#the script was just outrageously bad

[vashtijoy]

Something I've noticed for a while is that Akechi doesn't appear to say that he was in foster care in the Japanese script.

Akechi おかげで僕は、色んな所を転々とさせられて、まあ、今じゃ気ままな一人暮らしだけどね。 okage de boku wa, ironna tokoro o tenten to saserarete, maa, ima ja kimamana hitori kurashi da kedo ne Thanks to him, I was passed from foster home to foster home. But, I do quite well by myself these days. After that, nobody would keep me for too long, so I got moved about a lot. But now I'm alone and free to live as I choose.

There are a few interesting points here:

おかげで okage de, "thanks to"

Akechi does not specify what or who he's crediting here; the translator has glossed in "thanks to him". IMO it's more likely to be "because of the death of my mother"—the thing he was just speaking of. Shido is responsible, but (at least according to Akechi's flow of speech) he is slightly indirectly responsible.

転々とさせられて tenten to saserarete

tenten to suru, in this context, means moving around often from place to place; living at a lot of different addresses. But note the passive-causative on suru here, saserareru. This is something that was done to Akechi, something others inflicted on him, something he experienced as a profound negative. This was bad. Looking at what he goes on to say later—"so someone would want me around!"—I've tried to capture this with "nobody would keep me".

Also note that tenten to suru, while not usually violent in this "moving about" context, is also a term for e.g. kicking a ball around, which again makes it an interesting choice of words.

気ままな一人暮らし kimamana hitori kurashi

This is a set phrase, essentially meaning "a free and carefree life alone"; it's used, often with a little irony, to describe the joys of living alone, or of being single. Note that Akechi does not mean this—he sounds (JP audio) miserable as fuck, and he's brought this up, rather ineffectively, to try and lighten the mood.

It comes across as "I was alone, and I'm still alone, but at least now I'm alone on my own terms and can do as I please"—which he knows is untrue, and we know is untrue, and Ren and Futaba can surely tell is untrue.

By the way, this quick use of a throwaway stereotype, as if it explains everything—ima ja kimamana hitori kurashi da kedo ne—is one of Akechi's verbal tricks; he becomes laconic in this way when he touches on things he doesn't want to discuss, things that are sensitive to him.

This is how he explains to the others in the engine room that he's illegitimate, for instance—tsumari kakushigo sa, "In short, I'm his secret child", kakushigo ("hidden child") here being a popular term, with no real English parallel, for the secret or unacknowledged child of someone famous or powerful.

You could maybe render his line here as a detached-sounding "but now I'm footloose and fancy-free", for the same effect.

色んな所 ironna tokoro

This is what has been translated "foster homes", but it just means "all sorts of different places":

Akechi 色んな所を転々とさせられた ironna tokoro o tenten to saserareta I was passed around from pillar to post.

So: he was passed from place to place, from pillar to post. Like a pebble rolling on a beach, or a ball being kicked around a field. Do we know what any of those places might have been? No; he doesn't tell us. There's IMO nothing here to suggest that he was in the care of the state—but equally, there's nothing that excludes it.

But Akechi returns to this in the anime, in Proof of Justice—and he is far more specific:

Akechi だから、母が死んだあとは、親戚の間を転々として行ったね。 dakara, haha ga shinda ato wa, shinseki no aida o tenten to shite itta ne After my mother died, I was passed around my relatives.

Anime Akechi gives us more detail, again with tenten to suru, but he removes a lot of the emphatic force—we gain the detail that he was with his relatives, but we lose that outraged passive-causative, that makes it clear this hurt him—what I've tried to capture with "nobody would keep me for long" up at the top. It's possible, of course, that the difference in tone is to do with the different tone in the two scenes—game Akechi is at a very low point, while anime Akechi seems reflective and chill.

But is this canon? Well, usually when the game and the anime contradict, I prefer the game for its lack of adaptation drift. But there are a couple of occasions when the anime seems to clarify things that were not clear in the game text—and IMO, this is one. Per the game, Akechi was passed from place to place; the anime clarifies that those "places" were with his relatives.

TBH, even the localisation's "foster home" doesn't necessarily imply state foster care; a relative who takes you in is a foster parent. Of course, if you want a backdoor here (which is in no way required, I'm not your mum), he never suggests how long he stayed with his relatives....

does anything in-game support this?

Well, there's one thing in the game that supports this reading, and it's actually on 8/28 itself. Immediately after Akechi says he was passed around after his mother's death, Futaba does this:

Remember, Futaba already does not like Akechi. She resents him for his pursuit of the Phantom Thieves, even before she suspects him of killing her mother. Yet when he mentions his sad past, she connects with him.

Why is that? It's because Futaba, too, was passed between her relatives—with the results we all know: they were abusive, exploitative and cruel, leading to her being rescued by Sojiro. The game draws an explicit connection here between Futaba and Akechi—suggesting that they have this backstory in common, of being passed between abusive relatives. It suggests we can glean a little more about Akechi's past by looking at what we learn about Futaba's.

And she was rescued; he was not. They both turned to crime to work off some of what they endured—but Futaba retained her moral centre, while Akechi fell off the edge. This is why she tells him what she does in the engine room: "You thought [being alone and not trusting anyone] was enough, right? That part I totally get."

but isn't he just lying his ass off here?

BTW, as to whether Akechi is just trying to ingratiate himself with Futaba (or with Ren) on 8/28—I don't think so; I think he tries, and then gives up after his performative cut-in. We just saw him trying to ingratiate himself with Sojiro—his failure there, at the start of the scene, is what upsets him and opens him up. So far, so good.

Is he trying to get in with Wakaba Isshiki's daughter, to continue his pursuit of her research on Sae's behalf?—the reason he was at Leblanc in the first place? No, because he never mentions it to Futaba, ever again.

What Akechi will do later is stand up for her, on 9/13, protesting Sae's threat to remove her from Sojiro's custody:

Sae: There have been frequent occurrences of mental shutdowns surrounding Okumura recently. Sae: If only there was a clear connection between him and the Phantom Thieves… Sae: Well, it would be problematic if there wasn't one. Akechi: So you're jumping the gun here. Akechi: You really told a man you would terminate his parental authority based purely on your speculation?

... and notice what he's doing here. Akechi clearly already knows about Sae's threats to Sojiro; she does not explain them in this scene. And Akechi has clearly not questioned her on it, as long as he thinks there's a reason for it. When it turns out there isn't one? He calls Sae out. Because Akechi knows what's it's like to be a child with nowhere to go.

Sure, it's not beneath him to throw Futaba to the wolves—or, ultimately, to try to kill her in the engine room. But he views it as distasteful, as unjustified, and as wrong. He knows gratuitous cruelty when he sees it—and it repels him. He knows the difference between right and wrong—he's just elected to ignore it.

And he expects far better than this from Sae.

revision history

click here for the latest version.

v1.2 (2023/11/21)—typos, plus extra context for the game and anime scenes.

v1.1 (2023/11/20)—reblog w/ additional commentary.

v1.0 (2023/11/20)—first posted.

[helluvathings]

It's interesting that the episode description straight up warned for Stolas lacking self-awareness. It's more or less a confirmation that Stolas and his character arc aren't finished, and between that and the content of the last couple episodes, I ended up going back through the series and looking at the path he's taken so far. Warning now, there's a lot of 'deconstructing' Stolas at first, but I do think he's on a positive trajectory and the set up serves as foundation for future character development.

