#the chemistry and the narration and just everything!

[pigglepiephi]

As queer awakenings go, I don’t know how Ai-oon survived this! 💕❤️💖🔥❤️‍🔥🤯

I’d have instantly fallen in love with May too!! 😳

[doodlejoltik]

my favourite writing device is having an un-Rei-liable narrator

[xx-slug-xx]

Billford isn’t just silly “toxic old man yaoi” like people have been saying. Their relationship being implied something more really means nothing. Cuz it’s literally horrible. Bill was manipulative, abusive towards Ford for years. And then did the exact same to Dipper years later.

Neither Ford nor Dipper or the rest of the Pines need Bill, if anything Bill needs them and that say a lot about how pathetic Bill is.

Yes and that’s why Ford and Bills relationship is so interesting to me!

Bill, a being that has spent eons painting himself out to be this absolute monster, and he absolutely is based on all his actions, finding solace in some human freak? Something that Bill, being treated as a freak in his home dimension, can relate to? Bill, the demon who most likely accidentally destroyed his entire dimension, who then had to make himself out to be the monster he felt that he was? His ego wouldn’t allow himself to be anything but that monster, and he lies about enjoying all the destruction he causes until his lies are no longer lies to him.

He’d never admit that he wanted more from Ford than the portal and nothing more. He’s supposed to be selfish, only caring about what new planet to consume. Relating to a mortal flesh bag? That would defeat the image he’s created for himself.

Ford saw Bill as perfection in his youth, and Bill valued him for being a dreamer. Bill was the only thing that could efficiently stroke Fords ego, and Ford enjoyed every second at the time. He’s the smartest man on earth, not able to relate to anyone but a dream demon he thought was trying to help him. Ford practically worshiped Bill like he was a god. Little did Ford know that the creature he thought was light was actually a great darkness. The unimaginable feeling of betrayal he felt when he learned the truth.

Bill played the game with him, not only to keep up the facade, but surely for something more as well. Ford seeing him for what he really was and making it his life’s goal to destroy him absolutely ruined Bill. Bill didn’t know what he had until it was already gone.

In the Book of Bill, he’s a horribly unreliable narrator. But Ford is way more reliable, and so is viewing everything from a completely uninvolved perspective. Combine what we see from the show, Journal Three, and The Book of Bill? And oh baby we got a recipe for a disaster of a relationship

They are so horrible for each other, but that sort of chemistry is so fun to explore when it comes to character analysis! It makes both Bill and Fords dynamic, their motivations, and other character related things so much deeper!

Bill needs purpose, and his purpose was ruined by his own undoing. He can blame any of the Pines family for this, but really, he’s his own worst enemy. The man needs serious help lol. Fords moved on, he has better things to worry about. Bill just can’t see past the potential for what could have been. Unable to forget the past, no matter how hard he lies to himself

I would definitely not say that Bill did the same thing to Dipper. Yes, he manipulated the kid and made his and his sister’s lives hell. But their history is not at all equal when Dipper didn’t dedicate his life to a false god like Ford did

Sorry for the ramble, anon! I’m in autism mode lmao

[nitewrighter]

When writers say the riddler is too silly for modern Batman stories, I wonder how much of that is code for “I can’t write good riddles”. I mean, even btas only had a few episodes with Eddie because Dini admitted they had a hard time coming up with them.

I suppose it brings up a problem with writing a character who’s supposed to be smarter than you.

It’s easy to have joker blow up a bunch of buildings.

You want to show a villain is tough, have them smack the heroes around a little.

You want to show a character is a genius, just have the build robots or time machines or whatever.

But very few can hit that intellectual sweet spot between “overly complex word puzzles so difficult Bruce has to pull the answers out of his butt” and “dopey puns that wouldn’t make popsicle stick standards”

I mean obviously the puns and silly little puzzles are a vital part of the Riddler, but you know, even if you can't write that, there are aspects of the Riddler that you can focus on that still feel true to the core of the character. I think the pathological need for attention can be a great focus for his character, and I think the Arkham Games did a fun job with that even if the majority of the 'riddles' were just in-game puzzles and him taunting you. There's also something to be said about like... certain facets of the Rogues basically getting offloaded onto the Joker because DC feels the need to jam Joker into everything to make it sell. Like, you have variations on Harvey's Two-Face origin story getting offloaded onto the Joker because of the Joker's (might not even be real because one of the Joker's whole THINGS is that he's an unreliable narrator) "Red Hood" origin story in The Killing Joke. So like, Bruce and Harvey are childhood friends, but then DC will bring in the Joker and kind of co-opt (one of) Harvey's origin stories to say, "Batman was, while unintentionally, intimately involved with the creation of the Joker." But like... the whole thing about the Joker is that we, as the audience, aren't ever really supposed to know why the Joker's Like That. That's the whole point of him having multiple "You wanna know how I got these scars?" stories in Nolan's The Dark Knight.

But like... take the Joker's obsession with being Batman's Ultimate Nemesis in The Lego Batman, for example--you actually have a lot of Batman's relationship with the Riddler in that particular interpretation of the Joker, because for the Riddler, it's all about proving himself as Batman's intellectual superior, and actually a major factor of their chemistry is that this obsession is significantly one-sided on the Riddler's end. And I think the Matt Reeves Batman also handled that "one-sided obsession" aspect of the Riddler really well, as well. Like, for Batman, it's all just mystery to solve and then you finally get to the Riddler and Paul Dano's Riddler is like "Wrow. I knew you'd find me because we're so alike and we're besties! It's allll for youuuu!" and then you have Batman fire back with "We're nothing alike--! Wait, I just remembered I'm also an off-putting loner freak. Uh oh." So like... there are ways to feel true to the Riddler even if you can't go full camp.

The Riddler WANTS Batman to find him. He WANTS Batman to solve his riddles because not only is that the only way he is 'seen' but he believes it also gives him control in how he is seen and who he is seen by--although it really doesn't because Batman has already made his assessment of "This is an egotistical loner freak who is desperate for attention and obsessed with me."

[antariies]

how to build a chair........... director's cut ∠( ᐛ 」∠)__ this is about to be a very long very self-indulgent post where i just talk about my own writing. i also doodled on all the pages i think it makes the whole thing more fun to go thru. welcome to my ted talk

SIKE before i begin. credit where credit is due, this post was the start of it all. it changed my brain chemistry my jaw was dropped i was in awe i was obsessed and before i even finished it i knew that i would eventually have to make something similar for the commander or else i would be cursed to think about it for the rest of my life. and i Was cursed for like two years every day i would just be like........ is today the day i sit down and draft the commander chair fic of my dreams....... maybe tomorrow......

and then i got accepted as a writer for the gw2 zine ᕕ( ᐛ )ᕗ the chair idea was actually my backup option in case my first idea didn't pan out, and thank god it didn't, bc this one worked so much better. (still working on my initial idea, just turning it into a full fic! it was wayyy too long to be a zine submission.)

this is the chair i used. i downloaded the assembly instructions and tried out a bunch of different free pdf editors until i found one i liked, which ended up being sedja. if anyone's interested in doing something like this, i recommend printing out the pdf and writing directly on it! it was a lot easier for me to just figure out everything on paper first and then digitalize it after :P here's a picture of my physical copy

okay actually getting into it for real this time !!!!!

1. yeah i could've just erased the ikea logo and left a blank space but then i realized i could turn it into an in-universe joke. and then i ran with it.

2. i ripped this straight from the product description on the website. thanks ikea

3. i'm not sure if anyone went and looked it up, but it's a real item code!

hehe :3c

4. if your commander willingly goes to therapy i'm happy for them but TO ME? you'd have to drag the commander kicking and screaming. it's not that they don't know that something is wrong with them, they know, and they know YOU know. you're just never supposed to talk about it. they don't look at their own psych eval results bc that's none of their business.

5. i normally avoid specifying the commander's race when i write them bc i enjoy the challenge, but for the zine i was assigned to write about a norn commander! as a human main i was uhhhh very ill-equipped. but that just meant i had to study up on my norn lore (•̀ᴗ•́)و i spent hours on the wiki, then went around interviewing norn mains for their opinions, which was great fun :D it all helped me narrow the focus of my piece: joining the war on commander objectification on the side of commander objectification (ㅅ´ ˘ `)♡ and no one self-aggrandizes quite like the norn commander!

and to balance that i knew my narrator had to be patronizing as shitttt. they've clearly been following the commander since the beginning and seem to know a lot of intimate details about their life, despite not thinking very highly of them. wonder who that could be :3c

6. i can't stop making references. so the original part number is actually #122620 in the manual but i've changed it here (and on the previous page!) to #082812, as in 08/28/12, the date gw2 was released! no real reason for it, @dalennaugw suggested it for funsies and i liked it. if you're my pal and i show you a wip and you have a cool idea for it, chances are i Will put that shit in. hi dale if you're reading this

7. another thing about me. i loveeee repetition. here the word "over" is repeated four times to match the picture. honestly a lot of the creative process for this piece was just staring at the pages and figuring out how to tie the pictures to the commander in ways that weren't extremely corny or trite. idk why i enjoy writing like this when i could be frolicking in the beautiful prosaic meadows of a word doc instead but. it's like i see a tiny little restrictive box and i'm like OH BOY can't wait to think inside of that thing!!! i like when the format matters just as much as the content and in some cases informs the content. am i making any sense here. well all you need to know is that i'm a virgo and my favorite book is house of leaves

7. aw fuck just realized i wrote 7 twice. whatever i'm not changing it this is 7 part two now. the theme of my piece is glory, what it means to the norn commander, and how far they're willing to go for it.

