doctor who episodes (spoilers below)

space babies

Weird concept but I think it worked. i dont think the token political allegory had a ton of depth but the stuff about stories is interesting enough i feel like i need to think abt it a little bit

my biggest issue is it feels like the doctor and ruby do a very jarring 180 on sparing the bogeyman at the end. like, i think in some ways it was predictable, but it happens so abruptly after they show zero concern for the bogeyman even knowing the truth of its origins I was super confused. like, i was just content to dismiss it as literally a pile of snot and not a living being.

ironically given the pro-choice vibes in the episode, this actually reminded me a little of kill the moon, where the episode doesn't spend any time actually fleshing out what the Bogeyman is, whether it has consciousness, its degree of sentience etc, the characters just decide killing is bad.

since this episode doesnt try to make a moral dilemma of it it feels less bad than kill the moon (altho I think unfair moral dilemma is a very deliberate choice on KtM's part to make you empathise w Clara aginst the Doctor) but I think it makes the 180 more baffling given the episode seems so uninterested in the Bogeyman as an actual being? if that makes sense?

the devil's chord

to be honest, while it was a fun watch at the time, this felt like an episode that ran out of ideas midway and the more I think about it the more I sour on it. at least scripting wise - i do think this was a very strong episode presentation wise!

Based on this and the Giggle I genuinely don't think RTD knows how to write godlike adversary; both these stories generally collapse into just 'godlike enemy hams it up and does goofy things while the doctor tries random stufff to save the day.' Like, as soon as Maestro turned up it felt as if the thread of narrative logic snapped and it just became a random events plot. And I felt the same with the Toymaker.

I think the issue is that these episodes overplay the power differential so much the Doctor doesn't have any kind of plan - but because these godlike entities like to toy w their victims it means neither the protagonist or antagonist are really driving the plot? i think the fact Maestro read as hammy rather than threatening also didn't help.

I also think these episodes don't set up clear enough rules. If you're going to have godlike aliens with gimmicks confronting the Doctor, the obvious appeal is that it's a story about manipulating the rules of the game to come out on top. It's like dealing with the Fey - or even Weeping Angels; the tension is in figuring out how to rules lawyer the godlike alien out of existence. But instead too much is made of the Doctor not knowing the rules and not attempting to discover the rules and it becomes boring. And if you take that aspect away what actually is the appeal of Doctor vs godlike alien?

They should have played devil went down to georgia during the music battle smh

The Beatles saving the day felt cheap, but it would have been incredibly cheap if they weren't real life people. Like can you imagine any other Doctor Who episode where one-off characters dismissed in the first 10 minutes save the day?

ngl while the ending song was fun and not lyrically terrible... it did feel like the lyrics were ironically the same kind of thing as the bad songs they were lampooning at the start of like, just perfunctorily rhyming random things together? idk. i guess it wasn't as pedestrian but i found it a bit funny

both

i feel like these episodes had a bit more of a return to a kind of procedural investigation format of Doctor Who - characters turn up to a new location and slowly have to piece together what's going on, the rules. which we also had previously in Wild Blue Yonder tbf, but i think it's interesting.

I like how there were moments where Ruby takes charge and says something a bit Doctorly - like when they enter the recording studio in devil's chord she says something like "Right, let's go!" and leads the way. It's a small touch but it just subtly chips away at the dynamic where the Doctor is always In Charge yknow?

Space Babies riffing on End of the World and Devil's Chord riffing on Pyramids of Mars for exposition scenes is perfectly justifiable (esp in the latter case given Pyramids of Mars is like 50 years old now), but I did definitely feel w those scenes that I'd seen it all before? Like, it's one thing to reuse a tropey scene because it's an efficient way of moving the story along, but I felt w both those scenes as soon as I knew what was going on I'd seen it all before. Nothing new. I could go to the toilet for a couple minutes

The magical realism is interesting (the handling of godlike beings aside) but i especially like the ideas of memories, songs hidden in Ruby's soul, and the snow appearing - that's very cool!

[silvysartfulness]

12, 17, 19, 22 for the choose violence ask game👀

12. the unpopular character that you actually like and why more people should like them

Oh man, like. All of them? I tend to only fall for unpopular characters, so that's a long list. But keeping it just to a few choice people in the Untamed;

Xue Yang. Obviously. He's brilliant, he's dedicated, he's fucked up in some really interesting ways and he got so close to having a redemption arc and happy ending before everything came crashing down! If he'd been the protagonist/viewpoint character, you know he'd be getting the fandom's WWX cinnamon roll treatment. But alas.

Jiang Cheng. That so many people dislike him honestly baffles me? I see so many takes that are frankly based in extremely shallow readings, disregarding his trauma, his world context, the impossible balance between his crushing responsibilities and the people important to him. He's not your homophobic dad or schoolyard bully, he's a deeply traumatized person doing the best with what he's got despite losing everything dear to him over and over, and he's trying so hard. He's loud and has a hot temper, but for fuck's sake, there's so much love there and you'd almost have to be willfully blind not to see it!

Jin Guangyao. Another of those "if he'd been the main character/viewpoint character, people would have loved him" ones. He's intelligent, determined, hardworking and loyal - though frequently pushed way beyond his breaking point in that loyalty. Pragmatic to the point of ruthlessness, but it's because the world's one big trolley problem to him - he sacrifices the few to help the many (even if yes, that does include himself in 'the many'), but he doesn't take pleasure in the hurt he causes (except in that one pretty understandable case of his dad). He deserves so much compassion, or at the very least understanding!

Should I put Song Lan on here? A lot of people seem to hate on him for very shallow, ship-related reasons, but within the plot, he tried his very hardest to set things right. It's not his fault they were all already doomed by the narrative and he walked into Yi City that day as the unwitting catalyst.

17. there should be more of this type of fic/art

For fics, Yi City fix-its that don't count killing Xue Yang as "fixing it". Stories digging into the hot mess of the complex, fascinating canon-verse, or at least reincarnation.

More fics with characterization I vibe with - a complicated, rough-edged but ultimately lovable Xue Yang, a compassionate but stubborn and somewhat brittle Xiao Xingchen and a Song Lan who feels so much and is so bad at showing it. More SXX fics overall!

For art, more art with the CQL character designs! The designs for the other adaptations are kind of cute, but they're just not my guys, and I feel pretty lukewarm toward them on the whole.

(And fellow artists - please, please, please don't forget Xue Yang's missing finger! 😭 I see so much fanart with either 10 intact fingers, or a glove with a fully articulated left pinky. His lost finger is the driving force of his entire character arc, don't just forget about it...😢)

19. you're mad/ashamed/horrified you actually kind of like...

Hmm... 🤔 On the whole, I don't feel a lot of shame for my tastes in fiction. I'm surprised I actually ended up really liking the main couple as much as I did - in a love story, no less? That literally never happens, I always go for the sideline gremlins.Other than that, though...

Trying very hard to hold up the blorbos and my usual go-to tropes, groping around for any sense of horror or shame, but I can't think of anything really. ¯\_(ツ)_/¯

22. your favorite part of canon that everyone else ignores

I guess I'm that one (1) person who actually likes the Yin Iron plot? I genuinely think CQL made a lot of good choices to tie the sprawling narrative together more cohesively, and I liked the introduction of the Yin Iron and how it led into the creation of the Yin Tiger Seal rather than tossing the latter in as an "Oh yeah, this was a thing that totally existed all along, forgot to mention". (I know MDZS was written and posted in installment, and that can make it hard to work with foreshadowing etc, but even so. I do think CQL did a good job tightening up the story in many ways.)

And don't get me wrong, I absolutely don't mind the idea of Xue Yang as an absolute nobody clawing his way up from nothing! It's a delicious version, too! But there's just something about the idea of a family he could have belonged to, a sense of community he could have had, ripped away centuries before he was even born.

If I want to be a petty, I guess I could put "Xue Yang is canonically brilliant" under this question, too, because I wish that was explored in more fics and meta. The boy is a prodigy. He's a genius. He's also a street-brawler, petty thief and murderous little piece of shit, but that doesn't take away the first point. Let Xue Yang be the highly, dangerously intelligent Problem that he actually is!