Anyway for anyone interested in a from-the-beginning rundown of Stolas's arc, full post is below.

From his first conversation with Blitzø, you have Stolas in his bath making the favors for favors offer, while Blitzø is working and in a life-or-death situation. The language Stolas is using is too formal; it causes communication issues, and Blitzø has to tell him to stop using "rich person talk." The scene that sets up their whole dynamic is 1. Stolas establishing the transaction (given he could've straight up punished Blitzø for stealing or just taken back the book, this isn't bad; it just is), 2. Stolas at leisure while Blitzø's job has him in danger, and 3. the class/education difference resulting in Blitzø having difficulty understanding what Stolas is saying.

Move forward to Loo Loo Land. The language Stolas uses with Blitzø gets a lot of attention already, as does Stolas's rather poor grasp of social cues/difficulty seeing outside his own perspective causing him to clash with Octavia. One point I don't see raised as often is that Stolas hiring Blitzø to spend time together, when he doesn't need a bodyguard, and then sexualizing Blitzø while he does his job, is both condescending, and doesn't show much respect for what Blitzø actually does. He pays him more or less to put on a show, so Stolas can indulge a fantasy of them having a relationship (not because he's evil, because he doesn't know better).

Then you've got Stolas in the newest episode, getting annoyed with Blitzø for saying he thought Stolas couldn't be hurt because he was immortal. That if I.M.P. could handle Striker, Stolas surely could. Stolas's sarcastic, "It's not an imp's place to protect a Goetia, is it?" comes across different when considering Stolas literally once hired them as mock bodyguards. It just... escapes him, why Blitzø would think the idea of Stolas needing their help is outrageous. Never mind how clear Stolas's rescue in Truthseekers made their power disparity. Stolas often has trouble putting himself in other people's shoes, and it shows here.

The Harvest Moon Festival brings in Striker, who's basically a "class problems" mouthpiece, exaggerated for emphasis. He even remarks directly on how Stolas's treatment of Blitzø can look from the outside. There's also the episode's opening bedroom scene, where Stolas's idea of flirty talk is copious use of microaggressions, plus the later scene with Blitzø snapping about Stolas not using his proper name. It's likely not an accident that these things happen the same episode Striker appears.

Truthseekers has "impish little plaything," with honorable mention to Stolas pinching Blitzø's cheek and scolding I.M.P. like children. But it also has Blitzø's vision all but screaming how Stolas makes him feel. On the one hand, it's Stolas who brings him back to himself. He washes away the muck. He's something beautiful amidst the ugliness. But he's on a pedestal, he has Blitzø in chains. He has shadow Blitzøs fanning him like servants, and Blitzø stumbles away from him blind and mute, smothered by feathers.

Ozzie's is actually good for Stolas's development, because he gets his first reality check when Blitzø makes it clear he thinks Stolas only wants sex. (It also shows how Stolas feels about Blitzø behind the bad erotic-novel scripts he's been using, which is the first time the audience sees this outright). After that, Stolas realizes his relationship with Blitzø was problematic. He sees the transaction and gets rid of it, and he senses something off with his behavior that has him start calling Blitzø by name and stopping with the 'plaything' type remarks.

But the past two episodes have made it evident he'd made those realizations in a vacuum. His broader class awareness is basically nonexistent, and when Blitzø tries raising the issue, he groups Blitzø with Striker by default, as if any criticism of his status/wealth/privilege is unreliable and antagonistic toward him specifically. He refuses to sincerely consider that Blitzø isn't merely judging him, and that he might be saying something with legitimate basis.

The Circus is especially interesting. Aside from the commentary underlying the 'buying Blitzø' plot, the episode shows Stolas getting scolded by Paimon like a dog for showing respect to an imp; that likely wouldn't have been an isolated incident. It's played somewhat for humor ("I'm so good at daddying"), but it also shows why he'd have so much trouble with things like microaggressions. He has literally been trained to hold himself above others. And just going off the way Stolas is framed at Stella's party, isolated and alone, being laughed at by Stella and her friends, I suspect Stolas may see himself as a "good rich person," because he doesn't seem to fit well with the Goetia either; he's laughed at and bullied, he lacks privilege in his own ways. He identifies more with other demons than his own class--and it blinds him, I think, to the fact that he is still part of his class, and isn't immune to the problems that come with that.

Even in Seeing Stars, there's the moment with Stolas all but strangling that poor butler and hardly seeming to notice. In an episode that's almost entirely focused on father-daughter relationships, that still gets tossed in. Regarding the Octavia plot, Stolas lacking self-awareness comes up again; it's understandable that he's distracted with the divorce, and we do see him try to resolve the issue, but it feels like a quiet alarm indicating hey, you might have a recurring problem where your daughter is concerned.

Western Energy is another 'Striker shouting that class issues matter in this show' moment. While I think Stolas going the 'well, you're part of the system, so you can't complain' route when Striker tries bringing it up is loosely relevant, I also don't blame him for that one. Poor guy is being tortured, he deserves some slack. Oops, in my opinion, shows Stolas at his best; he's just been turned down by Ozzie, but he still sticks around and helps. We even see how sincerely happy he is when Fizz returns. It's a good example of how decent Stolas can be beneath it all, as well as his sense of romance appearing in a healthier way.

Then come Full Moon and Apology Tour, where most of the Stolas subtext gets screamed and/or bitterly snapped in his face by Blitzø. It's stated directly by the main character that those things matter, in a way that imo portrays Blitzø as at least partially sympathetic. And of course the Apology Tour episode description, yelling it for the folks in back.

What all this is trying to say is: 90% of Stolas's time on screen has set him up to have a 'getting more self aware' arc. I see a lot of accusations of the show babying Stolas, but I think it's more that it hasn't gotten around to doing what it wants with Stolas. There are 4 seasons. We're in the second. We've had Stolas's post-Ozzie's revelation, and now he's getting a lot more "you're part of the problem" feedback thrown his way. It's implied Octavia is going to contribute to that as well.

Anyway!! My personal guess so far is that if the "loses his powers and/or titles" theory that's been going around has any merit, that's going to instigate the start of actual, substantial change. Will that actually happen? No idea. But Stolas's flaws have been as articulated and developed as Blitzø's, and at this point, if the consequences aren't explored in the same way, it'll be dropping a ball that's already well in the air. I also think this isn't going to be a "fixed by the end of season 2" thing. Stolas problably won't appear again until Mastermind, and then there's just Sinsmas. There isn't time for him to change in two episodes. There is, however, time for him to have some big realizations, and for the change to happen next season.

[ballerinarina]

𐙚LET'S TALK ABOUT... DIEGO, LILA & FIVE

Okay, firstly I need to state that I'm going to say my impressions about the season four of The Umbrella Academy, focusing on the subway plotline. My considerations are very long (I'm talkative!) and about what I watched in the episodes and what I read on social media, so, I am totally open to opinions too!!

As an hyperfocused girl, I've been thinking about the subway arc plot decision during an absurd amout of time. I watched it a few times and read a lot of opinions. Yet, I still feel a little... surprised (?) by the intense hate over it.

It's not about liking or disliking the new couple that I'm talking about. Since naturally people would prefer one ship over another, it was obviously waited that the opinions would be divided.