8. does norn culture place emphasis on seeking individual glory Yes are norn also very community-oriented Also Yes. i think it's common to see norn kids napping together in a big pile, usually after they've worn themselves out playing games outside. it makes sense practically (apes together warm) and socially (pack bonding good) but that's just my hc. growing up i used to share a bed with my cousins all the time so it's normal to me.

a young, naive not-yet-commander, with no real combat experience, has no point of reference to compare a "blaze of glory" to. but the way everyone talks about it, it must be a good thing. a wonderful thing. a reward fit for a life well-fought and a legend hard-earned. so they imagine it must feel like falling asleep surrounded by the people they love, who love them in turn.

9. .........i was playing a lot of ace attorney when i wrote this page. i wish i was joking 👍🏼

10. ohhh shit the truth come OUT this whole chair thing was all a ploy just so i could write about the departing. again.

will i ever stop thinking about her. reply hazy, try again later.

11. out of all the pages, this one has the most emphasis on text placement, like comparing the enlarged picture of the screw to a sword, the numbers counting the screws, and "up up up" being arranged to mimic a wisp of smoke.

i also wanted to lean into the viking/norse mythology influences with my word choice.

12. more nods to norn culture. i didn't know they referred to the six human gods as "spirits of action" until i was doing the research for this piece :O

and the domain of the lost is called a hall of ghosts....... cause valhalla.....

13.

i'm sorry this so funnyyy. SAYS the guy who literally clawed their way back to life for a rematch.

me when i'm in a sore loser competition and my opponent is the COMMANDER!!!

14. arms as in "limbs" and also arms as in "armaments" :•]

15. haha get it because the picture makes it look like there are two mirrored speech bubbles while the text paints two opposing interpretations of the norn commander. one that's selfless and humble versus one that's selfish and vainglorious.

16. and the best part is IT DOESN'T MATTER which one is true bc at the end of the day no matter what their motivation, balthazar is dead by their hand. ofc i'm of the opinion that the most compelling interpretation of the commander is both, simultaneously. contradictions are good for the soul.

17. i could've name-dropped kas, the only person present that would do something like that, but i felt it was better to leave it ambiguous.

18. low-hanging fruit. the metaphor was so obvious here but i had to do it. for the culture

19. the alternate title for this piece was "THIS COULD BE GLORY". "how to build a chair" was only supposed to be a placeholder title til i figured out a better one, but the innocuousness of it grew on me. also i came up with the other one too late and had already advertised under the chair title lol

20. my first instinct was to end it with something more reassuring, like "what you have built so far is enough" but that would've been an ooc switch-up for a narrator who has been nothing but snide and detached this whole time. gotta stick to my guns

21.

obligatory chair joke as the last line. for realsies though it’s meant to be an earnest appeal to the commander to take a break, to have a seat, but it’s also a challenge. are they willing to lean on their friends? are the bonds they’ve forged strong enough to hold their weight? are they willing to put their faith in someone else’s hands? are they brave enough to try? well. only one way to find out.

also guess what that wasn’t even the real last page of the manual. it's THIS

but no way i was letting this be the image we ended on. IT LOOKS LIKE A DICK AND BALLS!!!

and on that note, THANK YOU if you made it this far!! a very special shout-out to @hawkepockets, my lovely boyfriend and beta reader, without whom this piece would not be nearly as polished. i would bring him pages to look over and he would say Scrap half of those lines you can do better than that. kill your darlings. i would complain and argue for a few minutes then we would revise. rinse and repeat until we had honed this thing to perfection. i can't stress enough the importance of having a second pair of eyes on your work throughout your creative process, even better if it's someone who challenges you. i don't even pay him 🫶🏼

and if there was anything i didn't cover that you still have questions about, please feel free to shoot me an ask! (ㅅ´ ˘ `)♡ thanks for reading! see u later dudes ;P

[nights-at-crystarium]

Fragments - episodes 41-46 author notes

You can find similar breakdown posts on older episodes in my pinned!

Get comfy and reread with me the finale of the Il Mheg arc and the intro of a certain loser.

First off, I wanna emphasize how important this arc’s for Vivi. Had he not liked Il Mheg in general and Feo Ul in particular, the rest of the story would play out very differently, and not in favor of the sundered. His initial positive impression of the First is pretty much the only thing that saves it.

We've reached a high, physically and emotionally. You know what that means, as per the shb rollercoaster rule :>

Pan pride pixie blesses Thancred, ca. 2024, colorized. I accidentally gave them the pan colors but hey it works. ALSO! Stars in his eyes.

Re: distant nightmare, I’ll let you in on a secret, or a third party perspective if you will. Vivi's full of shit, he's too focused on the big picture. He’s narrating this whole story, but his perspective is, well, just that.

Initially this was Vivi's inner monologue, then I thought that I should just let them talk, and it wrote itself.

More under the cut~

Drawing a buncha vivi-lookalikes that act soooooorta but not really like him, just slightly off, was a surprisingly fun exercise.

Luckily for Thancred, though, he sniffs out the pixie magic, and knows better than indulging them.

...Still, what a shitty fucked up day. Sorry, Thancred :’>

This here’s an example of a moment where I’m uncertain if I’m being too subtle and if this flies over some readers’ heads. He refers to Alisaie’s “job” of dragging Vivi back to msq, which she recently started lowkey dreading (episodes 32-33)

...Though she goes back to her “duty” in episode 43.

She's pointedly SILENT throughout the episode, doing her best to hold back.

Thancred's a man who can say no to begging dogs.

Gridania mention! Vivi’s gridanian! He never speaks ill of the elementals, he's wary of them even a world apart.

This pixie's life is something Feo Ul's willing to sacrifice. Episodes 42-43 tell this story in reverse order, yes this’s the pixie that was supposed to agree with Thancred and go with the Scions to the Crystarium.

As to why there’s a dozen of vivis popping up as a backup: they needed just one fake Vivi to go with the Scions, but try organizing the pixies. Their plan’s already failed when this first pixie-Vivi refused to play their part.

“Yeah no, our guy’s special, but not as special as to explode in confetti”

I love his first ingame appearance in that Varis cutscene, this moment has similar energy: barely enters the stage, instantly gets impaled on a long object. This’s not foreshadowing, no, why would you think that-

The “camera” is perfectly still, there’s even some symmetry, demonstrating how calm and prepared Emet is. He didn’t expect much and he’s still disappointed.

This’s a super old comic. I spent the first half of 2022 testing and trying to find a style for Fragments, back then I had no plans, none, zero, absolutely no interest to give Emet a role bigger than a mention. The earliest version of the script had very few Emet scenes, which, looking back on it, was gonna be a disservice to his character. Well, that changed rapidly in late 2023 when I fell for him so hard that I broke my neck, and now I look back on a lot of what I did with Vivi with new eyes. THE EYEROLL. After spending two years developing a guy for a fun wolgraha chemistry (at the same time I was perfectly aware that Exarch and Emet are foils. I made a foil for Exarch, what on earth did I expect-), I’m going through a mindblow after mindblow as I realize HOW GOOD VIVI IS FOR EMET (and vice versa ofc) and how many things they have in common. This wasn’t always the case, Vivi just gradually got more cynical, tired, ✨grey✨ and everything else that makes a guy consider hitting it with The Other Old Man.

They’re off to a great start.

From Emet’s pov, this must really hurt, as in how many other shards of Azem might’ve snarled at him like this. Even though he must be numb to it by now, who says that there isn’t the tiniest flicker of hope when he approaches yet another not-Azem. He may deny and hate and try to snuff out that spark, but the fatal Soulmate Magnet keeps doing its thing.

Parallels to episode 2.

Apparently, Vivi’s first reaction to encountering his to-be-most-prominent boyfriends is to attack them somehow.

This’s really, REALLY dumb of him, and he even comments on it shortly after. But yes, his isekai tale in the First was rather pleasant just until now, and it lulled him into the false sense of security. OF COURSE there are ascians everywhere, not just on the Source. Vivi just forgor.

Emet tests Vivi's reactions to insults/being treated as a lesser, silliness, flirt.

I regret to inform you that both Vivi and Alisaie have been disarmed so easily. The tone quickly shifts, the weapon’s lowered.

Alisaie makes bad puns/jokes in canon, I thought it'd fit if she laughed at that kinda jokes too, and in the least fitting situations, to top it off. Alphinaud’s disappointed, even if he can hardly be called an expert in humor.

“It’s up to you”. Emet stops fooling around, assuming a more serious tone. He may not respect Vivi or his agency here, but he provides him with a choice that's guaranteed to give him some trust points, and uses "we" for an illusion of unity/equality, a not really subtle nudge towards cooperation, it's not me vs you anymore, it's "us".

Whether Vivi picks up on the manipulation or not remains to be seen, but Emet gets his way here.

Forgive me this lil tangent, but I’m so giddy and excited to write Emet. If Exarch’s decently emotionally intelligent but still obtuse at times, Vivi’s a tier or two above him, he’s not a stranger to manipulation, he registers it being used on him, and doesn’t hesitate to use it too when it suits his fancy. He's quite good at people-ing. Emet, though, Emet’s THE emotional intelligence personified. He’s had literal thousands of years to practice, he leaves everyone else in the dust in this regard. It’s daunting but so exciting to write him, I hope to do him justice.

Let’s just talk.

𝓛𝓮𝓽’𝓼 𝓳𝓾𝓼𝓽 𝓽𝓪𝓵𝓴.