[pocketgalaxies]

from my perspective, all we did was watch laudna take on a slightly different role than she would when she’s on her own with Imogen. She wasn’t alone, however, and both Fearne *and* Orym were obviously very invested in taking up the role of support and comfort, so Laudna opted to sit back and let them. They had talked about keeping a dream-journal, and since laudna wasn’t needed elsewhere, she took the opportunity very enthusiastically. Was it maybe tonally awkward at first? sure. but I don’t think it was as deep or offensive as people are making it out to be. It wasn’t “out of character,” it was just different. It wasn’t “uncaring” of Laudna, it was just a new role that she took up very happily, because in her mind she’s working to solve an issue that is hurting someone she loves very much, while two people she trusts readily took up the role she normally occupied. Imogen was in good hands, and laudna knew this, so she kept quieter (but still incredibly gentle) while Orym and Fearne did their thing.

I don’t know if I’m just too out-of-touch with fandom, but it was genuinely baffling to me to realize that people were as upset about this are they are, when I barely registered it beyond a dynamic-shift in both of my watches. Even going back to really pay attention to the scene, I struggle to be anything more than intrigued as we watch these relationships start to grow and change in real-time. I think it’s fair to wish she had been in a different role or done something different, but a lot of the loudest people complaining about it are doing it in a very immature “This character made a choice I didn’t like therefor it’s bad writing and I am personally offended” or “This scenario between my ship didn’t follow the characterization I built up for them in my head, therefore it’s OOC and bad rep and I am personally offended” kind of way. These characters and their relationships are incredibly multi-faceted, and if you’re going to have this severe of a reaction anytime they do something that doesn’t fit your personalization of them, you’re going to sabotage your experience as a fan. Character choices can hurt, but learn to criticize them while also recognizing that they’re still enriching to the larger narrative, and not inherently some egregious offense done to you by the narrative.

(note, I’m using “you” in the general sense, not in specific regards to your opinion in the conversation! I agree with a lot of your stance - just wanted to share my two cents)

yeah i totally agree!! i remember just kind of affectionately thinking "oh honey" when laudna made the joke about choosing your own adventure and imogen humored her w a little laugh lmao like it wasn't some strange shift in dynamics - everything we saw in that scene made sense with what we've seen of these characters so far imo. ppl are always taking this stuff too far like i promise if you just relax a little bit and enjoy yourself instead of actively looking for problems, EVERY show you watch will be so much better

[starhallows]

There were so, so many issues with this season, from the overall plot, to the pacing, to the tone, to the characters (yes, all of them). It's hard to even begin untangling them!

I can see what the were *trying* to do with these characters/story - but IMO, they didn't succeed.

My initial reaction after watching the season was *genuine confusion* and disappointment. Don't get me wrong, I'm happy people enjoyed it, but personally I was really *shocked* at what a ~mess~ it was?? There were so many things that didn't make any sense (and still don't). This is completely the fault of the writing, which was, sadly, very inconsistent throughout. (The writing was *BAD*, friends, I don't know what else to tell you 😬) But it was weakest (which is saying a lot, lol) with regards to the Sharma family. All three were both poorly written AND underwritten. Some things needed to be SPELLED out. Like the stuff with Kate was too subtle! You have to look really hard to see all the stuff happening with her under the surface. Too hard, imo.

Essentially, everything having to do with the Sharma women (and this also includes scenes with K and A) were obviously cut down in both the writing and editing process, to the point that what we see on the show is only semi-coherent. It's fine that the writers made changes (I don't even hate all of them), but the fact remains that they didn't do these characters justice. And I'm not talking about the book versions of these characters, I'm talking about the characters on the show itself. They created this complicated family dynamic (which is fine)- but they have so few scenes together that we never get to truly see or understand it. Yes, it is possible to string it together if you look closely, but IMO, you shouldn't have to dig so hard to understand what's going on. Kate, in particular, should have been given as much narrative space as Anthony (and probably more as she is a new character).

All of the characters needed more time, more space, more *conversations*, and maybe even some resolution?? Resolution for a lot of these characters was *necessary* especially in light of the complicated narrative direction of this story. The writers wanted to create maximum drama but they didn't want to actually write around the character ramifications or consequences of these plot changes. (And some of the resolutions we *were* given don't really make sense either, tbh). Instead, the show just rushes us straight to the HEA without looking back. Quite frankly the only salvageable thing about this season are Jonny and Simone's performances. They succeeded in spite of the writing, not because of it! If it wasn't for them this story wouldn't have held together at all.

Anywaaaaysss, I continue to be baffled by the choices made for the show this season and could obviously go on forever about them (and I have 😂), but I'll stop here for sanity. To summarize, it was all a jumbled mess for me. And that's that on that, lol.

(Very sorry about this, lol, obvs feel totally free to ignore/delete 🙈)

Hello! Thank you for the ask, and so sorry for the late reply! This has been sitting in my ask box for way too long.

I agree with you. The Sharmas could have and should have been more prominent in their own story, especially if you claim that this season is about "sisterhood". Their dynamics should've been explored more deeply, they should have had more screen time, and I think they would've felt well rounded then. The show, it seems, doesn't know how to pick a lane.

This is most obvious with Edwina, who is given five different arcs simultaneously, so we get all these character inconsistencies. Is she a naive girl who falls in love with the idea of Anthony and being a Viscountess only to have her "dreams" crushed? Is she a young girl with the pressures of providing for her family on her and is ready and willing to do whatever it takes to get there? Is she both? Is she something else? At the end of the season, we don't know who Edwina is or who she has been all along, and it's all because the writing lets her down.

It's the same with Kate, who spends the first 6 episodes sacrificing herself for her family, episode 7 completely and absolutely lost in her feelings, and rushes to her HEA in episode 8 magically healed, both emotionally and physically. She is our leading lady, and we don't get to see the evolution from point A to point B.

When I watched the season for the first time, I kept asking myself, why does it feel like this is taking forever when Kate and Anthony are still not together, and there are only X episodes left? And the only way I can explain it is that it felt like they had written material for a longer season, but then they remembered they only had 8 episodes, so they condensed the last leg of the season into the last 2. There were times when the season dragged on forever, and yet, some plots needed more time to breathe.

The actors did a phenomenal job with what they were given. Both Simone and Jonny are brilliant in their roles, understand who their characters are, and know how to play them. They are the best part of this season, by far. Charithra is also great in her part and did the most with what she was given.

To summarise, it's not them, it's the writing.

[moonsdancer]

I'm completely baffled how a fandom always latches on the resident soft emo boy of a franchise/show. Like c'mon! Next to the mentioned emo boi you've got a beautiful, well-written woman and a himbo with a heart of gold and who does the fandom choose to pair up with each other and obsess over? It's all fine and good honestly and everyone can consume media however they want but in the case of Arcane, those tendencies do get rather transparent! I appreciate the hell out of you spreading MelJayce love on my dash and hope that season 2 will give us even more thirsty moments between those two! Mad respect for you doing the lord's work, king! Love hearing your thoughts and AU ideas :)

hey anon. don't be baffled, i think this show is full of very shippable characters, and we sort of know how fandom 'taste' tends to go with latching onto certain characters, so i wasn't really surprised or baffled to see how dominant vikjay is (i think they're cute, have a tangible dynamic, and they also had fans from the lore, so there's that). it is what it is.

and, like you, i genuinely think people should just love and ship whatever calls to them. like shipping is so irrational, embrace that irrationality and live your life. and do not try to justify your ship ~preference~ by framing it as a somehow ~morally superior~ or ~just~ choice bc the usurping evil woman in the equation is ... well... supposedly evil. or re-write actual textual canon to support your ship and then downplay if not erase another ship's textual canon when it's convenient, which i see a lot of in this fandom, etc. etc.

but i will remain forever bitter about the legit campaign that certain shippers / folks went on to not only absolutely shit on and minimize meljay but mel as well. from the jump. and that was really deliberate and we're still dealing with the messed up narratives, erasures and "head canons" that were set up in the early days of fandom, and i don't think we'll ever really be free of them... maybe if mel dies like a lot of folks want her to. (because then we'll be treated to the retroactive fandom collective amnesiac ~mourning bonanza~ where everyone who hated her and her association with jayce will pretend that they luvved her all along, and beat their chests at the show's writers for killing her off. i still rmr my blessedly brief time in the spn fandom, we know how this plays out, lmao).

anyway, thank you. mel and this pairing in particular have inspired me in ways that i haven't been for fandom in a long time. especially fanfic bc i went over a year really struggling to even write a sentence for anything fandom related. so i'm thankful for that, and hope that i can keep contributing with fan works where possible. also there's fun to be had with small / rarepair ships bc the community for them tends to be really safe, enjoyable and supportive, and that's a cool thing, too.

i've decided to serve some 'cup half full' realness this week, apparently. let's see how long it lasts.