I just... can't understand why people hated it so much as if it was a bad plot decision. Diego and Lila are beautiful together, i agree! They have a long, real and strong love story together. But why people are acting like this new plotline erased all their relationship together? Relationships are more complex than that.

Feelings are more complex than that. Humans are.

Actually, I may say that the psychological development that happens in the subway is way more interesting because Lila and Diego love each other, as much as Five loves Diego too.

This being said, I don't mean that I think a cheating plotline is interesting because of the cheating. I actually use to dislike it a lot. However, dealing with cheating in a black-and-white way as if it's an indefendible action is not clever. Sometimes, some things I read make me realize that people are so stuck into traditional morals that their capacity of thinking and analyzing complex emotional situations is kind of... damaged.

𝐒𝐨... 𝐋𝐢𝐥𝐚 𝐗 𝐃𝐢𝐞𝐠𝐨 𝐨𝐫 𝐋𝐢𝐥𝐚 𝐗 𝐅𝐢𝐯𝐞?

The Umbrella Academy is known as a series with very human and complex characters. That's what makes it so good, from the beginning! That's why I think it's kind of sad to judge their relationship with a typical moral view.

Claiming that Lila didn't deserve Diego, for example is so... so sad. She was an amazing mother and wife. She tried to go back to them for six years and as soon as she could she went back! Not even thinking twice! She loves Diego, of course she does!

Loving Five doesn't make her love for Diego less strong.

I really don't think Lila X Five is just neediness, however, no way. They already spent two seasons constructing a beautiful (friend) relationship before and in this horrible context they spent a lot of time taking care of each other, being each other's support. Considering this and their communication development — jokes on season 3, kindness in the beginning of season 4 — it's not surprising or nonsense that it turned to become romantic. People and relationships change, love is built and adapted.

I don't think Lila stopped loving Diego (i mean romantically, but even if she did, she surely didn't in other ways of loving that are as beautiful as it is) but that doesn't make her love for Five false, and Five loving and having a relationship with her doesn't make him a bad brother either. That's why I emphasized that TUA is a series with complex relationships. Why do you get upset and surprised when another relationship between complicated characters is built due to the tragedies of the script?

If this didn't cause outrage before, could it cause because, this time, when things get complicated, the plot resource used questions the standard romantic drama format expected by the system?

𝐍𝐨𝐧𝐬𝐞𝐧𝐬𝐞 𝐩𝐥𝐨𝐭? 𝐎𝐮𝐭 𝐨𝐟 𝐜𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫?

I guess one of the main arguments I saw was that their relationship didn't make any sense and that their scenes were extremely out of character, but I don't think it could be sustained when they both are characters who go through a lot that makes them change, alone or together. What they're claiming being out of character may simply be character development under non-ideal circumstances.

It seems like there's an strong resistance to open their minds while watching and realize that love isn't something that can only happen once and/or once at a time and under ideal situations. Diego and Lila's marriage crisis, Five and Lila developing ther friendship inbetween work cumplicity, Five looking more lost and tired in his decisions than before, the fact that it is the second time he has been trapped in space-time — which is a big trauma for him, since, from the first season (in the first apocalypse) we have been shown that, despite being introverted, arrogant and reserved, it is precisely "relating" that serves as a point of refuge for Five not to go crazy, lowering his guard and being kind...

All of this constructs very well their psychological coherency. "He wouldn't treat her like that during season 2 or 3!", "Lila would never be a domestic mother/ Five wouldn't work do CIA!". Well, we're talking about them now, not there.

One of the plot decisions to start this season was that the characters were living between what they kind-of-desired, but things still weren't fine, they still weren't getting what they wanted.

Five being free from the world-ending, but stll not being able to relax and live a simple retired life as he wanted. Klaus being sober and free of the ghosts, but insecure and anxious. Allison having Claire and Ray, but still unable to live a happy marriage and career. Viktor having his place working with something that makes him comfortable, but still unable to find love. Diego and Lila having a family and marriage and still unable to feel happy because the domestic work dynamic wasn't working...

Adulthood. Real life. None of those situations were out of character, as much as none of the psychological changes they suffered were too.

𝐀 𝐜𝐨𝐧𝐜𝐥𝐮𝐬𝐢𝐨𝐧 𝐚𝐛𝐨𝐮𝐭 𝐜𝐨𝐧𝐬𝐞𝐫𝐯𝐚𝐭𝐢𝐬𝐦

Since I don't really see the point on why would all of the happenings between them three could be claimed as "nonsense", even less "unasked" or "unnecessary" — because it's a work of fiction and, even if it may not be what the public wants to watch, it is not something that needs to prove its usefulness, just as events (that tie together well, because coherency matters) do not need to prove their necessity in art —, so it makes me even more sad that clearly mostly of the reactions are based on conservative views of marriage.

I know this season is not perfect, and it had a lot of defects, so I'm not saying the arc is perfect. As all the other arcs, it happened in a hurry, making us the public less abl to feel the 7 years of development. Complaining about how the arc was executed is perfectly fine, actually: after all, we know that 4 episodes were cut from the original script, as were many recorded scenes (including a big part of the subway plotline).

AIDAN: "There's a lot of the relationship with Lila that we filmes but they cut it. It took weeks to film it and they used a few minutes in a montage. That wasn't right. It also made very hard for the viewers to believe when we spent weeks filming scenes to set up that scenario."

But when I bring the conservatism theme (misoginy and remnants/consequences of the monogamous religious structure), it's because, even if we have lots of other of worse defects on other parts of the season, the biggest public overreacting opinions have been undoubtly about Five and Lila.

Anyone who spends more than 2 minutes in the comments on Twitter, Tiktok or even here knows that most of the time people've been sad and angry treating them both as if they were turned into cheaters with no morals (Five as a new kind of scroundrel asshole, Lila as some kind of ungrateful whore and I've even seen people problematizing their enemies phase, or the age difference as if one of then, or even the director, were predators, which is pure nonsense) and I can't even express how it makes me deeply melancholic.

I can't see how reacting as if the situations they were put in and their actions toward it in the scripts were absurd, terrible and dumb can't be just conservative, because they were actually very well tied script decisions, used in a bold way. With an interesting and well written enemies to frenemies to friends to lovers trope, they managed to write something fun and that developed both of the characters in their early-season-conflicts-arising-from-other-seasons.

𝐒𝐨? 𝐖𝐡𝐚𝐭 𝐝𝐨 𝐲𝐨𝐮 𝐦𝐞𝐚𝐧 𝐭𝐡𝐞𝐧, 𝐂𝐞𝐂𝐞?

I truly just... Can't understand how some people ended up having collectively such insensitive opinions about the relationship of two characters who were so... vulnerable.

Non-ironically I even saw a lot of people defending they would prefer Five to end up with a “real life Dolores” plotline (since the author felt the need of a romance) than with Lila, or that he shouldn't ever fall in love with anyone else than Dolores. It sounds so... Insane. I can't see how someone can have any kind of shipping-affection for his "sick" relationship with Dolores. It was, for me, a completely heartbroken arc.

While watching this new season, actually, it made me almost warmly happy, as a Five fan, to see him having someone to take care of him in hard times like that. Last time he didn't have it. They loved each other, they constructed this love and even if it was constructed under a refuge, extremely vulnerable situation, as much as even if it was constructed over a hopeless and trust-breaking decision towards their loved Diego, it doesn't make it less real and beautiful.