Mark this moment, remember this line for meme value. If these last words aren't famous yet, they WILL become that when we see what they talk their way into <w<

Yes I'm going all in on tragic irony of Emet's situation.

Accidental Emet rp, with the hunching over and all. Or maybe Vivi already unwittingly mirrors him. Or maybe he always did- *kicked and dumped in the trash bin*

Man. I'm guilty of enjoying drawing Vivi in genuine distress. He’s so fun when he’s agitated.

Hidden Angst Time! It's all hehe haha until you realize that this might be a product of the hectic wol lifestyle forcing him to speedrun his emotions like this. Either speedrun, or be left with no opportunity to process them at all.

Also, the sandwiches! The framing’s deliberate, they’re on the foreground all the time, and Vivi only notices them in the very last panel.

I! Love! This! Face!!!!!! A rare neutral, relaxed, thoughtful face, he isn't performing for anyone here.

Nevermind Ardbert getting brutally ignored here x’D

The fact that a guy that Vivi had briefly considered as partner material shut himself away in the Crystal Tower for what could be the rest of his life has stuck with Vivi for good. Or should I say for bad. He might not necessarily care about ARRRaha, still it upsets him that he kissed someone who practically killed himself some days later.

I recently talked a lil more about the Bitchless Liar. This’s how Vivi remembers him forever, take it or leave it. But hey, this cool Exarch guy has big balls probably <- in-universe hc \o/

This episode taught me to draw BREAD.

Even though Exarch’s been nothing but sweet so far, one thing’s to acknowledge a fact with your brain, another thing’s to wrestle with your trauma and paranoia that have all rights to exist and fester. Ever since HW Vivi doesn’t accept food and drinks from anyone except the few trusted sources. This isn’t really covered in this episode, but hopefully hinted at just enough.

He takes a leap of faith. Or maybe he’s simply sick and tired of living Like This. Maybe sandwiches kill him, and he doesn’t really mind. And, when they don’t, he goes through a visible shift in attitude towards Exarch, as we’re able to see in the following episodes.

This’s all I’ve got for now, thanks for reading till the end~

[dayscapism]

My Thoughts on the Percy Jackson TV Show (was not a fan):

Months have passed but, I guess I like to throw wood to embers to make fires again. Honestly, I would have abandoned it after episode 3 if it weren't one of my favourite book series ever and I wanted so bad to be hopeful and pleasantly surprised.

I don't think it's a terrible adaptation, but I think it's boring, badly edited, with character inconsistencies, has first-draft-level writing and just missed potential. I'm happy it's been working for so many others, but I've also seen a lot of people being so reluctant to negatively criticise anything about it. Which is weird, it makes me feel like we're watching two different shows and I'm the problem (am I the drama? perhaps. I don't care.)

It's not been an easy time to watch for me; it's a sustained, painful, physical effort to pay attention to this show, especially during dialogue scenes. Like how do you make a show about a bunch of ADHD kids and make it so NOT ADHD-friendly to watch?? (The writers and editors should watch EEAAO, that's how an ADHD brain approaches visual media). The pacing, the terrible exposition, it's the static and uninteresting camera work, the lack of a campy hyping music/soundtrack, the lack of stylization, the lazy editing, the actors stopping to chat in a static shot every other minute, no running during urgent situations, etc. Nothing is engaging! It's such a boring show! There's always exactly 1 thing happening on screen and nothing else around it, no hidden meanings, no mystery, nothing that could be layered storytelling, which is such an important thing in a TV show where you only have 8 episodes to tell your story! Spekaing of, ADHD and dyslexia don't seem to be shown or discussed again after it's mentioned that Percy has has it in episodes 1-2. I was hoping for bolder representation with that. (Why didn't they include the little dialogue where neither Percy of Annabeth can't figure out the sign at the emporium because of dyslexia, and Grover has to tell them! These little moments count so much for representation of this kind.)

The dialogue paired with the pacing/humour is not landing. It truly feels unpolished, like a first draft. Like technically it serves its purpose, but it's an ineffective, unengaging manner to write a tv script. They should have done more flashbacks too, to give context and exposition. But instead, everything is given to us like you would in a book. (And this is coming from someone who read the books years ago so I NEED this exposition because I don't remember a lot of details, but the exposition isn't even helpful and the writing doesn't keep me engaged enough for me to even pay attention to the exposition!) The actors are doing the best with the material they have, they're all really precious, but this writing and directing is hurting their acting so bad. The dialogue and scenes are so awkward, which hurts the chemistry between the characters too (I expand on my issues with the characters later).

A lot of the tone and pacing issues could just be a book-to-tv adaptation thing because we're no longer in Percy's head with his funny sarcastic remarks and long paragraphs that can give us context. But then why didn't they include narration? Why didn't they keep it up after the intro in episode 1?? Why did they even include that bit if they weren't going to keep it up?? We have 4th-wall narration in lots of things these days (from the top of my head, Fleabag and Deadpool), usually done for comedic and style effect. This would help so much with the pacing and tone! the lost potential is so frustrating. Many movies/shows don't need narration; this one could have benefitted so much from it.

The show is not funny whatsoever when the books are hilarious. At no point did I laugh out loud here. Such a crime. I hate to be one of THOSE but the movies at least got the unserious and funny beats right. Like why is the music in this show just an epic forgettable MCU-like soundtrack but with a serious tone? Why didn't they include modern or campy songs? They should have taken clues from the Umbrella Academy's first seasons. And they could have included Greek music in it too! How could would that have been? It's not a bad soundtrack by any means, but if nothing else is used in a very strange manner in some scenes because it sometimes cuts the action or doesn't match the energy or vibe of the scenes. The visuals and settings are pretty good, I admit, but these are underserviced by the entire production's lack of style and music and tone are a big part of that.

Some people have said the action scenes are bad, but I feel the problem is there's no sense of urgency, of danger (no layered storytelling here either). The fights with the monsters are okay, great even, the problem is this lack of excitement. The problem is the setups to the action: the lack of tension and then rushed resolutions. For example, they dragged the scenes with Medusa and Equidna talking that it lost all suspense. Equidna literally says instead of just jumping to it, showing what she would do to them kids. (Ok the chimera is cool tho, looks really cool. I want it as a pet 😊 And the editing when Percy falls from the arch is pretty cool too, rare exception.)

But most feels so underwhelming. These kids should also be running everywhere, not calmy walking (bad directing!) This makes the monsters not feel as menacing, because they always have time for a calm exposition break long conversations in the middle of what are supposed to be life-or-death encounters with ancient Greek monsters. And mind you, these pauses for conversation aren't even layered, they're often shot with a static camera, with dull dialogue no 12 yo would speak. They could be having these conversations while running, while hiding, while doing something else! Mix dialogue and action! Layered storytelling, it's about themes and characters but also about how you present the scenes themselves.

An adjacent problem is also the actualization of the myths for a modern audience is a bit surface-level (like with Medusa). They could have done so much more here.

Now, issues with characterization:

Characters can really make or break a story. Here we have a lot of character inconsistencies, or rather, a lack of definition of the characters. It's not about the show being exactly accurate to the book here, it's the show wasting perfectly good character and plot moments from the show, while not being true to tone and to the core of the characters. Change in adaptations can be good, to consolidate or make things clearer and work for the new medium, but they character work here was very ineffective and inefficient.

Percy is supposed to be cunning, smart but not knowledgeable about the Greek world. The show has this being reversed many times. Grover is perceptive and has more life experience but he is reduced to nothing. Like I'm wondering why is he even here? Also, Annabeth and Percy get sincere with each other really quickly after like 1 day of knowing each other, no layered storytelling or emotional reactions to them baring their deepest fears and darkest backstories either. (Poor kids are doing their best with mediocre adaptation, though Walker is carrying the show at this point, tbh.)

And Annabeth... Oh. Annabeth is a hard character to portray and write, tbh, it's easy to make her unlikable and straightforward, can very easily come off as annoying, pedantic perhaps, though I am all for unlikeable female heroines. But this is such a baffling iteration of her character. She comes off as a stalker in the first episodes, then she's bossy yet she doesn't seem to actually plan or have good strategies (all is deferred to Percy really), then she sort of uses "the power of friendship" to resolve things but never her growing wisdom in too. Yes, she could be weird and caring and smart but they didn't nailed any of those traits. But my biggest gripe is that they didn't make Annabeth nerdy enough! Annabeth recalls a lot of facts during the show to look smart I suppose, but she rarely gets to problem solve or truly nerd out neurodivergent kid style, which I think is a huge missed opportunity.

An example, which might be very niche but it shows mu issue with her characterization and I have to talk about it cause I'm a physics nerd (literally, it's my major), the part in the ST Louis Arch in episode 4 where she tells Percy and Grover stuff about the construction is so... basic. Like she just read it out of a tourist pamphlet or something. She just says how tall and wide the arch is and that it's symmetrical. That's it. Right...

Why didn't she mention what type of arch it is?? (A catenary arch, more specifically one that follows a weighted catenary curve. It isn't just held by "symmetry" it's tension! It's cool math!) Maybe she even mentions that it's a hyperbolic function and Percy and Grover can be like omg what are you even talking about, and she keeps going on and on about calculus and architecture, like a neurodivergent kid would about their interests. I mean, sure she's like 12, but she's supposed to be like a gifted kid, daughter of Athena, right? She probably knows some of the science and engineering behind the arch. Missed opportunity. Or maybe it's just that I see so much of myself in Annabeth and it hits too close when they can't make her justice. Idk. Like having a true nerdy, brilliant, neurodivergent, bossy but caring, black Annabeth would have been amazing. I guess the world wasn't ready for that.