[maxwell-grant]

i have been watching old (and sometimes new) gmod animations and i grew up watching enough ytps to know the general idea behind them, and i recently gained a sort of fascination for them. there's something special about them that i couldn't quite put into words, but i think you got it down perfectly in your post about grand guignol. basically, thanks a bunch for that.

Well thank you! And, yeah, I pretty much grew up watching GMOD and YTP constantly and even today I still come back to those a lot when I'm restless and taking a break from work, and I think there's genuinely a lot that can be learned or discussed from them as uniquely 21st Century art forms.

I've been rewatching a lot of Raxxo's content lately and I think it was his content in particular that kind of convinced me that the "GMOD/SFM - Grand Guignol" analogy wasn't nearly as much of deranged word salad as I assumed it was, because in all honestly, if you had to try and condense his videos into a genre or definition or something of the sort, what the hell else can you possibly call this that in any way comes close to describing what you experience?

Like, all of his videos are described as "GMOD animated in SFM", because SFM is usually associated with more straightforward dramatic content while GMOD has been cartoon madness from the start (and it's fascinating to watch just how tame even the early Rubberfruit videos are compared to the kind of stuff Eltorro64 or Dr Lalve are putting out), and Raxxo is the latter in the style of the former.

And his videos are not just a non-stop barrage of brain-breaking, because they have weirdly dramatic pauses, and moments of straightforward action, or simple sentence mixing, and there's continuity between his videos, and incredibly smooth and natural gestures following by the characters stretching and deforming like jello monsters on the next second as their screams warble to drown the soundtrack and then everything's back to normal, and then they start doing things that kinda even make some sense as a narrative, but you cannot even begin explaining properly why, and I've watched these so many times that I even kinda start to see what makes sense and what doesn't, even though literally no one other than Raxxo is ever going to guess why he made the choices he did, and god these jokes must have taken hours if not days to render, why does the scretching Soldier head saying "Sputnik!" shows up in everything he does, and oh did I mention he also makes up the soundtracks he uses himself and they don't match in the slightest most people's perception of his content?

And for the finale of the Soldier Dispenser saga he created maybe the most batshit collaborative animation effort on Youtube, which is about an hour's worth of 200 animators all creating their own little batshit mini-stories in reference to his own and, seriously, who the hell could have possibly predicted something like this existing back when computer game Team Fortress 2 was announced in 2007? Or when Youtube was created?

Who could have possibly predicted something like this existing at any point in human history? Where else could anyone possibly experience this much audiovisual chaos anywhere? I can't even bring myself to watch the video in full again, but that this exists at all, and that it's far from the only one of it's kind, and that Team Fortress 2 fan content has spiraled so hard past anything the creators could have possibly predicted that it has self-sustaining meme ecosystems (Remember when smexuals were a thing? Or the Freaks?), that it's still fucking going 15 years past the game's debut, is, it's kind of a lot, is what I'm saying.

Like, I'm speaking as someone who studies a lot of pop culture and combs through it's most obscure and weirdest recesses to find stuff to write about, I'm still just as baffled by how far these things have gotten as I was when experiencing it for the first time. And you can find a lot of stories like these digging through Youtube Poop and the specific styles of certain creators or certain developing memes for franchises that grow and grow and permutate.

Think about what has to have happened to make a video like iteachvader's What'll It Be? happen.

Long John Baldry, blues musician extraordinaire, voiced cartoon villain Dr Robotnik in a Sonic cartoon. Said Sonic cartoon and performance was lucky enough to survive through Youtube clips. People noticed one of said clips of his performance has him saying a word that sounds like penis in a funny way, so they start making jokes about it, and parodies, and then literally hundreds of parodies popularizing the concept as a source of comedy, some of which take the form of music. Said music is done by cutting, remixing and splicing audio from said performance over music beats, which can be a PAINSTAKINGLY LONG PROCESS as someone who's tried doing that several times now, all this to make something with "Poop" in it's name (which I guess isn't that different from pulp writers spending weeks and months breaking their fingers to put out a novel's worth of content every month, for newspapers and magazines that were literally going to be used as toilet paper later)

These parodies catch on a bit and die out for a bit, until iteachvader comes along, and he proceeds to build a career not just by making funny parodies of said cartoon, but also knocking out genuinely really, really good musical parodies, editing voice clips of said performance to make it sound like the villain's singing (and additionally, he also creates his own tunes, and he's shown that literally every sound he uses is taken from the show, which is just, absolutely mind-boggling effort). He's also created over the years a running joke of Tails being Dr Robotnik's son that people liked enough to ask for more, and then we come to the video above, which is a song about Dr Robotnik spoiling his son Tails asking him what he'll want, which is not at all in line with how the two characters are canonically. And said remixes would eventually get remixed even further, even with crossovers with other characters or musicians, and so forth.

And that is the story of how dozens of creators working separately, and with little intent other than goofing around, single-handedly revived a dead man's music career, as the voice of the fan reinterpretation of a animated adaptation of a videogame villain, popular to the billions if not dozens of billions of views over a decade in the making, on a broadcasting platform said man didn't even live to see being created.

I think sometimes we like to think of ourselves as advanced and jaded enough that nothing surprises us anymore, and if we went back in time and showed an iphone to our great-grandparents they'd start screaming in sheer confusion. And, maybe they would, yeah, but imagine if you were Long John Baldry at any point in his life, even after he finished recording his lines as Robotnik, and someone showed up to you and explained that all of this was going to happen to you, to your voice, to your performance. Imagine if you were one of Valve's lead developers working on Team Fortress 2 during the nine years it spent in development, and someone showed you Raxxo's work and Soldier's Dispenser Quest and just, everything that had happened to characters you hadn't even fully created yet.

I imagine Long John Baldry would have taken it well enough eventually, by all accounts he was a fun person who loved to try new things, and he was an openly gay British vocalist in the 1960s when it was literally illegal to be gay in Britain, so I imagine nothing could possibly rattle his cage that deep in the long run.

But can you honestly tell me you wouldn't freak out at least a little trying to understand just what exactly the future was showing you? Can you honestly tell me your cynicism and world-weariness would be worth anything in the face of all this knowledge about what the world was going to do with your creations and work?

Can you honestly tell me, just now, that you have any idea what the hell is your legacy or reputation as an artist, or even what your art is known for, going to look like in a decade or two from now? And that things aren't going to get weirder than they are now?

I find that fact both frightening and strangely assuring at points, and exciting above all.

[ma-lark-ey]

~ Glenn dissection ~

this is genuinely not a post to start some kind of discourse, I just wanted to dissect gGenn close a little bit because i think the choices in today’s episodes are very interesting and i wanna dissect how I think they were the right ones. 

in summary; Lark is having a little special interest moment and wants to info dump sorry not sorry. 

My opinion on Glenn is fairly neutral, much like Henry. I don’t think he’s a terrible parent, but he’s also by no means a good parent. I do see some child neglect in his narrative, but he’s by no means ‘abusing’ Nicolas. 

So, I’ve been thinking about these two a lot over the past few days. Like, a lot a lot. They.... They’re a complex pair to digest

As Freddie and Anthony said in the latest episode of Talking Dads, people don’t like accepting characters who are good people and bad parents. Because if someone’s a good person, then they’re a good parent, or bad person equals a bad parent. Vice verse shit. 

Now, Glenn was ruled as a good person. And, I won’t say Glenn is a ‘bad person,’ but I also won’t say he’s a good person. Again, he’s a grey area. he’s a grey character. he’s a mediocre person. 

Glenn, at his core, is an immature person. A broken man who refuses to acknowledge he’s broken, and that gets increasingly clear with each time he talks about Morgan, or is asked about Morgan. There’s an unresolved grief there, and who knows if he’ll ever resolve it. He avoids those kinds of emotions (’harshing his vibe’) 

I think, narratively, the only option that would’ve made sense would have been to give up Nick. 

there are three core things we have to think about here. 

- Player; how would this decision affect Freddie? How do his personal desires for Glenn play into this? 

- Narrative; what decision makes the most compelling narrative? What furthers the story in the most dramatic way? 