They aren't bad people. They aren't cheaters. They were desperate.

I'm happy they found love in each other. They were victims but managed to construct a beautiful relationship to survive and it doesn't make them love less Diego, as a brother or as a lover.

Of course it breaks completely my heart that Diego and Five died without making peace, but while watching not even for a moment I considered that they stopped loving each other. They're brothers, they've went through a lot.

They were doing so fine getting along together since they came back from the apocalypse.... There's no way it would "destroy" and "erase" (terms used by some fans) all the progress that's been made... I think it would be a very shallow interpretation of their relationship and a very futile interpretation of the events. Some of the public is seeing the situation as if Five slept with his wife since the beginning, not as if he had felt in love with her in a very apocaliptical and hopeless situation.

It's essential to remember that nothing said romantic happened for six years. It turned this way only after they having practically given up hope of returning home, so exhausted they were.

I really don't think that such a desperate and lonely situation would erase all the love and dedication Diego have for Five (and Five has no reasons to stop feeling it for Diego too, obviously). Diego was totally the sweetest during this season, he did his best, but Five did too... Now they fought but it doesn't mean their relationship would be forever broken. They were both stressed out, of course, it was a sensitive situation. But, i don't think it would... However with an apocalypse going on, they just didn't have enough time.

Diego was clearly open to understand Lila better, so I really doubt he wouldn't try to do the same with Five. But, again, they were both heart broken, hot headed and with no time. It's sad and it affect them, but "destroy and erase" are very heavy terms and inconsistent with the context of their relationships.

I don't know. I don't know how to conclude this analysis. I just… Am sorry. I honestly feel lucky to have been able to experience Diego, Lila and Five, but I'm so sorry that I couldn't see these three hearts find peace in their complicated loves, even during their final moments. These are three very beautiful love relationships that grew up tangled up and that, unfortunately, couldn't unfold in time to hurt less their lovers.

It felt wonderful and desolate. I hope more people can feel it like i did.

[runawaysiren940]

Here's the full script for the most recent video, minus where I ad libbed:

Dr. Moumita Debnath, a 31 year old doctor trainee, was found dead on August 9th, 2024. After taking a break half-way through a 36 hour shift, her corpse was found on a blood stained mattress. Her body bore the wounds of torture, from the wounds to her eyes, her pelvis, genitals, arms and legs. As noted in The Publica’s report, “The post-mortem report also noted that over 150 mg of semen was recovered from the doctor’s body, indicating that up to 30 men could have been involved in the violation of Debath’s body. The normal volume of semen produced by a male upon ejaculation typically varies from 1.5 to 5.0 mg, according to the online medical encyclopedia MedlinePlus” (Biase). Her family was told that she died via suicide, though her wounds made it obvious that this was not the case; however, this claim allowed the principal of the school to avoid filing a police report. The attempts to hide the crime did not succeed, and have resulted in protests across India and the medical industry, both in response to the lack of protections for medical staff, and because of the attempt to hide the crime. 

In the aftermath, searches for footage of Debnath’s gang rape have trended, as “According to Google Trends, queries such as “Moumita Debnath porn” and “Dr. Moumita Debnath video” have experienced surges across India, with “Moumita Debnath rap[e] video” experiencing a 110% increase in searches. As of the time of this writing, of all the queries associated with her name, “Moumita Debnath photo video” is the 5th most searched in India, while “Moumita Debath last video” is the 12th most searched overall” (Biase).

This isn’t the only horrific case of gang rape, torture, or extreme violence against women. In fact, back in 2023, Vidya Krishnan wrote an opinion piece published in the New York times on the topic titled, “In India’s Gang Rape Culture, All Women Are Victims”, where she writes: 

It is the specific horror of gang rape that weighs most heavily on Indian women that I know. You may have heard of the many gruesome cases of women being gang-raped, disemboweled and left for dead. When an incident rises to national attention, the kettle of outrage boils over, and women sometimes stage protests, but it passes quickly. All Indian women are victims, each one traumatized, angry, betrayed, exhausted. Many of us think about gang rape more than we care to admit.

In 2011 a woman was raped every 20 minutes in India, according to government data. The pace quickened to about every 16 minutes by 2021, when more than 31,000 rapes were reported, a 20 percent increase from the previous year. In 2021, 2,200 gang rapes were reported to authorities.

But those grotesque numbers tell only part of the story: 77 percent of Indian women who have experienced physical or sexual violence never tell anyone, according to one study. Prosecutions are rare.

Indian men may face persecution because they are Muslims, Dalits (untouchables) or ethnic minorities or for daring to challenge the corrupt powers that be. Indian women suffer because they are women. Soldiers need to believe that war won’t kill them, that only bad luck will; Indian women need to believe the same about rape, to trust that we will come back to the barracks safe each night, to be able to function at all. (Krishnan)

Just from recent memory, I can recall several other horrifying cases. 

In a rare case of justice, in May 2024, a pair of brothers were sentenced to death for the rape and murder of a 12 year old girl. To hide the crime, they then burned her alive in a coal furnace. (The Hindu Bureau)

In 2012, 22 year old Jyoti Singh was “beaten, gang-raped, and tortured in a private bus in which she was travelling with her male friend, Avnindra Pratap Pandey. There were six others in the bus, including the driver, all of whom raped the woman and beat her friend.” She later succumbed to her wombs, while her friend supposedly committed suicide. (Khan)

Many rape cases end with the woman dead. It is horrifying to me, from across the globe, to know that women live under constant threat of sexual assault, and while all assaults are horrific, the cases which break into the international news sphere from India are especially cruel and disturbing. It is the culmination of a deeply traditional and patriarchal society, wherein the devaluation of women is compounded with caste and religious issues, along with the rise of pornography. Porn is the instruction, and rape is the practice; though clearly, there was no need for instruction. 

Famous cases include:

The Suryanelli rape case, where in 1996, a sixteen year old was lured with a marriage promise, kidnapped, and was raped by 37 men during her forty day captivity. Although initially 35 of 39 accused were found guilty, in 2005, all 35 convicted were acquitted of charges. 

The Pararia mass rape, where in 1988, at least 14 women were gang raped by the police force, and had their homes looted after they protested against being removed to make way for a damn being built. “India Today reported Sinha's concluding statements were: "It cannot be ruled out that these ladies might speak falsehood to get a sum of Rs 1,000, which was a huge sum for them." (Bonner)

In many caste altercations, women are targeted because to rape a woman is not done just to her, but is meant to be an insult to the community and the community’s honor. In an environment where religious and social conflict occurs, women are especially vulnerable as targets of sexual violence. 

However, what the internet has provided is an avenue to share the debasement and horror of gang rape with other men. It prolongs the suffering and harm to the victim and her family; but also serves as a warning to other women, and as an enticement to other men. Come, they say. Look at what we did. See how we were despicable and got away with it? You can too. 

A 28 year old tourist and her husband were robbed, then man beaten, and the woman, raped by seven men in March of 2024. Since they have taken down the video detailing the event from their social media, I will not show that here, or go deeply into detail. However, in the reactions to the incident, one can note a pattern of behavior, not just from Indian men, but also women. 