This was episode 4 and the episodes are getting better...

Annabeth and Luke's relationship also suffers a lot from telling and no showing. Why don't we have flashbacks?? Such a missed opportunity for a show. As a rule, showing isn't superior to telling, but these two techniques need to be balanced in the writing, they can be combined too to serve the story during a specific scene or passage. In this case, telling was the wrong way.

For Luke, if they want his arc to have the emotional hit it has in the book, they really needed to build his character more and give him more screen time! Which could have been done with flashbacks. Because with Annabeth's stoic acting, too, we don't really get the emotional reactions appropriate to the events she recounts. So how are we going to feel with the betrayal since the relationship hasn't been built strongly so far? Nothing. We'll feel nothing.

Annabeth's actress is doing her best with what she's given she portrays her like she's in a Disney Channel kids sitcom from the 90s, deadpan but snarky, which is not a flavour of acting that helps this adaptation. This might be a larger directing issue, though, because Percy barely reacts when he sees his mother "die" in front of him.

Anyway, Flashbacks and narration could have saved this series alone, tbh. We don't even know how Thalia looks like! How are we gonna know it's her at the end of the book with the fleece reveal??

Ok, disclaimer, I didn't finish the show. I got distracted and bored and couldn't be bothered. I think I stopped after the Underworld episode (episode 7 I think.) I couldn't be bothered to watch the finale even with Toby Stephens in it. That's how enthusiastic I am about this.

Also a bit of a nitpick but why isn't it explained why are Percy and Sally are stuck with Gabe in the first place? About his scent? Why is the abuse so... sanitized too? Like yeah, we could have a more psychological and verbal form of abuse situation, of course, but we also didn't get that? Gabe was just unpleasant and a bit of a jerk, pathetic, but that was basically all. Also, no explanation for the blue food?? When it's such insight into Percy's relationship with his mom?? So much EXPOSITION in this series yet they missed many of the important parts!

Disney watered down Sally too. They really did. Her makeup is nice though.

So... yeah, they could be doing so much more with all the characters.

Concluding thoughts:

I don't hate the show (the visuals are great and Walker Scobell's acting is amazing, such a young talent!), but every time I finish watching an episode, I'm just bored and underwhelmed and wished I had done something else with my time.

I know it's frustrating that in previous decades usually had 20+ episodes, plus season 1 and 2 being shot side by side so we didn't even have to wait and fear of cancellation after so little; shows really don't have to be perfect from season 1, they need room to grow, but they have to have SOMETHING to pull the viewer in from the beginning, to make them stay. Anything! This show is giving me nothing to work with. I do hope the show gets better in season 2, and I understand that the 8-episode-season model is a constraint for writers, but I still think it could have done much better with the resources it did have.

For example, Black Sails had an infamous first season, but then it grew to be what imo is the best show ever put to TV. And yes, it took a while for it to find its perfect footing, but it was like a delicious cake that maybe has some bad frosting but the foundation is there, it just needs polishing and a few changes. But this PJO show doesn't live up to its potential and it's just so frustrating because I wanted to love this show so much but I'm finding it difficult to think of anything that I truly loved about it other than Walker Scobell's acting and course Toby Stephens (but I already love him from his previous work so it hardly counts).

Honestly, I'm a little bit tired of discourse going around saying that critiquing a show from season 1 is not acceptable because the show hasn't finished growing and we want a second season, we don't want the criticism to affect a season 2. But this is irrelevant and that's not how media criticism works. People can get very on board with good shoes from 1 season alone. That's no excuse. There are genuinely good book adaptations out there that make changes for the better and get a good foothold from the get-go! Look at Lockwood & Co, OPLA or Anne with an E. It can totally be done. The criticisms we have are precisely because we love the books, because we wanted this adaptation to succeed, because we wanted to love it, but it disappointed us. And we are allowed to voice that, as long as is done in good faith.

I'm happy this show got renewed because of the fans who enjoyed it, love the Percy Jackson series, it is truly dear to my heart, but would I be sad if the show was cancelled? Honestly, no. I couldn't care less what happens to this show at this point. Why should I? I was given no reason to care, aside from my already existing love for the books. I'm not intrigued about how they're going to adapt book 2, I didn't connect with the characters, I wasn't having fun. Nothing. And sure, I want young kids to be introduced to Percy Jackson, great if it's through this show, I want younger generations to love this series too, but I don't know any gen alpha who would enjoy such a show. (Hell, I really wanted my audience-age-appropriate niece to love it, but she couldn't care less about it and jeez, I wonder why...) Kids deserve better shows than this.

Will I watch season 2? Idk. Maybe? I can put it in the background while doing something else perhaps. I do hope they improve stuff but I don't have my hopes up. Will I watch episode 8? No. Life's too short. I already read the books so why bother (hehe)

[performativezippers]

When writing romance, what causes the relationships to feel like they lack a 'spark'? like, chemistry? I got these two characters who are opposites, they have a lot of things in common, potential for conflict and/or love, but despite that, it still feels like there's Nothing Fun happening there. They have more chemistry with the villain than with their love interest, and... i have no idea why! XD what could be missing?

ooh this is a great question! I have no idea what's going wrong in your piece specifically (although if you want to send me a page or so of them interacting i'd be happy to look at it and let you know what i see) but in general, here's what comes to mind first.

on-page chemistry is hard to write. it's hard! this is why actors are required to do chemistry reads, right, because if it could be guaranteed on the page, it wouldn't matter if the actors were limp socks. movies and TV shows have so much more to work with: not just actors, but camera angles and cuts, framing them in one shot together, lingering glances, MUSIC, lighting. fiction writers just have...words!

so those words need to try to fill in all of those gaps.

you've said your characters are opposites with a lot in common and potential for conflict or love. my first thought is where is the tension between them? are they attracted to each other? are they in competition with each other? what is keeping them apart and why is it integral to your story? if it's enemies to lovers, why are they enemies and why can't they just make up and get along? if they're friends to lovers, why can't they just start being lovers? if there's an external obstacle, like they'd both be kicked out of the dragon riders for fraternizing, why don't they just do that? and once you have that why, is it infusing every scene they have together? because it should be!

Not that you want every scene between them to be, "Sam, I wish we could kiss but we would be kicked out the dragon riders if we did," "I know Jamie, I do too," that would be repetitive and boring and annoying as fuck for the reader, right, of course. But every romantic interaction could be tinged with regret, with want, with yearning for a different situation. What if when Sam looks at Jamie before a big battle, they see an alternate reality in Jamie's eyes, a world in which everything were different--no war, no riders, no command--just the two of them with a cabin and a woodstove and a warm quilt Jamie's made on their bed, a world in which nothing would come between them, where Sam would never have to see Jamie saddle up to fight in the sky, would never have to wonder if Jamie would ever come home, would never have to wonder what Jamie's lips would feel like against her own?

in that example, there is want (we want to live happily together) but there's tension (we can't be together and also there's war that might kill us) which rubs against the want and creates sparks.

so I'd say think about your piece and your characters, and look at if their desire is sharp enough, and the tension keeping them apart is jagged enough, to rub up against each other and send up sparks that will eventually devour everything in flames.

because you've said they have more chemistry with the villain, i think you're close, because usually villain/hero chemistry comes from exactly this. the hero wants something (win the war for my side, save my dragon and my friend) and the villain wants something else (win the war for the other side), those wants are in direct contradiction (aka in tension), and that tension is taut enough to shoot up sparks. so you can do it! you're already doing it! just try to add that tension and this-is-what-is-keeping-us-apart to everything between the two romantic leads and see where that takes you.

in terms of the writing on the line level, make sure you're giving enough non-dialogue narration for the reader to understand the impact of the dialogue or actions. we've all read "flirting" that falls flat, which is usually because the words are flying back-to-back without any non-dialogue ("narration" or "inner life") to give it weight. i'm known for using lots of body examples (how does it feel in her body, does her heart clench, her teeth grind, her speen rise) but there are a ton of ways to do it! what does it remind her of, how does it feel in emotions, how does it feel in her body, what is she thinking, what is she imagining, what else is she noticing, what does she wish would be happening instead? those are all questions that might get you to some real, raw richness inside your POV narrator. here's a little example I made up:

instead of

"you look great up there," sam flirts as jamie vaults into her saddle. "you too," jamie blushes. "stay safe." "fight strong," sam intones. "see you after."

try adding in depth via narration, like

Jamie vaults into her saddle, and Sam's heart clenches. "You look great up there," she says. It comes out more flirtatious than sad, just what she wanted. She feels so weighed down by her feelings for Jamie, but she wants Jamie to fly unburdened, light and creative and free, the way she fights best. Jamie blushes, and Sam blinks back tears. God, what if this were all different. What if Jamie was safe, what if it were five hundred years ago and the dragons were merely pets and modes of transportation, not war machines. What if she could make Jamie blush out of memory of how they'd spent the morning tangled up together in their furs, instead of this--this bleak, unspoken, never-to-be-consumated, possibly unrequited thing between them. "You too," Jamie says, just as softly. And then, somehow even more tender, "Stay safe." Sam knows there are other rider saddling up around them, that command is always watching. She says what she's supposed to in return, hoping the words have magic to them. "Fight strong," she says, hearing others around the paddock saying the same incantation to each other but not meaning it the way she does. "See you after."

I hope that's helpful! Let me know your thoughts, everyone!