- Character; What decision would the character make in this sitation? Why would they choose this? 

These are all things that are constantly needed ot be brought into topic when it comes to these kinds of major plot points. The only other instance I can think of for this in DnDads was the chimera and Grant. 

I’ll start at the top. 

1. PLAYER; The most intense part of a narrative is the player’s decisions in said narrative. As a dungeon master, I’ve watched my players choose some baffling things for their characters (such as, a typically laid back background player taking the lead in a mystery to try and assist our younger player) and these players own wants and desires in the storyline play a major role in these things. In this case; Freddie didn’t want to kill off Glenn. And that is absolutely valid and understandable and by no means wrong of him. He’s played this character for two years (or coming up on it) and that’s huge. That’s a lot of time for him to become attached and fall in love with this character he’s made. It’s completely normal, acceptable, and welcome for players to fall absolutely in love with the character they play. These players, over the course of their campaigns, become a way the players bond with each other. It’s no secret that Freddie feels very attached to Glenn, to the point there’s jokes there’s little to no line between them during episodes. He didn’t want to end a character he held so near and dear, and if anyone faults him for that; a personal fuck you to you, good tiz. 

A content creator is going to love the characters in the content they produce, and shaming them for wanting to hold onto those characters as long as possible is absolutely absurd. If Scott Cawthon can keep making FNaF games six years later, and no one insults him about it, Freddie Wong can choose the timeline where Glenn stays alive. 

2. NARRATIVE; in crafting a narrative, you want to choose the option that will cause the most conflict and interesting plots to follow. While, killing off Glenn would have provided us with a very interesting arc where they go to hell to rescue Glenn and go into this weird Entourage-style campaign; it’d be repetive. We just had an episode or two where the gang had to go save Glenn, and while we currently do have to save Glenn again, it’s very different this time. It’s not ‘Glenn got sent to a hell dimension’ it’s ‘let’s pull a jailbreak’ and yeah, I’m not to excited about another ‘go save glenn’ arc right after Deck Picks, I AM excited for Jimmy Wong and this new character of his, I’m vibrating with excitement. 

Choosing to give Nick up makes narrative sense, whether it was a ‘good dad’ decision or not. It made sense. It provided more conflict for the party, because now there’s a new guy in the party and Nick doesn’t remmebr who Glenn even is, it provides a very interesting new character arc (i.e, Glenn building a cool uncle type relationship with Glenn, and befriending Nick’s new dad.) No, Glenn giving up Nick was not some big heoric deed as some people are portraying it, but it’s more selfless than dying just so your kid can become an orphan and mourn your memory. That would’ve been the shitty option, I’m sorry, but it would’ve been. Especially given Freddie, nor Glenn, thought they owuld be able to bring Glenn back this itme. 

3. CHARACTER; I feel that this is a very telling decision for Glenn and wanting to better himself. I’m gonna focus on the topic of Glenn seeing Nick as his last tie to Morgan. 

We know Glenn is very stuck on Morgan, to the point of being stuck at the same maturity he was when Moran was born. He’s stuck there, trying to keep her memory alive. Because, Morgan was all he had and he lost her. And that sucks. When your partner dies, it feels like everything in the world is absolutely gone and there’s nothing you can do to get them back and that everything you ever were is gone. So, of course he would latch everything he had of Morgan onto Nick. It makes such logical sense. His wife has died, y’all. Unexpectedly. Suddenly. In a horrific way. But, here he has this little kid who is a physical manifestation of their love and commitment to each other. Obviously, he’s gonna latch onto that child and hold them close, see them as their last tie to Morgan. Because Nick is his last tie to Morgan. A child inherits parts of both their parents, and I’m sure there are things Nick does that Glenn sees nothing but Morgan in. 

Glenn wanted to keep Nick. He loves that kid so much. (Freddie’s first reaction upon meeting Nick in episode one is “Guys, I love my kid!” and that transfers into Glenn’s love language, encouraging Nick even if it’s in a very bad way.) But, I feel., and this is strictly me looking into his character, he realizes he needs to let go. He realizes he needs to let himself grow, and that him and Nick aren’t healthy and that he’s becoming Bill. And he let’s go. 

This also plays into how the Close family is known to live hard and long, (YOLO mentality) and so, clearly he won’t take the death option. Not happening. 

TL;DR Glenn choosing to give Nick up shows a major character growth in unhealthy attachment and admitting fault, and Freddie also is totally justified in choosing option to give up an NPC his player character is attached to instead of just killing off the character he’s clearly very attached to. 

[cblgblog]

I'm curious about your take on Wakanda being wronged hard in FaTWS, and by Bucky specifically? I haven't seen many people talk about it, but I'm just angry and confused as to why Bucky was to careless and rude towards Ayo and the Dora Milaje, acting as if their anger about Zemo was an overreaction. Hell, Walker got more respect from him in the end than the Dora did

I'm looking at the writers' perspective here, it was their decision and I'm wondering why. What was the thought behind it? Why did they make Bucky so insensitive? At first I thought it had to be some arc, but nothing came from it. I'm wondering what made them look at this series and think "Yes, let's make Bucky screw over the people that helped him".

It wasn't just him wronging Wakanda, it was his behavior towards Sam too, how he was so ignorant during the cop scene, dismissive of Sam's feelings, and obsessed with the shield to a point of lashing out at Sam for things that weren't his fault. Why was this a choice that was made? Bucky didn't have much personality in the other movies, they could've done anything but they chose this, and I think more people should talk about how wrong that is. Not for Bucky, but for the black people in the series who were wronged.

Okay so here’s the deal. One, I’m white, so know that going in, take my take on this for whatever it’s worth accordingly. Two, I haven’t watched the eps since they aired, with the exception of a couple scenes, so my memory—not so much of events but of specific nuances of how Bucky reacted to them—isn’t fresh.

I say that last part specifically because of Bucky and his interactions with Sam, because ultimately they bother me much less than the Wakanda stuff, and here’s why. Bucky is, to varying degrees depending on situation and episode, a dick to Sam about the shield for most of the series. Undoubtedly. But I get that, to a point. He at least explains his feelings in 1x05, why he reacted like that, and admits he fucked up. He had all his feelings for Steve wrapped up, incorrectly, in that shield, so when Sam just tossed it aside (from Bucky’s perspective), it caused him to freak out/lash out. Which was never fair to Sam, but at least culminated in Bucky recognizing that. Sam keeps saying to him that the two of them have not lived the same experience, the shield and its legacy do not mean the same thing to them, and Bucky finally realizes that. He acknowledges that neither he nor Steve grasped the full reality of the situation, and he apologizes. Does that erase what came before? No, but it’s not supposed to. It’s him acknowledging his own ignorance and trying to do better.

So, at least there’s an arc there, which is the other reason his stuff with Sam bugged me less. There was an evolution in his thinking, there was a change from wah wah, you gave up the shield, to oh wait, I kinda get it now. He realizes that his reactions were wrong, even if his feelings were understandable. Which, on a human level, I think they were. It’s a very human thing for Bucky to equate that shield directly to Steve, and take Sam’s rejection of it as a rejection of Steve. It’s understandable how he got there, given the bizarre nature of Steve’s time travel shenanigans, the nearly endless nightmare that Bucky’s life has been since he fell from the train. Losing yet another 5 years when he’s already lost 70+, all the unprocessed guilt and grief that isn’t helped by him having actually the worst therapist ever, oh my God this woman sucks at her job, she’s funny, but she’s awful. His feelings, I believe, were valid, given everything that went down. His reaction to them—the lashing out, whining, refusing to see Sam’s side of it—his reaction was not valid. But at least he gets to a point where he realizes that. At least there’s an arc.

Could they have found a different way to create conflict in the series? Sure, and I’m not gonna argue with anyone who wishes they had. For me personally, I was okay with it. Bucky’s ignorance and misplaced anger made sense to me. Bit of an aside, one of the few scenes I rewatched for this (because Youtube and knowing exactly where it was) was the cop scene, because you referenced. I’m assuming you mean the bit where Sam gets stopped, gets the ‘calm down sir’ treatment. I didn’t think Bucky was a dick in that scene? He seemed aware of what was happening, given his angry, “No he’s not bothering me, do you know who this is?” It’s actually one of a relatively few instances in the first 5 eps where Bucky does seem genuinely aware that he and Sam don’t live in the same world, even when they’re walking the same street, right next to each other. So, as far as illustrating that, and Bucky coming out of his own feelings long enough to pay attention to Sam’s, I thought it was one of the better scenes.