The BBC reported: 

“The chief of India's National Commission for Women, Rekha Sharma, also sparked criticism after she responded to a post from a US journalist who wrote that while India was one of his favourite places, "the level of sexual aggression" he witnessed while living in the country was "unlike anywhere else I have ever been". He also gave a couple of examples of sexual assault faced by women he knew.

"Did you ever report the incident to police?" Ms Sharma wrote. "If not then you are totally an irresponsible person. Writing only on social media and defaming whole country is not good choice."” (Sebastian)

Victim blaming is constant, and serves as a deterrent from seeking help, reporting incidents, or enacting change. In the aftermath of the 2019 gang rape and murder of 27 year old Priyanka Reddy, Indian filmmaker Daniel Shravan ranted on social media that  “The government should encourage and legalize rape without violence,” and, “Girls above 18 should be educated on rapes and not deny the sexual desires of men.” He also went on to say that, “Rapists are not finding a way to get their bodily sexual desires [met],” which is compelling them to kill.” (“After a Woman in India was Raped and Murdered, Her Name Trended on Porn Sites”). Because assault and violence against women is so common in India, it makes sense that victim blaming, from both sexes remains so strong, as “according to Inside Southern, the reason for victim blaming is: “People may blame a victim in order to remove themselves from an unpleasant event and therefore confirm their own invulnerability to the risk. Others may perceive the victim as different from themselves if they label or accuse the victim. People console themselves by saying, “Because I’m not like her, and I don’t do that, this would never happen to me.”” (Ram).  In other words, it a pacifier, a way to manage the dread that comes with realizing the ubiquitousness and unpredictability of sexual assault. If there is something you can do to avoid being assaulted, then it must be her fault. And you must be safe, because you don’t make those choices. 

That men make up a large contingent of the judges and lawmakers that in turn pass the laws which allow rapists to walk free iillustrates the universal truth that Anna Maria Mozzoni, a popular Italian feminist theorist, wrote about in 1895, “You will find that the priest who damns you is a man; that the legislator who oppresses you is a man, that the husband who reduces you to an object is a man; that the libertine [anarchist] who harasses you is a man; that the capitalist who enriches himself with your ill- paid work and the speculator who calmly pockets the price of your body, are men.”

It’s easy to forget when the violence is not happening in front of you, when you can excuse it, or look away, or claim that there are forces at play that you don’t understand. It’s easy to say that the problem is with a people or a religion- 

But the truth is that woman hating is universal. A passing interest in anthropology will only show the manifestations of this hatred in creative ways throughout space and time.

Works Cited

“After a Woman in India was Raped and Murdered, Her Name Trended on Porn Sites.” Fight The New Drug, December 2019, https://fightthenewdrug.org/woman-in-india-raped-and-murdered-her-name-trended-on-porn/. Accessed 21 August 2024.

Biase, Natasha. “Name Of Female Doctor Who Was Gang Raped And Murdered In Indian Hospital Appears On Porn Sites As Men Seek Out Footage Of The Assault.” The Publica, 19 August 2024, https://www.thepublica.com/female-doctor-who-was-gang-raped-and-murdered-in-indian-hospital-appears-on-porn-sites-as-indian-men-search-for-footage-of-crime/. Accessed 21 August 2024.

Bonner, Arthur. “Pararia mass rape (1988).” Wikipedia, https://en.wikipedia.org/wiki/Pararia_mass_rape_(1988). Accessed 21 August 2024.

The Hindu Bureau. “Two get death for raping, burning alive minor girl in Bhilwara.” The Hindu, 20 May 2024, https://www.thehindu.com/news/national/rajasthan/two-sentenced-to-death-by-pocso-court-in-rajasthan-court-for-raping-burning-alive-minor-girl/article68195867.ece. Accessed 21 August 2024.

Khan, Aamir. “2012 Delhi gang rape and murder.” Wikipedia, https://en.wikipedia.org/wiki/2012_Delhi_gang_rape_and_murder. Accessed 21 August 2024.

Krishnan, Vidya. “Opinion | In India's Gang Rape Culture, All Women Are Victims (Published 2023).” The New York Times, 2 June 2023, https://www.nytimes.com/2023/06/02/opinion/india-women-rape.html. Accessed 21 August 2024.

Ram, Anjali. “Never Ending Tales Of Victim Blaming And Shaming.” Feminism in India, 12 December 2022, https://feminisminindia.com/2022/12/12/never-ending-tales-of-victim-blaming-and-shaming/. Accessed 21 August 2024.

Sebastian, Meryl. “Outrage over Brazilian tourist's gang rape in India.” BBC, 3 March 2024, https://www.bbc.com/news/world-asia-india-68444993. Accessed 21 August 2024.

[pink-sparkly-witch]

Girls Night

Summary: Jensen’s girlfriend comes home a bit drunk after a girls night and tries to seduce him.

Pairing: Jensen Ackles x Female Reader

Warnings: Fluff, implied sexy times to come.

Words: 0.7k

A/N: I’m so proud that I set out to drabble and succeeded! 🥳 I’m a wordy bitch, so usually, when I set out to drabble, I fail epically 😅 All mistakes are my own.

Consider reblogging to spread this far and wide around this Hellsite or leaving a comment. It really does fuel a creative’s muse. If you’re too shy or too cool for people to know you read fanfic and don’t want it showing on your blog, you can submit an anonymous ask or drop me a DM. 💖

My Masterlist     AO3    Ko-Fi

“It’s been far too long since we last did this!” you declare, slamming another empty shot glass onto the wooden table.

“I know! And we say this every time, but we shouldn’t leave it so long next time,” Fiona shivers violently at the aftertaste of the tequila.

“Well,” Robin smirks, “if y’all put hoes before bros every now and then, we’d see each other a lot more often!”

“Excuse you,” you feign outrage. “If I remember right, you,” you point your finger for good measure, “are the one who didn’t come last time so you could ‘Netflix and Chill’ with Scott. I hadn’t seen Jensen in six weeks, and I came!”

“Oh, I came, alright!” Robin grins when you and your closest friends descend into laughter.

The familiar intro of Lionel Richie’s “Dancing on the Ceiling” begins, and you and the girls quickly make your way onto the dance floor. 

You spend the rest of the night cutting your best moves, singing at the top of your lungs and drinking tequila.

Walking into the hallway with your heels in your hand, you try to be as quiet as possible. Jensen has been working hard at the brewery and had been learning a script for a movie that starts shooting next week, so you knew he was likely sleeping at this late hour.

You carefully hold onto the handrail and climb the stairs, shushing your shoes every time the heel hits the wooden rail. 

Once at the top of the stairs, you frown when you see the bedroom light still on. You walk with heavy feet towards the door, peeking your head through the gap.

“Hey, baby,” Jensen smiles as he looks up at you. “Did you have a good time?”

“It was the best! We drank and talked and danced and drank. Did I already say that part? I think I already said that part. Anyway, we danced and sang. My throat will hurt tomorrow,” you stumble over to the bathroom and drop your shoes haphazardly on the floor. “But it was worth it,” you giggle.

“I’m glad,” Jensen grins. He always says you’re adorable when you’re drunk. Always so happy and carefree.

“What are you doing still up?” you ask.

“Gotta learn this script, baby. I’ve put it off too long,” he rubs at his tired eyes and smiles wide as you leave the bathroom in your underwear. “What are you doing, sweetheart?”

You climb on the bed—surprisingly gracefully, given your drunken state—and crawl up Jensen’s body. Straddling his waist, you run your hands under his shirt and up his stomach and grin as you feel his muscles twitch under your touch.