[psaikey]

Thoughts on “When This Is Over”

⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎

"When This Is Over"; Levi Ackerman/ Reader fanfiction on Ao3 and Wattpad by gorillagripgamer

⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎⭐︎

I have no words for this one and at the same time don’t know where to start, so let’s take it one step at a time.

To me the writing style is sometimes more important than the story because it can make any story exceptional. In this case the writing style ticks all the boxes. The POVs are amazing, the inner monologues, the dialogues, the descriptions, just everything is so real and feels tangible in a way.

Other than that the structure is very interesting, original and refreshing by narrating parallel stories in the past and present showing us the relationship between Levi and the main character from many angles and points in time as well as their many adventures together and how their bond grew. Character development also evident over time.

This is a slow-burn romance story but also somewhat an exception. Based more on denial, responsibility and acceptance. A story where the chemistry is immediate and having both parties aware but each having their own internal turmoil and reasoning why their love is unattainable (and obviously Levi feeling stronger about it). The weight of the circumstances forbidding their love but they always find themselves returning to each other fully aware, which makes the romance so thrilling, making you hold your breath and roll around in excitement. The romance scenes are hot and steamy, kudos to the author for writing them so beautifully. Their relationship is one of equals, respectful loving and funny at times.

The story takes place about a year after Levi’s recruitment into the Scouts and continues 10 years later to the end. Isayama’s original characters are all canonical, Levi included, and the new characters are all well written and fit the main character well. There are few manga/anime plot repeatitions and an interesting original side story. The only part where there is some description of Isayama’s story is the Rumbling, but with more than enough original content.

If you're looking for something truly moving that will leave you feeling hopeful and full of emotion, then you absolutely have to check out this amazing piece!

[alittlebitofloveliness]

5, 14, 15, 17

More outsiders asks? Heck yeah!

5. What are your favourite ships?

a) Curly Shepard x Ponyboy Curtis- idk why other than the fact that fanon Curly seems to balance out Ponyboy perfectly, and that I read a Curly fit on ffn when I was like fifteen that fundamentally changed my brain chemistry

b) Steve Randle x Sodapop Curtis- I don’t like any other within gang ship but Soda and Steve make sense to me and ngl my closeted ass clocked them as gay when I was reading the book because of the ‘pillow fight’ scene. I genuinely answered a comprehension question in class like ‘Ponyboy’s naïveté is shown through the fact he believes soda never drinks and that Soda and Steve were having a pillow fight when they slept together’ and my teacher had to be like oh sweetie no….

c) Marcia x Two-bit Matthews- Not a HUGE fan but they had such chemistry and I wish that could’ve been explored. I’m actually working on a fit about them rn, just because I wanna explore Marcia’s psyche. She was fun :)

14. Five headcanons I basically see as canon

a) Steve is secretly SUPER protective of Ponyboy, partially because he knows Sodapop would never be ok if something ever happened to Pony and he couldn’t stand it if Soda’s spark ever went out, but also because he wants Ponyboy to have the happy childhood he never had.

b) Darry absolutely dotes on Ponyboy, even though he’s strict, he’s lenient about letting Pony go places and works overtime to make sure he can afford to get Ponyboy everything he needs (and some stuff he simply wants), especially after Windrixville.

c) Johnny Cade is scary looking. Full stop. The gang just doesn’t see him that way so it doesn’t show in Ponyboy’s narration

d) Dallas Winston had a good mom and a happy childhood and her death was the catalyst that made him into the hoodlum he was.

e) Sodapop Curtis absolutely drinks, Ponyboy just doesn’t believe he does and Soda is not anxious to correct him because he doesn’t want Ponyboy to see him differently

15. Five headcanons that are entirely self-indulgent

a) Angela Shepard and Curly Shepard have to share a room because Tim refuses to share with anyone. Neither of them actually hates it half as much as they pretend they do.

b) Part of why Curly and Ponyboy became close was because Ponyboy was struggling with getting over his concussion, and the side effects were really stressful for him (dizzy spells, blurry vision, absentmindedness) and Curly kinda helped him with it because Curly spent 90% of his childhood concussed so he knew what Pony was going through

c) Tim Shepard and Sylvia are best friends and would kill for each other but not die for each other. However, they would avenge each other’s deaths.

d) Steve Randle wishes more than anything in the world that Darry Curtis was actually his irl older brother 

e) Two-bit’s little sister HATES Ponyboy Curtis because her older brother spends more time playing older brother to him than he spends actually being an older brother to her.

17. Are there any criticisms or salt you have with the book?

My criticisms with the book lie with the author. SE Hinton has proven to be homophobic and racist, and its written into the book, which is my biggest issue. I love the story of The Outsiders but do not want to support Hinton or her harmful, bigoted ideology under any circumstances. (For anyone out there who wants a copy of the book but doesn’t want to support Hinton, you can find a free pdf online, all you gotta do is google it)

On a slightly lighter note, I would have loved to have seen more of the female characters in the book. Marcia in particular had so much potential, and I wish we’d seen one actual scene with Sandy or Sylvia.

Thanks for the ask!!!!!

[wuffgang-ameowdeus-moozart]

Aren't you tired of forced romances with no chemistry that only take away from the actually interesting plot? Don't you just want media where romance isn't portrayed as being superior and more important than (queer)platonic relationships?

Well, my exhausted aro ass is too, so here are a few tricks and wisdoms I've gathered over my years of being a-spec (which is all of them) on how to avoid romance (in media) in a very allonormative society 💚🤍🩶🖤

(this is a rec list btw. no I am not shitting on the shows that I tagged, quite the opposite)

1. Middle Grade

I get if you aren't really into that, because it is kind of annoying to be pointed to literal children's literature when all you want is a story that isn't constantly being interrupted by describing the main guy's heated eyes for the twentieth time.

However.

It is true that in middle grade, friendship is always more important than romance. Because, let's face it. Making two eleven year old characters kiss is kinda weird. So even if there is a romance, it isn't very prominent and treated more like friendship and/or a puppy crush. Plus some stories get surprisingly dark?!?!

Examples

- Howl's Moving Castle (Diana Wynne Jones), technically a romance in the end, but mostly focused on found family, shenanigans, and finding your own value

- House of Many Ways (DWJ). Yes, again. I really like her books okay? They always have something so fantastical and whimsical about them. This is my other favorite book by her and it has literally no romance at all. Plus a hmc cameo that is so fun !!

- Coraline (Neil Gaiman). Maybe this is cheating because I never actually read it. However. a) the movie traumatized me. b) Wybie was added to the movie, he doesn't exist in the book, so if "power of friendship" isn't your thing this will be great. Probably vibes over plot.

Flyte (Angie Sage). Technically this is the second book, but I never read the first one and still understood everything. Once again, no romance at all. A fun read, which can get surprisingly dark at times.

2. Short Story Collections

Once again, I get it if it isn't your thing. Short stories are - as the name reveals - short. Which means: no worldbuilding, very limited narrator, open ending, no time to really get attached to characters, etc.

But.

The cool thing about collections, is that they always have a certain theme. And as long as the theme is not romance, romance will not be the focus. Even if there is a romantic relationship, it will be used to explore this theme since there simply isn't time for anything else.

Examples:

Life Ceremony (Sayaka Murata) This is the book that actually made me figure out: hey! I do actually like short stories !! The main theme is basically about being different and it plays a lot with body horror and the perception of your own body in contrast with how society sees it. There is even a story about two women who platonically live together and raised multiple children!

Canterbury Classics: Classic Tales of Horror (introduction by Ernest Hilbert). As the name suggests, this is a collection of horror short stories, featuring well-known authors such as Bram Stoker, Edgar Allan Poe or Charlotte Perkins Gilman. As these are classic old tales, the language is a bit complicated at times and you can read them for free on Gutenberg. However, the book is very very pretty and the introduction is very interesting (Origins of the genre, specific tropes and monsters, etc.)

3. Podcasts

PODCASTS!!! If you follow me, you are probably already aware of those. However, in case you don't, let me introduce you to the wonderful world of Audiodramas.

The cool thing about Podcasts is that pretty much anyone can do it. All you need is an idea, a mic, a lot of motivation, and you're pretty much set to go. No producers or publishers you need to get approval from. So it is only natural that this medium is filled to the brim with queer creators. Basically every character is somewhat queer. It's awesome.

Examples:

- The Silt Verses. I adore TSV. I listened to the first season like, four times. (the second one is good too but OH MY GOD THE FIRST ONE). And one of the main characters is canonically and explicitly aro!! Sister Carpenter, I love you with my whole being. And the great thing is, it is very clear that the writers love her, too!! There is a lot (like a LOT) of body horror so it isn't for everybody. But if you think you can handle it I really recommend it. (Plus, not any romance plotlines at all !!)

- Wolf 359. This is one of the older ones and it is really good. It's a bunch of restless and very unwell people stuck in a spaceship under the unforgiving rule of capitalism. However bad you imagine it, I can assure you it is worse. But the really cool thing is that there literally isn't any romance at all. Like, there are great m/f friendships but they never even hint towards a romance. Some people are so unused to that that they literally ship the main dude with the fucking robot AI. (don't worry, not an actual romance plot).

- Girl in space. I am sure you will be absolutely shook to know that this one also takes place in space. It is about a girl. In space. Shocking, I know. Except that she has been on her own for well over a year when suddenly a fleet of strange ships arrive and kidnap her. There is also a very asshole-y robot. And questions about what makes us human. And found family!! And a goat. And cheese. Just go listen to it okay. This is also one of the shortest ones of the list, so maybe a good start.