So, Sam and Bucky, I’m less bothered by. Bucky and Wakanda? That’s a hot garbage fire.

Zemo’s whole inclusion here, and nearly everything related to it, was incredibly botched. He’s randomly rich as fuck now, and a Baron, to match his comics counterpart. Which is not only an incredibly lazy retcon, it kills much of what made his character interesting in CW. In that movie, it was one guy, working alone, limited resources, dedicating himself to his cause. If nothing else, you had to admire his tenacity. Now suddenly he’s got a butler and a plane and piles of cash? Where was that in CW? More importantly…why? What purpose did it serve, besides making him more superficially similar to his comic self?

Why did we detour to him at all? None of his plans ultimately affect the larger narrative all that much. He starts out in prison and…ends up back in prison. Why? Why would the Dora just leave him there? Ayo says that they will bring Zemo back to face Wakandan justice…and then they just don’t. They leave him in the hands of the same people who lost him to two random dudes who were able to bust him out of prison on their own, one of those dudes being an entirely human guy, no enhanced powers, no Serum. In CW, okay, T’Challa did a deal with Everett Ross I guess, fine. But once the Americans proved they couldn’t hold him, it made no sense that the Dora would just go, okay, here you go again. They aren’t Batman. They have no reason to keep throwing the baddies in Arkham Asylum to wait ‘til next week when someone breaks out again.

The Zemo stuff had no arc to it. The only worthwhile thing was Bucky proving to Zemo that he can’t be controlled anymore, but that scene could have come about in a million better ways than it did. Ultimately, the weird little team-up with Zemo feels very cliché and contrived. It feels like a trip down a side road that dead ends to nowhere. It feels like filler, which is a particularly terrible crime when there’s only 6 episodes in the damn season.

Bucky’s dickishness towards Ayo and the other Dora really is baffling, especially when the writers went out of their way to give us that flashback, a direct, show don’t tell indication of all the Wakandans did for him. And it’s not his feelings for Steve that have him acting out this way, or at least it shouldn’t be. Steve has nothing to do with this aspect of things. Steve obviously had trust in and respect for T’Challa, and there’s no reason to think that wouldn’t extend to the Dora as well. Strong, badass women who put it all on the line for their country? Yeah, Steve should/would get that. He would have broken Zemo out of prison, if he thought it was the right call to make, but he also would’ve been like yeah, I did that, I understand that I fucked you over, I’m fully prepared to accept the consequences of that once my mission is complete, I’m sorry it went down like this. See the, “I’d like to surrender myself for disciplinary action,” he gives Phillips in First Avenger, after he goes to rescue the 107th. If it’s an authority he respects and acknowledges as having good intentions (Phillips as opposed to the Accords), Steve will ultimately give that respect back, even if he goes off to do his own thing first. He respected T’Challa and Wakanda. Bucky should have respected them even more, given his more direct connection, given the flashback scene in FatWS, given his acknowledgement that Wakanda and it’s people gave him a rare respite, a calm in the shit storm that’s been his life since 1945.

So yeah, it doesn’t make sense that he was so flippant and dismissive towards Ayo and the rest. It makes even less sense that they put up with it. It’s bad writing, that’s all I’ve got. The show is incredibly irritating, in that a lot of the plot-driven stuff is pretty fucking awful, but most of the character study stuff for Sam and Bucky is so good.

[himbeaux-on-ice]

Lehner and Flower are both great goalies, and I'm glad they want to try to use them as a tandem rather than a Starter v Backup. However I will say I only pay attention to VGK due to Flower and like I think he deserves the world but like so does any and every goalie imo. So like I don't know whats going in the VGK fanbase but like treat them nicely guys both of them 💜💜💜

(this turned into a whole-ass essay bc I got on a roll with getting this take off my chest lmao, thank you for your ask and I’m so sorry lol)

It just is so completely bizarre to me that every time Flower is not in net for one (1) game, there is a certain set of Vegas fandom that views this as some kind of conspiracy/egregious slight against him. Like. Guys. He cannot play every game! As somebody who was pretty much ready to cry tears of relief when Montreal finally got Carey Price a solid dependable backup this year, believe me, you do not want him to play every game! It’s not sustainable.

The man had maybe 2-3 games off over a six week stretch because Lehner was injured, and yet there were people who were upset that he was on the bench on Friday. They viewed it as if DeBoer was unfairly “punishing” Fleury for letting in a few more goals than usual in Wednesday’s game against San José (which they WON)... rather than, uh, letting the 36-year-old league vet who just played two solid months of Vezina-worthy back-to-back-to-back hockey get some rest now that your other NHL-caliber goalie is back?? It was just so bizarre. And the venom on some of the comments, it totally threw me!

Like. Vegas fans. Listen. I am Montreal fan whose favourite player in the WHOLE LEAGUE is Carey Price, the magic superstar goalie who the current iteration of that team was built around instead of a star forward or a star defenceman. I understand your goalie being the face of the franchise, I understand wanting to turn on any game and get to see him play, and being a little disappointed when he doesn’t. I know exactly where you are coming from.

What I don’t understand, and what totally baffles me, is this bizarre alternate universe that has been concocted in some fans’ minds where this franchise is supposedly out to sabotage and bully their incredibly popular, and right now incredibly successful, star goalie, just because he’s not given 82 (or in this case 56) starts in a season.

(Rest of my thoughts under the cut to be merciful to the dashboard lol)

I dunno, it feels like maybe too many people took that ridiculous sword painting stunt last year at face value? I came into caring about this team just a few games before that happened, and maybe that is why my perspective on all of this is so different from fans who came into this franchise at the beginning when Flower was the crown jewel of it or who followed him here from Pittsburgh. When I showed up, Lehner was starting playoff games and Fleury was seemingly sulking about it. It actually took me a while to come around to Flower as a player because of it, because that was not a flattering first impression!

Listen, I’ve never believed that an agent would do that without having the client’s blessing, and I’ve never thought it was anything other than poorly thought-out and more than a bit immature. I also believe you can be a nice, good person, and still do asshat things sometimes, which is what I think allowing his agent to do that was. I understand why he was mad to not be starting, but I also understand that in the playoffs you don’t have time to hand out starts just to be nice, and at that time, Lehner was giving the performance they needed to get wins. Nothing personal, just business. But people have taken it very personally, and bought the narrative from that painting completely.

This year, circumstance has handed Fleury an unexpected chance to take the spotlight as a full-time starter, and he has had an incredible, spectacular bounce-back season which has put him in the Vezina conversation in what, his sixteenth, seventeenth season in the league? Hooray! You love to see a story like that and I am genuinely pulling for him to win that damn trophy, dammit! Buuut I’ve also been worrying with all these starts, how long before he burns out and can’t keep pace with standing on his head and working miracles for 60 minutes every second night? Is it good for a young developing goalie in Oskar Dansk to be thrown into all of this every time Flower needs a night off? What happens to the team if he gets injured (which increases in likelihood the more games he plays)? Etc etc

Now, I’m relieved, because the other goalie, who put himself pretty damn high up in the Vezina conversation last year, is healthy and ready to start games again. And that means Vegas, lucky lucky Vegas, should (if Lehner is still up to form after his time out) have TWO excellent goalies to swap in and out of net every night. Nice!!

No longer do the other teams in the division get to hope and pray for “maybe it will be the rookie in net tonight...” Nope. It’s going to be one of two excellent NHL goalies, both well-rested because they’re trading nights, ready to ruin that other team’s day. Do you know how many other franchises would kill for that right now? Leafs fans go to sleep at night and dream wistful dreams of having your goalie situation.

If it turns out Lehner isn’t where he used to be after the concussion, and it becomes clear that there’s a marked performance difference between the two of them, then yeah, it might make sense to give Flower a majority of starts down the road. But as it stands right now, Lehner won his first game back, and now that he is healthy his showing last year has more than earned the benefit of the doubt for a tandem situation.

Nobody who looks at his numbers is going to perma-bench a goalie who is giving the performance Flower is giving this year. He steals games, even when the team maybe isn’t helping him out as much as they could. You don’t have to worry about that. IMO, Vegas fans for now should really genuinely appreciate that he’s now going to get to rest up a bit more before the playoffs, and then the conversation can be had in May once we’ve seen them both perform about who gets the most starts when Vegas goes on their postseason run. Oh, to be spoiled for choice...