“Been thinking about you all night, Jensen. How much I wanted to be here with you, how you make me feel. I want you so bad, baby.”

“As much as I wanna say yes, baby girl, you’re too drunk,” Jensen says as his hands slide up your thighs.

“I’m not that drunk,” you pout more than complain.

“Even so, I think it’s best we just cuddle,” Jensen soothes.

“Ugh, fine!” you huff, throwing yourself off his lap and onto the bed. “But I want your A-game tomorrow!”

“When have I ever not brought my A-game?” Jensen laughs as you pull at the bed covers and ungracefully try to get into bed.

“Uhm, when I wore that dress to the 300th episode party? You barely lasted ten seconds!” you laugh.

“Excuse me! You looked really fucking hot that night! You knew I’d been ready for you since you’d stepped out of the hotel bathroom wearing that thing! And I made it up to you!”

“Yeah, you did!” you giggle. “Alright,” you say as you finally tuck yourself under the duvet. “What about the thirty second fumble on Jared’s boat?”

“Really? You really want me to explain to you how incredibly sexy it was rubbing sun tan lotion all over you and the idea that anyone could have seen me fucking you that day?”

“Okay, I’ll give you that one too,” you yawn and lie down, shuffling into his side and twisting your legs around his. “Just promise me you’ll bring you’re A-game in the morning.”

Snuggling further into him, you lay your head on his chest and your hand on his collarbone. Jensen wraps an arm around your shoulders and pushes the script he was reading to the floor.

“I promise. Good night, baby, I love you,” he chuckles softly as the heavy breathing tells him you’ve fallen asleep.

“Not that drunk, my ass!” he whispers as he kisses your head and turns out the bedside lamp.

Tags: @akshi8278 @ashbatz @candy-coated-misery0731 @chriszgirl92 @deans-baby-momma @deans-spinster-witch @deansbbyx @deanwanddamons @duncanhillscoffeecups @foxyjwls007 @giggles1026 @globetrotter28 @hobby27 @hoboal87 @impala67rollingthroughtown @iprobablyshipit91 @jackles010378 @jamerlynn @jc-winchester @k-slla @kazsrm67 @kmc1989 @lacilou @ladysparkles78 @leigh70 @lyarr24 @michecolegate @mrsjenniferwinchester @nancymcl @negans-lucille-tblr @perpetualabsurdity @roseblue373 @sandlee44 @sexyvixen7 @snackles87 @spnwoman @stixnstripesworld @stoneyggirl2 @suckitands33 @synmorite @tristanrosspada-ackles  @twinkleinadiamondsky @waters-2567 @winchestergirl1720

[my-rose-tinted-glasses]

My memory is terrible so I wanted to do a breakdown of my stuff every once in a while. Might be monthly, might be whenever I feel like it. And also. Spoilers and opinions below, read at your own risk.

QL - Currently Watching

🇯🇵I Hear the Sunspot [1/12] - I'm so grateful that I get a new jbl just as I'm mourning the end of the last one. I didn't read this manga but I've watched the film, and I really liked it even if it felt unfinished. Hopefully with 12 episodes it means we get the full story. This was a very good first episode, I feel like we established the main relationships dynamics and got a good insight into the main characters core. Taichi is my new child.

🇹🇭 Knock Knock, Boys! [6/12] - I continue to enjoy this group. Jane turned out to be a great addition instead of what I feared, but Peak really needs to step up so I can keep rooting for him and Thanwa, cause I'm also not a huge fan of the ex coming back as an obstacle for the couple. Latte and Almond are really great together and I'm curious how Almond will deal with his feelings for Latte, when he actually realizes he's having them.

🇹🇭Love Sea [4/12] - Before anything else, I love the ocean and I love when shows get out of the city. Also I like Mut. Now. I'm not a Mame hater. I'm a 'trauma is the only way to write deep characters' hater. I'm also a 'trauma gives you an excuse to be an asshole' hater. But most of all, I'm very much a 'love will fix you' hater. So just don't give me 3 out of 3 and it's fine. Also this last episode, all the talk about money and contracts made me feel some kind of way, although it doesn't seem to bother Mut so... And as much I like having Aya on my screen, Mook is really testing that line between cute and incredibly annoying. I'm not sure how long I'm staying with this one.

🇹🇭My Love Mix-Up! [4/12] - So... this is not good. The technical aspects of this are actually bad. Considering the number of sponsors is actually kinda incredible that it's so badly put together. The sound, the lighting, the editing, overall just... not good. Now, the rest. Look I don't want to ruin anybody's fun, so I'll keep watching this one quietly, unless something outrageous happens. But for the record, and this is all I'm gonna say, they are ruining the best parts of these characters and this story, and even if I ignore that (which I can't because it's an adaptation), it's pandering and it's a lazy attempt at recapturing the magic of msp, with a worse script and recycled material. Also I cannot believe they didn't put Atom in a trashing bag.

🇹🇭 My Stand-In [1/12] - For a number of reasons I'm waiting to binge this one. I do love watching the gifs on my dash though, pretty is pretty.

🇯🇵Ossan no Pants ga Nandatte Ii Janai ka! [9/11] - It's so good. I love them all. This last episode I was close to tears in several parts but the street proposal ended me. It's definitely one of those shows that I'm grateful that I get to watch even if I can't always find the words to talk about it. These characters have my whole heart. [everyone should be watching this and the wonderful @isaksbestpillow has made that possible with her subs. Here is the post with the latest episode. ]

🇹🇭SunsetxVibes [3/12] - It's ridiculous, it's fun, it's cute. Sun is such a simp. Man basically proposed before they were even dating. And yeah the way it started was not amazing, with the lying, but these two actually communicate about their expectations and what they're feeling which is better than a lot of shows right now. And I adore the sides.

🇹🇭The Rebound [2/12] - Everyone is gay and naked. And they play a sport of some kind.

🇹🇭The Trainee [1/12] - OffGun are back! I really liked the set up for this. It's only the first episode but I really like how they are walking the line between the comedy and the seriousness of the workplace. I love a good friend group so I'm looking forward to seeing how the relationships between all the interns grow. Poon is once again playing the silly brainless child of the pack but I don't care, I adore that kid for some reason. And next week we already got Gun crying so what's not to like?

🇹🇭 Wandee Goodday [10/12] - I already talked about my feelings regarding the last episode. I'm here for Oyei/Cher and Plakao. I love Inn and Great, they deliver with the chemistry but the DeeYak storyline is just a mess for me right now. I am also not looking forward to the inevitable redemption of the terrible parental figure.

🇹🇭 We Are [13/16] - The friendships are still great and mainly why I'm watching. I have a really good time watching those scenes. Only 3 episodes left and ChainPun continue to be the tinniest of crumbs. I don't expect much from this couple at this point and I'm a bit disappointed. FangTan are so cute and such good communicators. They are my favourites. QToey are cute. Now, Phum and Peem. Look PondPhuwin are really good at looking at each other like they're the only person in the universe. However. There's only so many times I can enjoy them staring at each other in slow mo. Once per episode oughta be enough I think. Hopefully now that they're actual boyfriends it gets a little less annoying.