- Malevolent. I have to confess that I personally am not a huge fan of this one? Like the premise is really cool - a detective who wakes up blind and with a demon in his head who can see through the detectives eyes. What the fuck?, you may ask yourself. So does Arthur Lester. Mysteries and other dimensions and a whole lot of pain ensues. Harlan is undeniably an awesome VA and a great writer, but his stories just seem a bit too repetitive to me? Nonetheless I know of lots of people who enjoy it a lot. Trying to define the relationship between Arthur and John (his demon) is perhaps the biggest mystery of them all. (Jk. there are multiple murders and stuff. they've really got other priorities)

- Middle:Below. This is another short one and probably the least famous of this list? It's about this funky lil dude with a ghost roommate and a cat who can talk (.....or can it?). There is a m/f friendship but it never turns into a romance (wow it is possible!!). They all go on adventures on the dimension between life and death. Despite the description, this is literally just a comedy. A bit spooky at best. Reminds me a bit of scarier kids cartoons like gravity falls.

4. "Gay" movies/series in countries with homophobic censorship

Now you may think, "hey that seems like a bit of an asshole move!". And you would be 100% correct in thinking that.

However.

It does also mean that the main relationship of the story can never be explicitly romantic. They can allude to it, they can try to show it. But they can never confirm. So it is very easy to interpret them as having a QPR. (because tbh I don't think I've ever seen one on television.)

Examples:

The Untamed. Look. I am aware that the first episode is so fucking atrocious, all right? And no, the CGI does in fact never get better. And sometimes the translated subtitles are a bit awkward. But I swear that it is so good. Trust me on this one, okay? Just make it through the first ep. It's a wild ride. Lan Zhan I love you. (However the book it is based on (written by a woman) depicts them being in an explicitly romantic relationship, with lots of very inaccurate and badly researched smut, so the fandom pretty much sees them as exclusively romantic.)

- Word of Honor. Very much in the same vein as The Untamed. Except that the first episode is less horrible. And the one dude has a very fruity fan. And they also raise a kid together. And the costumes of the villains are really fun!! I actually never finished this one tbh. I know that the book it is based on has one very extremely terrible ableist plot point, but I don't know if that made it into the show since I never got that far

The Devil Judge. The last two were fantasy, this one is a dystopia. Very tense and interesting. There is a romantic subplot (typical childhood friend vs bad boy love triangle), but he rejects the childhood friend and they can't exactly show him and the "bad boy" (who is actually a judge. and also kinda his sugar daddy) as explicitly romantic for the reason above. They also live in the same house and cook together and take care of a child together. Can totally recommend.

Assassination Classroom. A bunch of students have to kill their teacher who is an alien. that's literally the plot. I cried so hard at the finale. Nagisa and Karma have MASSIVE vibes and you can't convince me otherwise. (There is a romantic subplot that does end in a kiss, but they agree to continue as friends since those were..... extenuating circumstances. The dude very clearly is not into her). Nagisa also very aro-spec coded imo.

5. "Straightbaiting" Anime

Sometimes Anime does this thing (which I personally find very hilarious) where a boy and a girl will have no other romantic involvements or love interests while growing closer and closer, but never get together. A bit like reverse queerbaiting.

Examples:

- Fairy Tail. The ultimate power is friendship anime. That is all you need to know. (I should also perhaps warn you that the end of the last arc (and the sequel series, but we don't talk about that) are huge letdowns. Like the buildup? So good. But....welp. If that doesn't bother you too much and the idea to have a group of people be the main character instead of one person only, this may be the series for you. Just do yourself a favor and skip all the filler arcs

Soul Eater. I really love the vibes of this one. Once again, most of the fandom likes depicting them as explicitly romantic, but they never canonically are. It also reminds me a bit of creepy children cartoons. It is also where the superior fictional school exists, Devon. Frankenstein teaches there (the dude, not the monster). People transform into badass weapons. Nobody can convince me that Make Albarn is not a trans woman. However the ending deviates a bit from the manga, and I personally think the anime one is a bit worse

Noragami. This one will always hold a special place in my heart because it was the first anime I really watched. This one also has people who transform into weapons, but the vibes are very different. It goes a bit more into Japanese folklore in case that interests you.

Bonus: Canonically Aro/Heavily Aro-Coded Characters

They were not anywhere above because the stories they are in didn't really fit any of the categories. But they exist!

Wolf (Kipo and the Age of Wonderbeasts). I adore Wolf. There is also barely any romance. Like, it will seem like it at first, but don't worry, it's only straightbaiting. There is a romance subplot but it's very brief and very much in the background. Overall very good aro show 👍

Isaac (Heartstopper) Very queer show, very high likelihood that you already know of it. The series per se is very romance focused, but as far as I've heard the a-spec rep in S2 is really good

Georgia (Loveless). Actually never read it. But, well. Title pretty self-explanatory dare I say. By the same author as Heartstopper (Alice Oseman)

Chance/Chris and Shadow/Ryan (woe.begone) Are explicitly in a QPR together !! they are also probably the healthiest couple in the podcast lol

Henry Clerval (Frankenstein). Henry is the "a couple of besties!!" to Victor's "we look like a couple <3"

Barbie (Barbie 2023) If you've seen it you know what I mean.

Jo Marsh (Little Women). I never read the book, but Jo in the 2019 movie??? very sus.

I would also recommend checking out Japanese books! I personally think they are much better at writing romance than the western people lol. It's more about knowing each other and sharing your views of the world, thus changing each other and leaving a mark forever, even if the relationship ends. (studio ghibli romance vibes). My favorite Japanese book doesn't have an English translation :(

aber an alle Deutsch-Sprecher*innen: Die Katzen von Shinjuku (Durian Sukegawa) -> og title: Shinjuku no Neko

Can't think of anything else right now, but please leave some of your own recommendations! Hope this helps ^^

[petite-cherry-blossom]

My personal Weatherman – Taikan Yohou

The main characters – Segasaki and Yoh.

I'll disclaim in advance that there will be no plot in this dorama, but that is the beauty of it.

Segasaki is a weather presenter and Yoh draws eromanga. They met at university and fate has brought them together ever since.

Yoh has no money to pay the rent, so Sagasaki offers him a place to live together, but in return Yoh has to agree to everything they ask him to do.

For me personally, it's a little bit of a red flag (Segasaki can easily forbid Yoh to meet his friend in a cafe, and Yoh just has to accept it). I'll be honest, this relationship is weird, and in real life Segasaki is the kind of guy who should be fucked off, not even his godlike beauty could save him.

As I mentioned before, the eight episodes revolve around the relationship between the two main characters, we are included in all of Yoh's thoughts the whole time, the narration is almost all from his point of view.

Nevertheless, their chemistry is visible even to the naked eye, which is not surprising: the first thing they did when they moved in together was hook up. There is a peculiar problem built around this too, as Segasaki decided that they would only have sex before sunny days. Why?

It's a question that everyone was curious about, and the answer is pretty prosaic. Everything revolves around the weather (it's not for nothing that one of the main characters is a meteorologist).

– Hey. Why can’t we do it when it rains?

– Huh? Because you said so. When you first moved here and we did it. 

– Huh?

– So you won’t have trouble with laundry. 

I think I've rewatched it about eight times. It's hard for me to explain, but I was touched by literally every action, every look, every touch and misunderstanding.

Of course, Yoh had no idea that he was not just a servant to Segasaki, but the most precious person to him. And Segasaki is not good at using words, which is why we were stuck in the same place for a very long time.

But every interaction they had, the painfully ridiculous date, the dialogues - it all made my heart ache. It clearly states in black and white: Yoh fell first, but Segasaki fell harder.

Fanfact: when rewatching, I decided to start not from the beginning, but from the middle (first from the fifth series to the eighth, and then from the first to the fifth). And I was right! Exactly in the middle we start to be shown flashbacks of the characters' meeting, to which very nice and interesting references were made in the first episodes. Of course, when watching them for the first time, it is easy to just not notice them. So my idea was not as stupid as I thought at first.

– Put this in some Tupperware. I’ll eat it all. You’d better not eat any. This is mine.

I’m the only one who has to know that this carry tastes bad. He did the best to make it. That made me happy. That fact is all I need. 

I'm very sensitive to this work, it deservedly became one of my favourites, because despite the simplicity of the plot, the characters are incredibly natural and beautiful in their "ordinaryness".

Yoh is a master of making things up (just like me), Segasaki is a expert at hiding his feelings and thoughts, he is sure that everything is clear to everyone (I can see your thoughts in the subtitles, you idiot. But Yoh can't read minds). As a result, Yoh didn't know they were dating for quite a while, when for Segasaki their relationship was obvious.

There aren't many characters in this dorama, but there's no need for them. We do fine with two goofballs who can't figure out the nature of their feelings until the last minute, while being stubbornly jealous of each other.

[bungone]

Actually no im not done because I know it gets talked about a lot but Lolita is such an interesting piece of media; not just the book itself but people's attitudes towards it.

like, first off, there's the actual author (nabokov) who goes out of his way to talk about how childish, mokeyish, immature and whatnot Dolores is in the most unnappealing possible ways, and then specifically said that he didnt want the kind of cover that every single fucking published edition of Lolita has?? With girls who are either being sexualized or very obviously having "a good time" which is absolutely not what Dolores was doing in the book?? I really, really, don't think anyone who designs these covers has even opened the first page because what. the. fuck.

It's so obvious that my man Humbert Humbert is an unreliable narrator, but gee, I guess we learned to take everything we read at face value, and also everything that comes from a protagonist's mouth as the "correct" way of viewing things, both in the book and in real life?