But like, the anti-Flower conspiracy isn’t real, guys. It’s just not. He’s the face of your franchise. He is playing amazing. If there was doubt about his future with the team before, he has spent the last six weeks drop-kicking (poke-checking?) it into outer space. And in doing so he has more than earned the chance to catch his breath, sit on the bench and be a well-padded spectator for a few games out of every handful. His play will be better for it.

And knowing Flower? He’ll still have a big ol smile on his face the entire time. 😁

[candicewright]

Kindly requesting that analysis on wangxian being peak romance and how it compares to queerbaiting please 🙏 🙏 🙏

Hello, anon! I am very genuinely happy that my rambling thoughts interest you in any way (because I have a lot of thoughts) so here is my analysis as promised. It is veeeery long (almost 2k), sorry about that but I’ve really been looking forward to talking about this for a very long time. In the end, it isn’t so much about how Wangxian is peak romance and more about the censorship and how it compares to queerbaiting, I may have to do another post about that later on. Without much further ado, here it is!

The Untamed’s tasteful censorship vs. BBC Merlin’s queerbaiting and why I prefer one over the other.

I know most people follow this blog for Merlin and believe me when I say that I love this show more than I can say because it has quite literally changed my life. But The Untamed has opened my mind to a whole new world (insert Aladdin’s A Whole New World here) and it has given me a lot of perspective on a lot of things.

I often joke with my friends saying that my first consideration when choosing a new show to watch is saying “is it gay?” which is not far from the truth, but it’s also not the complete story. What I mean is that I ask myself “does this show have a relationship that I think is worth getting invested in?”. Yes, t usually happens that those are not heterosexual romances, but what can I say, I’m queer and I like my emotional support fictional characters to be so too. This is the exact reasoning that led me to Merlin. I saw a couple of videos about them on youtube and immediately found their dynamic compelling and their story beautifully tragic. But like with most shows these days, the writers failed (among other things) to make their relationship explicit. This has happened with every show I watched after Merlin too; The Witcher, Sherlock and Good Omens being the most notable ones. 

You can argue if they are or are not queerbaiting, I at least think Good Omens isn’t, but again, it is pretty subjective.

But i had grown so accustomed to this type of media that I fully went into The Untamed expecting something similar.

And oh boy was I wrong.

Now, the case of The Untamed is a curious one because it is supposed to be a love story between two men due to being based on a BL novel, but because of censorship, it had to be very toned down. I found this out right before actually watching the show while doing some preliminary research and while it did change my thought on what I was getting into I truly thought they would just erase the entire relationship and try to hide it behind straight relationships like in most other shows I had watched.

But that was absolutely not the case, to my endless relief and joy.

But how? How did they get away with censoring all the explicit aspects of a romantic relationship while still managing to tell a wonderful love story? And how does this compare to the queerbaiting of a show like Merlin?

Warning: I will be using different parts of both shows and probably some of the MDZS novel to illustrate my point, so there will be spoilers.

The initial accidental chemistry + innuendos vs. The establishment of the very clear enemies to friends to lovers trope

I’m going to use Merlin to compare and contrast this because it’s what I know best and the other show I've given a lot of thought to.

Merthur and Wangxian are both similar and different dynamics in the way they’re written and it was one of the things that drew me into The Untamed in the first place. Both stories begin with our main duo meeting and instantly disliking each other, ending up in a fight. And while they both set the story up to lead to a more intimate bond being created between the pairs, there’s something very different from the start.

Merthur is deliberately set up to be a close friendship and all innuendos and chemistry are accidental (in my opinion and only at the start). Let me explain.

The concept for Merlin clearly started with the idea of how the story would change if Merlin was a young boy arriving in Camelot instead of an old powerful sorcerer. Then they made the main plot to be his destiny/friendship with the young and arrogant Prince Arthur. I truly believe that the first innuendos were not what they intended and that all chemistry and sexual tension between the characters comes courtesy of Colin and Bradley and how undeniably good they look on screen together. Fans then started speculating (as we always do) and then the production team decided to run with it, making it almost a recurring joke when it shouldn’t have been. Had they treated that developing relationship seriously like what they were hinting it was, the show would have been very different.

The Untamed on the other hand, is everything but accidental. What they’re doing is deliberately establishing the enemies to friends to lovers trope from the very beginning. It’s not an accident that during their first fight on the roof of the Cloud Recesses Wei Wuxian tells Lan Wangji that women would find his true character very disappointing and that no one would want to marry him. he says so several times in fact and this is clearly both to highlight the change in their relationship as well as to say that Lan Wangji is not at all interested in the opinion of any female (or anyone besides Wei Wuxian for that matter). This is the same stuff we see in mainstream straight romances: one of the characters saying something to the effect of “who would want to date them?” only to end up involved with the other at the end of the story.

You could argue that Merlin does something similar with the conversation between Merlin and Kilgharrah where Merlin is affronted by the idea of having to help Arthur where he says “There must be another Arthur because this one’s an idiot...If someone wants to kill him, they can go right ahead. In fact, I’ll give them a hand.” but the difference between these two is that Merlin is hiding behind the guise of destiny and friendship to make these parallels while Wangxian is deliberately and clearly in a romantic context.

The deliberate continuation of the subtext vs. The suggestion of something more

The accidental nature of the subtext doesn’t last long and in true BBC fashion, it turns into full-on queerbaiting real fast. Again, you can argue endlessly about when the deliberately suggestive comments start, but by the end of the show, we know for a fact the entire production staff and even the staff were aware of the effect and reception their show was having. This was no longer an innocent mistake on people reading too much into it, it was a very purposeful narrative that they were pushing without ever truly committing to it. This is what got fans going crazy over “poetry” or lines like “you’re the only friend I have and I couldn’t bear to lose you”. These are all very intentional choices they made to keep their devoted fanbase interested and while we’re all very thankful for this material it really keeps us wondering what it could have been if they had taken that extra step.

The Untamed can’t take that step because of the censorship laws, but it’s still much more daring than Merlin ever was. While Merlin keeps the soulmate aspect of the Merthur relationship a suggestion, The Untamed outright says it, which was baffling to me. It even does it at a pint where the first kiss happened in the novel, which you would think makes it less romantic. But that's absolutely not the case because of both the non-consensual nature of that original kiss and because of how heartbreakingly beautiful the replacement scene is. Not only that, but they also keep all the elements you could expect to see in any pre-relationship stage of a developing romance story: endless amounts of mutual pining, not-really-unrequited love, jealousy, panicking at the sight of your crush (yes I’m looking at you 15-year-old Lan Wangji) and even some fun in vino veritas moments. They even have a son together! It doesn’t get more clear than that!

This is all the way the show has of suggesting something more without outright saying (even though it’s a pretty not subtle way of suggesting it).

Merlin, on the other hand, keeps trying to deny the romantic nature of the Merthur dynamic, which brings me to my next point.

The introduction of a female love interest as an excuse vs. The awareness that the audience understands the relationship in the way it's meant to be

Now, this one really bugs me, because of all the ways they could have done this they truly chose the worst and destroyed Gwen’s character in the process. 

In my opinion, the writers could have done a few different things. They could have fully developed the Merthur relationship as a romantic one while keeping Gwen’s role as a queen and creating a much more satisfying character arch for her, maybe even getting her together with Morgana or Lancelot. They could have focused on the Awen romance and therefore lowered the suggestions of romance between Merlin and Arthur, once again creating a much more enjoyable subplot for Gwen, though it could have also meant sacrificing the very powerful bond between the main characters. They could have even taken advantage of Gwen’s crush on Merlin in the first season and gone on the full-on polyamory direction! That would have been much better! Instead, they halfassed the romance between Arthur and Gwen and made it just...meh. Not that Angel and Bradley didn’t do a great job, it was more of a writing problem than a them problem.

The Untamed (despite the rumours and possibilities of a Wen Qing/Wei Wuxian relationship) decided to just run with the not really platonic relationship between Lan Wangji and Wei Wuxian, making them the complete focus of the story while still upholding the censorship laws. What I think the biggest difference between the two shows is, is that one runs on assuming the audience is stupid while the other one assumes the audience is smart.

Let me explain once more.