QL - Finished

🇯🇵25 Ji, Akasaka de - What an incredible journey. I have to say it has been a while since a show surprised me this much, for the positive. For most of it I wasn't sure where it was gonna go or how it would end or who would be doing the running. The way they played with the show within a show was so well done. I loved the change in pov, which I always love in jbls, but it not only gave us the opportunity to see how Hayama's crush started but also we were allowed to see behind the mask that Hayama had been keeping up. Speaking of. I love him, one of my favourite characters of the year. And Komagine Kiita did an incredible job. I can't wait to watch him again when Tengu returns. If I had to say, the one thing I wish I had was more of Shirasaki's backstory. I wanted to understand better why his self-esteem got that bad. But that ending was great and honestly, I earned it.

🇵🇭Marahuyo Project - Well that was excellent. This show is beautiful. I want to hug them all and walk next to them. I really don't have the words for it right now so just go watch it. Because these characters are incredible and the visuals are stunning. All episodes here.

🇹🇭 Only Boo! - This is getting tiresome. Here it goes. Why? It was so great. They were the cutest shit and I had a smile on my face the entire episode. Even with the singing. It was wholesome and the mains delightful. And then... Heartbreak, time skip, no consequences, unearned happy ending. I mean Moo is a great character still, and Kang is the best boy, but I'm tired.

Rose Watches OJBL

Mood Indigo (2019) - I liked this one slightly better than the first. I think the visuals are stronger and there are some incredible shots throughout. The sex scenes are some of the best shot that I've ever seen. I love Kijima so even though I'm not always on board with prequels, it was great that we got more insight into him. Obviously we know this relationship was doomed from the start, and Kido has a lot to do with how we find Kijima in the beginning of The Novelist, but I can't help but feel for Kido. He is a mess that is struggling between the expectations that are on him (put there by others but also himself) and the affection and desire he feels for Kijima. And even without watching The Novelist there is always an air that this will not end well. For lack of a better phrase, it just wasn't meant to be. I'm looking forward to watching the rest of this series.

Dangerous Drugs of Sex (2020) - One of my first thoughts when I was watching this was 'we are using the word unhinged too freely'. Cause Ryoji has little competition on that score. This is not an easy watch. I really liked the way it was shot even if at times that meant my view was too narrow so I couldn't look anywhere else but the 'uglier' parts. In completely different ways they were both stuck in an uncomfortable (yeah that's not really the best word but I can't think of another) place and I could feel that throughout. I'm not sure about the ending but they look happy, so what do I know?

Other - Watched

There's a lot airing so I didn't watch much outside ql. I finished Under the Skin and rewatched a couple of things. My watchlist got longer and I have a bunch of shows that I'll hopefully tackle during my summer holiday in July. Speaking of...

There is a lot coming next month, so here is a post with all the shows that have been announced for July that I updated to include Meet You at the Blossom that was recently announced. New jbl starts tomorrow!!!!

As usual my ask box is open for questions or requests. Have a wonderful week💜

[sehtoast]

Tender Threads CH3 (Homelander x OC)

chapter three: initiation

chapter directory | slow burn, hurt/comfort, fluff, spidersona as original character, original trans male character, smut, sublander

summary: time to make it official. speeches, crowds, and vought's guard dog watching his every move. better not mess up, bug boy.

Word was out by fault of a leak.  Before the official announcement by Vought, news outlets had plastered Spidey over every flat surface and digital medium possible.  It wasn’t the first time Ben had made international news, but it was the first time it was to a scale like this.  He’s been a hot subject since becoming one of the only ‘rogue’ supes to not choose outright crime, though vigilantism was still technically illegal.   But he had droves of public support and pretty much always has.

Spider-Man had been gasoline added to the fire in the debate of unlicensed heroes.  He wasn’t the first, but he was certainly one of the more popular ones– though Ben could never fathom why.  Within three years of first donning the mask, he found himself trending on social media on a nearly regular basis for reasons both good and bad.

Spidey Doesn’t Kill.  Spider-Man Saves Victims Before The Seven.

Debates on his morals or potential lack thereof.

He’s not getting paid for it, obviously he’s doing it because he’s a good guy. 

What if he’s just some sick freak that wants an excuse to beat up on people?  

It was… a lot.

But it’s never been anything like this.  At least the outrage of the handful of exceptionally vocal few was satisfying.  Especially that weird guy that runs The Bugle.

Ben was given a script for his formal introduction.  Vought was going all out.  A stage, cameras, a massive crowd…

It was fucking scary.

He’d met Stillwell a week prior.  Just do it the way Homelander does, she’d said to him.  As if it were that easy.  As if his entire life wasn’t just upended by both the world’s most powerful supe and conglomerate.

So here he stands, just a few blocks away from the stage in Central Park.  Waiting for his little queue.

He can hear her over the loudspeaker.  Insincerity and public posturing dripping from her voice like venom.

Ben hates these types.  He’s dealt with them a lot in his job– well, old job– and something about her was so… wrong.  The way she smiled at him when he lifted the pen from his contract, name forever etched, soul forever sold.  Maybe it was how soothing she tries to be.  Soft voice, gentle eyes, even though behind it all is just another soulless little–

“I am so thrilled to present to you,” she says, voice bouncing off buildings and into Benjamin’s ears.

His queue to jump, to dive low and arc high.

“The newest member of The Seven–”

Go, go, go!   Drag line– zip– push off the wall– dive, momentum, go for the spectacle!  Razzle dazzle ‘em, Ben! C’mon, Stillwell! Say it!  Say the fucking line!

“The Amazing Spider-Man!”

Just as the words fly off her tongue, Ben comes into full view of the crowd.  Cheers erupt like deafening thunder, seemingly drowning out the city.  He peers down as gravity corrects his display of performative agility, sending him on a dive toward the stage.

A zipline to the rafters is all he needs to stick the landing, a quick handstand to add that pizzazz that was demanded from him, and a web from which to dangle upside down as he waved like the good little performer he was.

It wasn’t without its own beauty.  Even upside down those signs were clear as day.

We Love You Spidey! 

You Saved Us!

NY ♥️s Spidey!

The cheers, the kids in shifty little homemade costumes, his signature hand gesture that releases his webbing being held high by thousands...

Even in the air, he couldn’t see the end of the crowd.

But there’s no time for his brain to blue-screen like this, especially not when Stillwell all but grabs him and directs him to the podium.

Oh fuck, public speaking.  Christ, Ben thinks to himself, okay, imagine them all in their underwear…

The roar of the crowd silences in mere seconds as they wait for him to speak.

Thank god for the mask.  And the podium… fuck, are my legs shaking?

“Hi, everyone.” Ben begins, clearing his throat awkwardly.  He had a lot to nail here.  Poise, confidence, and whatever else was gonna help make supes look competent enough to belong in that defense bill.  Yeah, Stillwell made sure he knew not to fuck up their future as Lockheed Martin’s biggest competitor.

One step out of line could be catastrophic.

“I just… I wanna start by thanking everyone, y’know?  Everyone here, out there, friends, family… the whole shebang.”  He starts, letting the thunderous applause run its course before moving on.  “But most importantly, I want to thank Vought for giving me this chance–”

Gag, gag, gag!  This is horrible!  Ben thinks to himself as he runs his script.  Part way through some babble about small beginnings, he notices a flash of red and white behind the proscenium wall of the stage.

Homelander’s here?