And even then, maybe, just MAYBE I can excuse the people who talk about how the book is fucked up because it's "glorifying pedophillia".

Maybe they had a really shitty english teacher. At the very least, they're reading it and understanding that the actions of Humbert Humbert aren't okay? They got to the halfway point. Maybe their education sytem failed them.

Maybe they had a really shitty high school english teacher that never taught them the skills necessary to understand this kind of writing. Maybe they're just dense, that's who they are as a person, and it would take someone going out of their way to point it out for them to consider the possibility.

But then there's the fucking apologists?? Like, putting aside the whole Dolores being 12 (which, yeah, is akin to putting aside the whole book, but bear with me for a second), Humbert Humbert not only kidnaps her (illegal), lies to her for a long time about her mother (not illegal but generally shitty), but is implied to have committed murder (illegal, not sure if implied is the right word here because it absolutely happened and everyone knows it), and sexually abuses Dolores (very illegal). These are crimes. He is a criminal. Say what you want about the justice system these are crimes that absolutely should be crimes.

He's clearly not an upstanding citizen, and I fail to understand how some people look at all his behavior and go "oh yes, the the man who killed a woman and kidnapped a 12 year old girl is just misunderstood, and he did those things for true love" like fuck no.

I like Lolita. It's an objectively good book. The quality of writing (high quality, I mean, I normally hate first-person writing but I actually liked Lolita), it's a great psychological horror piece that doesn't rely on things like shock value and overused tropes. The characters are all multi-dimensional and frankly, act realistically. But that's all it is. A psychological HORROR piece. It's not romantic. If anything, it's meant to make you sympathize with Humbert, and then you're supposed to take a step back and be like, "Wait. Why am I sympathizing with him? I'm not a pedophile." Because yeah, he's a complex character but that only goes to make him realistic in terms of the kind of pedos that exist in real life.

Pedophiles are people too. Mentally ill people, really, really shitty people who need serious help, but reducing them to "not human" only makes them an "other", which makes you forget that on the outside, they look like normal people. That have friends and family and go to school or have jobs and order coffe and read in libraries and yeah, maybe you sat next to one of them an entire year in organic chemistry. They're not weird stalkers that hang out in bushes in parks. Some of them, maybe, but not all. Nowhere near all.

man that derailed fast.

[frogsndogs]

So recently I watched this pilot short: Epilogue of endings. It’s about 12 minutes long, created by a group of animation students over a single summer. I had never heard of the project before it showed up in my youtube recommended.

It changed my brain chemistry. I watched it 9 days ago and I can’t stop thinking about it to save my life. The music? Spectacular. The voice acting? Perfect. The art? astounding. The characters? I’m already emotionally attached. Hotel? Trivago.

Listen, I don’t tend to watch of a lot of things anymore unless I’m with other people, and I have this weird thing about engaging in new media, I think because a lot of what I’ve been watching recently has been kinda disappointing, or very… I don’t know… it’s hard to describe. It just feels like a lot of studios are making characters shallower, relationships strained, and half-assing their world building. A lot of media that I’ve taken in recently is trying very hard to make itself seem edgy and serious and that’s not what I want right now and definitely not what I need.

But this 12 minute pilot? This is everything I never knew I needed. The characters feel like real people, with complex motivations and interpersonal relationships. They’re flawed, but they’re trying their best with the situation that they have. They have things, other people that they care about and would fight for, they have motivations and backstories that you can see the breadcrumbs of, but have not been revealed yet, and the breadcrumbs are so good you can’t wait for the whole loaf. The world-building is exquisite, built up enough that you can see the beginning, but still drawing you in with more questions. 

I have a more detailed review under the cut, with SPOILERS, but I highly recommend that you go watch the pilot. It’s 12 minutes of time well spent in my opinion.

So the first scene. We’re introduced to Lucy, Blu and CG. I think Blu is already my fav, lol. In this scene, we see the three characters playing eye-spy while walking through a forest. It’s a pretty innocuous scene if we didn’t pan up to the sky and see the sun having broken open and Lucy becoming emotional over having to leave town, and presumably the rest of her life behind. Blu doesn’t answer her.

So Lucy clearly doesn’t know what’s going on, and I’m wondering if Blu has limited information himself. Maybe even Blu doesn’t know why or how any of this is happening. Maybe Blu literally can’t answer her question because he doesn’t have the answers. Maybe it hurts, being so helpless and out of control, so he’s in denial to a certain extent, trying to pretend that everything is fine. He’s trying to keep this little girl, happy and safe and alive, while also presumably dealing with his own shit, and no he’s not doing it perfectly, he’s flawed, as people and characters should be, but he’s trying and so far she is alive and safe to a certain extent so way to go Blu! I think this will probably cause some tension between the two down the road, but for now they just keep walking.

I wonder where they’re going, if anywhere specific? Why did they leave town specifically, we see there’s lots of danger pretty much everywhere, did something happen?

Anyways, then we get to this scene of someone fixing what appears to be a subway train. He stops, pulls out a journal and we get some exposition stuff. We find out that the world ended, and how. And WOW. This whole thing was gut-punchingly realistic I feel. People blowing up the competition trying to race off into space when it’s announced that the sun is going to die out? That’s something that unfortunately I can see people doing. I wonder/hope that this will become a plot point again later on, and we’ll find out what happened to all those people. But anyways that’s not even the craziest part; the fact the sun broke open and released a whole bunch of eldritch horror monsters??? Yep here we go. And then the next thing hurts. Like a lot. Because the narrator says that ‘people who hoped to live out their last days in normalcy quickly found out that their life-style was no longer sustainable’. That shit made me want to cry. The want for a peaceful death, a calm death, a painless death, but having even that ripped away from you. This setting that these characters are in is awful and very terrifying, and we can see how it is hurting them, torturing them, but I got to give props to the world building. It’s good writing. They set up the plot, the problem, what’s been going on the past couple yrs, some mysteries, to both the viewers and the characters, and in doing so give us some idea of the characters that we do have. Because the characters that we do have are trapped. The characters that we do have are abandoned. The characters that we do have are survivors. 

And then we pan out to see the narrator having an interaction with one of the Monarchs. And this scene? Gave me chills, man. I was so creeped out by this. Acedia’s ‘I do not like that response,’ Mole’s utter helplessness to do anything, his clear, potent fear of the creature, the way that it just lightly touches him and he flinches. Then the frustration that we see on his face after it leaves, the anger that turns into tiredness and then hopelessness? Someone needs to wrap this man in a blanket stat.

And this is where I’m starting to think that Blu doesn’t really know the full extent of what’s going on. There’s a good chance that Mole knows about the Monarchs because he’s being held prisoner by one. It’s possible that Mole is seeing the world collapse before his very eyes, while Blu is just seeing the aftermath and not knowing why and I can’t say which is more terrifying.

The ‘I have influence?’ line is peak. I love it so much, I can’t even say why. That whole little interaction with Lucy saying that she takes after Blu, Blu being so genuinely touched and CG being low-key offended is perfect and I love it. It shows how close they are, how much they care about each other.

The the… zombie ppl??? I love the detail of how unlike a lot of teenage protagonists, Lucy listens to Blu, and gets out of danger. She trusts him to handle the situation on his own, and knows that the best thing that she can do right now is get to safety. There’s an implicit trust there, in spite of her clear issues with Blu not telling her things, and this is what I’m talking about when I say the character relationships are complex.

Oh fuck. The transitions? The way that it cuts from one character to another, each unintentionally completing one another’s scentences, and unknowingly engaging in conversation. It’s amazing storytelling, an amazing presentation and for some reason it just confirms to me that these characters are family. They fit together like puzzle pieces. I don’t know what else to say.

We get more info on our mysterious narrator, Mole, who is an amnesiac, and clearly going through it. During this scene we see a crumpled newspaper of what seems to be a younger version of him, winning an award for his dedication at being a subway motorman. His name is crossed out in black ink, so we can’t see it. Which makes me question, did he do this to himself? Is his amnesia a trauma response to everything he’s going through? Did something happen to the point that his brain decided shutting down and forgetting everything was better than remembering this one thing? And it hurts, because in the picture in the newspaper he looks so happy. So young. So alive. It’s a stark contrast to the man we see with bags under his eyes, talking to himself and becoming increasingly distressed. I read through the article, and again, props to the team, some other people might have just did random letters or whatever but they put in a whole ass-story, giving the viewers more info about Mole than even he has. We know he was a dedicated subway motorman. We know he was inspired by his father. We know he had a sister. But these answers only serve to bring up more questions? What happened to his sister? Was his father still alive at the time of he end of the world and what was their relationship like? Because there’s a chance that their relationship was really good, and that’s why he went on to become a subway motorman, but there is also the possibility that he was pressured into doing so, and the way that he complains about being on a train when the world ended makes me kinda lean towards that option.

Then we see CG and Lucy walking around the underground tunnels and we get more info on them. We find out that CG was created by Lucy’s mom, which begs the question of where is Lucy’s mom???? What happened to her? Is there a chance that she’s still alive? Does Lucy know what happened to her mother?? Or is this just another thing that Blu is keeping her in the dark about? Does Blu know what happened to Lucy’s mother???? Or— as you can see I am totally normal about this woman. Anyways.

CG is a fun character, optimistic and bringing a lighter atmosphere to the show, but there is just something… off about her in this scene. The disregard for the danger, the naiveté, the joyful voice in such a horrible situation, feels so wrong to me. I wonder though if CG chose to be like this, or a certain amount of it is her programming? Does CG know what happened to Lucy’s mom? I think CG was created to be take care of Lucy but it seems to be the other way around here, why is that? 