The Merlin writers clearly thought that by introducing Gwen as the love interest to Arthur he would just become what? Magically straight? As if we hadn’t seen the last four seasons of sexual tension between him and Merlin? The audience was not fooled for the most part, but some people did fall for this, coming with the argument “But he’s married to Gwen so he’s straight!” as if being gay or straight are the only two possibilities but oh well.

The Untamed does quite the opposite. It relies on the fact that the audience is going to catch onto the romantic aspect of the narrative without them actively saying anything because we are Not Dumb. It also does something that I think is quite beautiful which is leaving it up for interpretation as far as whether it’s platonic or not and even more touching is the way the story has resonated with the ace community (that is according to what I’ve seen, please do correct me if I’m wrong) by focusing on their emotional and intellectual connection instead of in their physical and sexual one.

This is why, in the end, I prefer what I call The Untamed’s tasteful censorship over Merlin and other shows’ blatant queerbaiting.

I feel the need after all of this to state that Merlin is still my favorite show of all time and that this is not by any means me saying that Merlin is absolute trash or something like that. There’s also a lot more that I think can be said in this conversation, so please feel free to tell me what you think and if you’ve ever encountered something similar to this.

Also, if I made any mistakes or wrong points, please don’t be shy about telling me!

I hope this rant was at least somewhat interesting and that you found it satisfactory, anon!

[impalementation]

what played differently positively and negatively on your buffy rewatch?

putting under a cut because this got long! disclaimer: this is all just my personal opinions and reactions, nothing objective or definitive. also when i talk about how i reacted “as a teenager” i mean from ages 13-16 rather than more mature teenage years. i did revisit the show briefly around 18, but don’t remember what i thought. so i’m comparing how i watched it at ~15 to how i watched it at 27, basically.

negative:

- a lot of trouble connecting to the more high school elements of the show. i just grew out of caring about teenagers, unfortunately. so i got impatient with a lot of seasons one and three, and some parts of two. which was really a shame, since i used to pretty unreservedly adore those seasons.

- in that vein, a lot of trouble connecting to buffy/angel. partly because adult men are no longer as opaque to me as they are to buffy, and so although i respect what the writing was going for by objectifying angel, it was still frustrating to feel like i wasn’t given much to go on as far as understanding his character motivation or why he and buffy were drawn to each other. boreanaz’s acting also got in the way of my enjoyment, unfortunately. i have nothing against the pairing, as a pairing, and i like a lot of the writing around it, but it lost the ability to give me any of the feelings it gave me as a teenager. i was sad about this!

- having seen a lot more movies and tv shows by now, buffy’s often ungainly execution was difficult to ignore. there are a lot of jokes that just strike me as clunky and unfunny, pacing i thought was slow, character writing i thought was dumb, etc.

- all the parts that haven’t aged well from a political perspective (some of which people complained about at the time too, of course). the weird attention given to xander’s self-deprecating possessiveness, terrible jokes like the one about the first slayer’s hair in restless, baffling moments of sexism, an often facile approach to gender politics, etc.

positive:

- i wasn’t a dumb teenager, but i wasn’t sophisticated either. i didn’t have the analytical toolkit that i have now. so the biggest positive change was being hit over the head with the realization of how intricately and elegantly thematic the show could really be. the feeling of “oh shit, they were doing things.” when i got to the end of season six and saw buffy crawling out of that grave a second time i was just on the floor like “fuck you buffy the vampire slayer and the symbolism you rode in on.” overall i gained a lot of respect for it as tv with literary tendencies. as messy as the show could be, and as superficially “pop” as it was (as in, it wasn’t a prestige-y hbo show), it’s one of the few tv shows i’ve seen that is clearly and consistently “about” something, both from season to season and over the course of the whole show. one of the few good comparisons i have is the wire, which is consistently about institutional decay and how systems fail people, and then explores that idea from season to season by looking at different failing systems (crime, labor, reform, education, media, etc). similarly, buffy is (among other things) about the trials of growing up, and growing into a person that has agency and ownership of themselves. and each season explores that subject in new ways by putting buffy into new situations that challenge her to be mature in a way she hasn’t been before. the wire achieves literary coherence in a much more controlled, focused, and overall skillful way. but people know that the wire is Serious Art. buffy fascinates me in that it has similar aspirations while also being goofy, stupid, messy, unabashed genre entertainment. unabashed television, at that.

- in general, i also felt like i had a deeper understanding of a lot of the storylines. i’d always liked seasons six and seven, even when i felt like i wasn’t “supposed” to (and hey that was another nice thing about watching it as an adult. i no longer had a need to care about whether i was supposed to like something or not, because i felt confident in my own ability to assess that.), but i didn’t quite get them on that emotional level. this time though, i felt like i completely understood the experience that the writers were trying to convey. buffy’s struggle with mortality in season five, depression in season six, and isolation in season seven, all hit me unbelievably hard. even the college experience stuff in season four had new, added layers.

- in a weirdly equivalent-but-also-opposite situation to buffy/angel, my life experience colored how i received the whole buffy/spike storyline. on the one hand, i was newly able to properly appreciate that their season six story was a story about a toxic and self-destructive relationship. as a teenager i found it hot and engaging, but also sort of baffling; i couldn’t tell what the writers were going for. because i was so used to a sex = romance paradigm in tv, instead of the sex-as-character-writing that you see in more sophisticated media. similarly, i was finally able to understand the more disturbing sides of spike’s character, instead of just finding him funny and entertaining. yet instead of that understanding making the dynamic, or spike as a character, less interesting to me, it actually finally gave me an emotional “in” with it. it made things compellingly complicated instead of just confusing. i couldn’t be moved by it before, because i didn’t understand the emotional conflicts at play. whereas watching it with life experience that echoed it, a lot of it felt like being suckerpunched, in a good way.

- for whatever reason, i also found myself really enjoying the willow/tara dynamic. i was pretty dismissive of it as a teenager. i thought tara was dull, and resented the feeling from friends that i was supposed to like it just because it was gay. but i found them (and tara) very sweet this time around, in a pleasantly subtle way, and with more understanding of my own queerness, i appreciated things like how implicit their courtship in season four had to be, or their easy domesticity. and it meant that when their relationship fell apart in season six it genuinely made me sad instead of just “well alright.” and i really like it when stories affect me, whether or not the way it’s affecting me is a happy emotion.

- my love for buffy as a character like...quintupled. i’d always loved her but, as i’ve said, my enjoyment of the show was on the superficial side. i think i used to basically take her at face value, and accept everything she goes through as “well, that’s just what happens to protagonists of tv shows.” also, since i’d never related to the sorts of coming of age narratives typical of high school shows (popularity! boyfriends! virginity! cheerleaders! prom!), and i hadn’t experienced any of the things the show explores past season three, it was difficult to feel like buffy as a character was speaking to my own struggles in growing up. but now that i wasn’t expecting to relate to her, it was easier to see her face everything and go “man, you brave, amazing girl.” i felt like i could finally really appreciate her as a character, which made all the times that i did end up relating to her feel richer too.

- all the parts that have aged well. there have been great female protagonists since buffy (and great female protagonists before her), but few great female heroes. and buffy is kind of incredible for being both. i’ve said this before, but one of the great things about her as a character is that on the one hand, she’s able to participate in a hero narrative that is normally only the province of male characters, and be a source of admiration or inspiration that isn’t about gender. but on the other hand, she’s also allowed to be human...sometimes to people’s dismay, especially in the later seasons. and that duality, particularly in a female character, is deeply, deeply rare. buffy summers is just an utterly remarkable character, and consuming more media only made that more obvious to me. aside from buffy, i think many of the show’s more experimental choices have aged quite well, whether the format breaking episodes in season four, or the postmodernism of season six, or buffy’s mourning and depression in seasons five and six. i also really appreciated the show’s themes around forgiveness, atonement, responsibility, and agency, and found myself wishing that more contemporary things had them.

[pass-the-bechdel]

The Good Place full series review

How many episodes pass the Bechdel test?

96% (forty-eight of fifty).

What is the average percentage of female characters with names and lines for the full series?

49%

How many episodes have a cast that is at least 40% female?

Forty-four.

How many episodes have a cast that is at least 50% female?

Twenty-eight.

How many episodes have a cast that is less than 20% female?

Zero.

Positive Content Status:

Good - you might even say, strong - in the sense that it’s all there, pretty much all of the big representation bells are ringing, particularly the ones for women and racial diversity. That said, the show is generally content to sit pretty and not push the envelope on inclusivity, so if you’re looking for inspiration in-text instead of just in casting, you might be disappointed. At any rate, it’s a solid feel-good time, and not likely to make you mad (average rating of 3.01).

Which season had the best representation statistics overall?

The numbers stay pretty consistent across the whole series, but if I had to call a winner, it’s season four, which has the highest percentage of female characters and the only above-average positive content rating (though that was awarded somewhat cumulatively, and so doesn’t feel particularly well-earned by that season above the others). 

Which season had the worst representation statistics overall?

It’s such a close call, but season three must be the loser here by virtue of the lowest ratio of female to male characters; it also had one of the series’ two Bechdel fails. Like I said, it’s...a really close call.

Overall Series Quality:

There’s so much about it that is fresh and original and interesting, I wish I could love it more. After a magnificent debut season, the show suffers immensely for a lack of pacing and the absence of coherently-planned plot, and at times the stagnating characterisation and pointless filler caked into the cracks in the storytelling can be frustrating and/or tedious. I’m only as disappointed as I am because the potential for greatness was so strong. That said, even at it’s worst The Good Place is still entertaining, and most of it is better than that. It’s irreverent, it’s fun, it’s surprising, and sometimes it’s even as poignant as it is remarkable. I have my gripes, in droves, but that doesn’t mean this show is not worthy.

MORE INFO (and potential spoilers) under the cut:

Imagine. Imagine a version of this show where the first season is basically the same, and the second season is...somewhat similar to how it is, but with more focus and direction, less time-wasting; a second season where figuring out that some fundamental change to their circumstances is necessary comes early, and instead of faffing about with ethical lessons in the fake neighbourhood again while Michael pretends he can get everyone to the Good Place, we get down to business with going on the run and into the Bad Place to find the judge and petition for help. Imagine this show, but the third season has none of that return to Earth crap, and instead, is the neighbourhood experiment from season four, properly fleshed out. And then season four is all about going to the Good Place and solving the problems there, addressing issues with the concept of utopia and the ineffectual bureaucracy of obsessive niceness (used for comedic effect in the actual show, but c’mon, there’s a whole untapped reservoir about morality there). Each season could have (gasp!) a properly-planned and plotted arc, dealing with a different school of ethical considerations, and I dunno, maybe the characterisation could have trajectory too, and the characters could vitally shape the storytelling, and maybe not get their personalities and experiences erased and rebooted over and over again, nullifying large swathes of the narrative which came before? Ideally, they could be reset zero (0) times, or at least have all their reboot experiences dumped back into them in the first few episodes of season two, so that they could proceed from there as whole people. Rebooting everyone’s personalities is not actually necessary to the plot in any way, and is, actually, incredibly detrimental to storytelling and especially, character development. Imagine this show, but just chilling out and actually telling a coherent story? 

I am all the more annoyed by how things turned out on this show because I know that the four seasons were planned for, rather than being the result of cancellation; the idea that the creators sat down and ‘plotted’ (using that term loosely) to make this mess drives me a little wild. The (attempted) avoidance of the dreaded ‘stagnation’ seems obvious, and it leads to major narrative shortcuts and jumps and instances where the show spends an episode or two on what should have been a half-season’s development, minimum, and yet at other times all momentum grinds to a halt for a bizarre bottle-type episode where the characters just talk about a concept for a while or work on some unimportant romantic subplot. The various ethical concepts that the show heavily incorporated as its bread and butter in the first season start to stick out like sore thumbs in season two, seemingly wedged into one episode or another for no real reason other than just to be there, and the fact that the show lets go of the idea of moral choices in the life mattering at all in the end leaves the backbone of the show in a very strange shape. I said in the season four review that I didn’t expect the show to come up with some One True Answer about how people should live their lives, but that I was baffled by the fact that the show side-stepped that altogether; what I expected them to conclude was something in the line of ‘we recognise that life is complicated, not all situations are created equal, and it can be hard to know how to proceed ethically or even to access ethical options within one’s circumstances. Still, it is important to do your best, not only for yourself but for your community, because the more good you put into the world, the more there will be to go around and come back to you. What matters most is that you are doing your best with what you’ve got’. The fact that the show distracted itself with fixing how the afterlife rewards people within the afterlife means that it suggests no incentive to perform moral actions in life, and frankly...who gives a fuck? The real world is the place we’re all living in, and there’s no point starting a conversation about morality in real life if the conclusion is just ‘guess we’ll straighten out all the fascists and bigots and the other pieces of shit after they die, so don’t worry, everyone gets to Heaven eventually!’

Anyway, if that seems like just a reiteration of what I said in the season four review, well. I’m still baffled by it. The other thing I was going to talk about in the season four review but held for the full series instead was that one big thing that I have railed about all the time since season one, and that’s PACING. For all ye wannabe-writers out there, please understand how important pacing is. Even vital plot or character beats can seem like meaningless filler in a poorly-paced story, because your audience’s mind is hardwired to try and follow narrative cues that are being incomprehensibly muddled. Standard structure can be played with, but if you toss it out in favour of ‘stuff just happens, ok? Except when it doesn’t’, you just end up with a soup of disconnected story ideas, and nothing threading it together. Character interactions and especially developments can help to create the through-line you need to keep the story functioning despite itself, but as variously noted with The Good Place...initial characterisation? Strong, excellent. Development? Not so much, not least because they kept getting deleted and rebooted. Also, time skips kept happening, and that’s a great way to fuck over your narrative coherence even more: remove the recognisable constant we call time! It’ll be fine! As with all things, it is perfectly possible to play around with this stuff, but you have to know what you’re doing and be doing it for a good reason, and that’s not what they had going on here. This was narrative soup, and when you have a soup, the pieces all kinda meld together and lose any individual purpose, meaning, or power they may have had. The result in this case was not bad, but it really could have been so much better, and literally all it needed for that was some attention being paid to the story structure via pacing.

So. The good news is, I think I have pretty well exhausted all of my complaints by now, and that leaves us with the good stuff, of which there was no paltry amount. The show was not a hit by accident (even if I do feel that it’s success had a lot to do with people sticking around after the spectacular first season, and not because it stayed strong throughout), and even if there was a lot of soup going on, what comprised that soup was all really fun and unique, and this made for a wonderful piece of light-hearted television that could be as hilarious as it was insightful. It still had a lot of great takes on things, the commentary was strong (even if it pulled all its punches towards the end), and whether the storytelling was ebbing or flowing, it was always delightful. The show also managed to pull a miraculous finale out of its hat, and that’s a rare thing in television; however the story wobbled over the course, the ending provided enough satisfaction to forgive just about any sins, especially if you don’t happen to have been watching with a deliberately critical eye. Do I wish that Eleanor got to hook up with a chick on-screen some time instead of just making a lot of bi remarks? Yes. Do I consider the show to have queerbaited instead of providing genuine rep? No. Is the underselling of the queer content my most significant representation complaint? Yes, it is, and that's good news considering the world we live in and the dearth of quality representation that the industry has brought us to expect. 

There's an important distinction to be made there, regarding the tokenistic representation that is very common these days in tv trying for brownie points and good publicity, exactly that kind of 'political' inclusivity that conservatives are always bitching about. It should not be surprising that I support that tokenism over the alternative of having no representation at all, but it can still be quite disheartening to feel like your identity or the identities that you value are being referenced as nothing more than an opportunity for some shitty producer to perform wokeness for attention, praise, and the almighty dollar. I bring this up because - even though The Good Place never really worked up much of a boost to its content rating - one thing I felt that it did really, really right was providing representation without it feeling tokenistic at all. Eleanor's bisexuality wasn't as prominent as I might have preferred, and as noted through the course of the show, there were times I feared it was more bait than real rep, but reflecting on it at the end, the way it was included feels organic, it never gets in the way in order to ensure the audience notices and is dutifully impressed. The number of women around and the multicoloured casting plays out even better; I never once felt cynical about the gender balance I was seeing, and I've said it before but I'll say it again: the fact that the show was packed with names from across the world gives me so much life. I'm still a little salty about Chidi's Senegalese origins getting the shaft (and we won't talk about 'Australia'), but the nonchalant diversity of naming goes such a long way to embracing the idea that this is a world for everyone (and an afterlife for everyone, too). And where anything else might fall apart or lose its way, that is an affirming thing. If you want feel-good tv, it’s here. This is the Good Place.