And then we get info on Blu. Blu was a solider during the war when ppl were trying to get all the resources to race off into space. I wonder if Blu had believed that he would be granted a place on one of these ships. (If he managed to survive of course.) Or had he been in the military prior to all this, and was just pulled along? This makes me want to know more about his belief system before and after the end of the world. Also it is implied by CG that Blu is carrying a lot of pressure, and I wonder how that will be dealt with later on… hmm… 

Also the music that plays when Blu uses his arms to pull down the wall? Amazing, I love it, I love the scene, I love the fact that he’s a cyborg, I am so invested in these characters already it’s killing me.

Then we see Mole almost (accidentally) kill Lucy and CG. He’s out of it, he’s the only person running the trains, he didn’t expect to have to watch out for anyone, I think that we can give him a pass on this. Blu doesn’t think so obviously.

(Sidenote: the way that Lucy curls into Blu, as he protectively shields her is so cute, my heart, help)

Blu is pissed. His tone doesn’t change too much, it’s light, but there’s this threatening undertone there that kinda creeps me out. Mole tells them he doesn’t have a name, before Blu forces him to tell them that its Mole. Wait… is he called that bc Moles live underground? Anyways, Blu wants to leave him to die there, which shows an interesting side of his character. Prior to this we’ve seen him take a protective, fun role as Lucy’s guardian but here we see this apathy towards someone who is obviously not doing so well. A lot of other people would be excited to find another living person in the apocalypse, but he’s fine just walking away. Is this just because he almost killed Lucy? Or is there something more going on here? In Blu’s bio on the rainbott instagram, it says that Blu was ‘left to die in a mysterious incident’ and it’s interesting that he feels fine leaving someone else to die in such horrible conditions. Again - complex character writing, props to the team.

But Lucy doesn’t want to leave him. This shows her compassion and maybe too her want for connection with other people. Blu resists; ‘Lucy that is the most unimpressive man I have ever seen,’ this line has no right to be so funny, esp with Mole just staring at him in the background. Did he hear that or is he too far away, too out of it? Then he relents, perhaps solely because of Lucy, or maybe also because of his own want to do the right thing. He doesn’t like Mole, he makes that obvious, but if Lucy want’s to adopt this strange hobo man, fine, if it makes her happy. He’ll do whatever it takes to make Lucy a little more happy.

Mole’s ‘it doesn’t want me to leave’ scares the shit out of me, and the way that he just freezes up when Acedia shows up… 

The scene when it talks about humans really creeps me out, and makes me worried even more about Mole. Calling him ‘entertaining’ and saying that he ‘belongs’ to them. It sounds like it sees him as a toy at best, and reminds me of the way that Mole said earlier that the Monarchs had the power to ‘turn Earth into their own personal sandbox’. Did Acedia get rid of Mole's memories for that purpose? So that he would 'belong' only to them. I wonder though, why Mole, and if there were others, if Mole had to watch those around him die, or worse when they gave an answer that it didn’t like. I wonder what Mole has had to do to scrape by and survive, what he’s been through. But Blu pulls him along anyways, kind of against Mole’s will. Like obviously being with Blu, Lucy and CG is better than being with a horrifying shadow monster, but aforesaid horrifying shadow monster is going to be pissed at him. I wonder how he’s going to react to that, if he’ll lash out at Blu or worse, Lucy for rescuing him because now it’s gonna be angry and he’s gonna have to be the one to deal with the fallout of that.

Then the scene where Blu pretends to buy tickets to appease CG? It’s for comedic relief, but again it makes me think about Blu. Is he doing it because he knows CG will be annoying if he doesn’t? Or does he genuinely not want her to be hurt? I’m not sure. 

Then the campfire scene. Lucy looks away when Blu removes his mask, Mole tries to lean in to see what’s behind it. Blu doesn’t like this, I assume it’s a sensitive subject, but Mole is again, kind of out of it. Mole is scared of Blu and Blu clearly knows this, even kinda uses it to freak him out. I’m looking forwards to see that relationship developing, maybe one that contrasts Mole’s relationship with Acedia, I dunno, someone who cares about him in this really twisted way that hurts him, and someone who at first doesn’t care at all(at first), but still takes care of him in spite of it. I dunno… just vibes.

And Lucy’s little ‘what if we tell ghost stories around the fire’ breaks my heart. It’s like she too, is in denial to a certain extent. This is just a fun camping trip not the end of the world. Everything is fine. Everything will be fine.

Then the post-credit scene. There’s presumably, something left of the government that is working to try and deal with the Monarchs, which gives me hope that there might be a way to stop them, a way to stop all this death and destruction. I am curious about what’s left of this order, what the gov was like during the war, and how they’re operating now. Also the way the commander calls the droid C21, and the way that CG is called CG, and the way that he says ‘find the girl’ and C21 frowns and does this have something to do with Lucy’s mom??????? What does any of this have to do with Lucy? Does she know more than she’s letting on, or does not even she know what she knows??? Help I need answers.

Also all the characters in the credits. I desperately hope that they find the main cast and all become friends pls.

CG’s little song is beautiful and I think that it embodies the heart of the show. Like I said earlier a lot of the stuff I’ve watched recently tries very hard to be dark and edgy and a dystopian show where all the characters have been trapped and abandoned and tortured is the perfect setup for some grim and gritty TV. But it’s… not. The characters are funny and lighthearted and smiling in spite of all the shit that’s going on around them. The characters are trying to be nice, to be good. They are connected, they are a family. It is a dystopian setting for sure, but I think that the story is about family, about love and caring for each other. The story is about Blu, Lucy and CG playing eye-spy. The story is about Lucy smiling when she tells Blu her mom said he was a bad influence. The story is about CG wanting Blu to get some rest and take a break. The story is about Mole’s desperate panic at trying to stop the train before it hits Lucy, and Lucy not wanting to leave him to die. The story is about four people sitting around a fire, listening to music.

I really love this story, and I hope to see more of it one day. It’s really beautiful.

[jinkibum-smiles]

I'm still trying to process all my thoughts, but I'm just floored by how good Lovely Runner is. The more I ruminate on the ending and how everything was wrapped up, I get a little emotional.

The narration of this story and how it unfolded was so beautiful. The character development was done so well. The shots and how they were framed and lighted were breathtaking at times. The acting was amazing.

Is it without flaws? Absolutely not. There were a few things I wish we could have seen more of, but I appreciate how the writer and director stuck to the message they wanted to convey. I would rather have a clean and concise story with some gaps in details over a messy story that tries to include everything any day of the week.

I think Wedding Impossible struggled with this. The chemistry between the leads had so much potential, but by trying to include too much family drama, the show fell apart in the second half. If they had just focused on the main couple and the brother, there would have been room to fully flesh out their story and relationship.

I will definitely be rewatching the show to see everything from the beginning again and I need to analyze Kim Hye Yoon's acting in this. I feel I didn't appreciate it enough the first time around.

[bharv]

I don't often talk on here about that many passions outside of D&D but inspired by a very brief exchange by @plethomacademia I want to talk very briefly about my great love for period dramas.

I'm a particular fan of Georgian era and Victorian era (but you know, every gal of a certain age had their brain chemistry altered by the 1995 Pride and Prejudice as Greta Gerwig knows well) so I wanted to talk very, very briefly about some of my absolute favourites (and whether the adaptation or the book has my heart)

Poldark. The books and the 1975 version, not the modern version (I liked the Elizabeth, wasn't a fan of the rest.) Poldark man. It's the ONE. Incredibly romantic, but with a real political agenda too around landowners rights and the changing role of the gentry. The books were hugely formative for me - and there's LOADS, so get them from your local library and enjoy.

The History of Tom Jones, a Foundling. The book, and the delightful 1997 BBC adaptation. I love this book. It's one of those early novels where the narrator just fucking talks about whatever they want. And because it's set in the earlier Georgian era where people did whatever they wanted, it's super sexy. Tom is basically fucking his way through the West Country and London.

Vanity Fair. The book, I've not liked any of the adaptations I've seen. Becky Sharp, beloved. The first real antihero I read. I love her to the ends of the earth. All adaptations try and soften her too much for my liking but the 1998 and 2018 both have good strengths.

The House of Mirth. The book and the 2000's film. Just sublime.

Anna Karenina. One of my favourite books. Western adaptations of Russian novels never quite hit the mark but I have to give a shout out to the 2000 version with Helen McCrory because she really sold the sexual obsession to me in a way others didn't. Man, she was the GOAT.

North and South. The book is great. The adaptation really is superb. Probably the best on the list, one that I would rank just as highly as the novel.

Wives and Daughters. The book was unfinished so they filled in a lot of gaps in the 1999 adaptation starring Justine Waddell (who incidentally was in EVERYTHING for a while? Like every period drama cast her, it was bizarre, and then she just disappeared. This also stars Keeley Hawes who was also in everything, including the very underrated Our Mutual Friend.) I know this one isn't the best, but I'm very fond of it.

Middlemarch. Listen, the book is the greatest book of all time to me. You have to read it at least once. The 1994 adaptation does a great job but it will never be the book, whose strands come together so perfectly, which teaches us so much about the intricate webs of being human.

The Crimson Petal and the White. The book is extraordinary, and the 2011 adaptation tries its best but suffers a bit from some odd casting. Still it's very worth the watch.

I Claudius. Curveball lmao. But it's perfect. Utterly perfect. The cultural impact of the 1976 adaptation can't be understated. A masterpiece.