“I’m just so incredibly grateful to be standing here today, y’know?  I hope I make you folks proud.  Thank you,”  oh christ, here we go with the raw corporate vomit, “and god bless America!”

Blegh.

Ben takes the slightest step away from the podium, and it’s like a jet engine firing up right in the middle of the park.  Screams and cheers, applause and all sorts of noise making doohickeys.  Beside him, Stillwell ceases her own claps to gently guide him from the podium.  Then, the noise explodes.

Whatever fanfare was for Spidey becomes infinitely louder when those colors sway out from behind the wall.

“Oh, no!  Hey, you guys!”  Homelander shouts to the masses, his smile wide and happy as he makes his way to the microphone.  He claps a hand against Ben’s shoulder and pulls him back to the podium to stand with him.  “C’mon, let’s hear it for Spider-Man, eh?”

Homelander leans in as the deafening uproar picks back up.  “Bet’cha don’t get that as a vigilante, huh?”

Then, as the noise dies down, Homelander begins his own performance.

“I, for one, am incredibly glad to have this fella join our team. It’s unfortunate that Translucent was injured so badly by an unknown enemy during his last mission, and I swear to God that we’ll find whoever is responsible and bring them to justice!” Homelander pauses. “But, I know that Spidey here will bring his own incredible qualities to our team, and I very much look forward to working with him, and the rest of The Seven, to keep our country, and world, safe!”

Perfectly impassioned.  Voice strong, tone bold but somber for his incapacitated friend.  Humble and domineering, but worthy of adoration.

He’s one hell of a spectacle up close.

Homelander’s arm slings around Ben’s shoulders, indicating that he, too, should wave to the masses.  He was showing the world how friendly they are with one another despite the real deal behind the scenes.  Despite what he’d said and done to the bug.

Benjamin wasn’t going on a patrol tonight.  No, no… after today, all he wants to do is curl up and hibernate.  Maybe it was all of the dread and anxiety for his big reveal day that had weighed him down, but he felt so heavy.  There was no way he’d be able to resist a nap on a rooftop at this rate.

Besides, this was probably one of the last times he’d ever sleep a full night here.  Well, most of a full night, given his sixth sense’s tendency to rouse him at odd intervals.  

Vought was moving him in.  Sure he could keep the apartment, but what was the point?  All of his things were going to be transferred by Vought’s moving services, so all he really had to do was pack everything up even though he technically didn't actually have to– the moving team would handle everything.  Not that there was much he could have in a studio apartment, but…

He’d gotten as far as boxing up his clothes, but everything else was still as is.

Instead of doing more, though, he just grabs that same guitar whose strings Homelander nearly broke, lays back, and picks a melody until drowsiness turns to pure exhaustion.

Unaware of the eyes watching him through the walls.

The boy was… a curious thing.  Obligation had turned to fascination, fascination became fixation, and fixation became obsession a little too quickly for his liking.  But that didn’t stop Homelander from continuing with his observations.  

It never does.

He was almost grateful that killing the bug was off the table completely.  Had he done so in that alley, he wouldn’t be here now, being practically serenaded– well, all except for some singing that Benjamin has yet to unknowingly perform for him.  Everything he’d seen over the last few weeks had driven him insane.  

Why in the hell would such an extraordinary supe choose this?   The mundane, the boring, the simple.

The mud.

He could have been so much more so long ago!  And Vought?  Vought waited this long to pursue and sign him?  What a fucking joke!  Homelander would’ve taken him over Starlight in a second had they pitched him earlier.  He supposes, though, that it was because they had been taking formal auditions back then…

But what a specimen this Benjamin was turning out to be.  So bold, yet so timid.  So happy and sad all at once.  Human, yet impeccably super.  And so very fun to watch live his boring little life.  Homelander will almost miss watching the web-head scramble to make it to work on time, swinging around the city in his cheap dress shirt, spider suit stuffed in a backpack, and then doing that stupid job as a… oh, what was it..?  Some kind of tech bullshit, whatever it was.  

Suffice it to say, it’ll be magnificent with the bug living in the same building soon.  Easier to observe that way.

[not-that-syndrigast]

F1 and independent content creation

Recently, especially on Tiktok, F1 content creators apparently got letters stating they have to change their branding, as in take ‘F1’ out of their username and stop using exclusive F1TV content. There has been quite an uproar around this happening, with many fans not understanding why liberty media would forbid free marketing for them and complaining about it, so i would like to explain the choices made and how this influences content creation way less than most assume.

First of all, I have not seen the apparent letters myself, thus i can only guess what exactly it states, but as far as i see it, it only states that content creators have to keep copyrighted content, like the name or content out of their videos. It is not forbidden to continue to post anything, although I could see that changing with the current behavior of a few people.

A lot of people on tik tok claim that F1 content creators were the reason why they got interested in F1 and that it’s a shame Liberty media has used this for years but now that they got all the fans try to keep the independent content creators down. In itself this claim explains liberty medias choices; F1 content creators have gotten big, with thousands of followers to the point that they make money of F1 content, which is a whole legal affair in itself but i’ll even skip that point (although i’d be very happy if someone that has more knowledge of the law would explain it closer). Liberty media cannot control what these accounts post, which sounds good in the first place, but can become really dangerous and annoying to F1 fast.

Let me give you an example; we are going to imagine a girl now, let's call her Katie (for legal reasons, this is not framing but an example. As of 18.08.2024, none of these accounts or people exist to my knowledge). Katie is a big F1 fan, so she decides to make a tik tok account called ‘F1UpToDate’. She quickly gains thousands of followers by making videos about grand prixs, silly season, you’ve all seen the videos. Well now Katie is not a saint, no one is, so she makes a video saying racist things. Said video gets millions of views and now liberty media has a problem; due to the account name, they are directly tied to anything problematic she posts or says and there are many people misunderstanding that Katie is independent from F1. It sounds outlandish, but currently, there are quite a few F1 content creators that are big enough to be confused with an official F1 account. Now liberty media has to put out press releases and talk about how they have nothing to do with the post,... Instead of waiting for the shoe to drop, they are currently preventing anything like this from happening, especially since no one can predict what bad things people could actually do.

Now I’ve seen quite a few people also confused, why not just employ F1 content creators? They are well loved by the fans and could attract more fans, but people underestimate how expensive that actually is. As far as I see it, there's only two ways that would work, and in both cases the content creators would lose the independence that makes their videos so fun. Either, they have to get every single video by PR managers of liberty media approved, which would mean less funny and spontaneous videos, or they would only be allowed to post by a script, which again, would make them dependent. 

In the end, if we go back to our example, had the account been called ‘MotorsportsUpToDate’, there would still be outrage if something bad was posted, but at least both the content creator would have been independent and liberty media not affected. People will still be able to find content creators and they’ll still be able to attract new fans, a new username won’t change that.

To be honest, I'm even surprised liberty media let them get away this long with getting money from their name. Again, I'm not well versed in law, but I am aware that money creates these situations too.

But like always, I'd like to know what other people think of this, if you agree or maybe know more about the law than I do in this case.

[queenvhagar]

honestly I think the show runners are being genuinely stupid right now cuz a part of the reason got season 8 was a disaster was of course due to no proper buildup and bad writing but I honestly think it was the marketing and all the press tours of the actors like they all genuinely made it seem like daenerys wasn’t a very flawed individual and alot of scenes that should’ve been presented as oh that’s actually a very dark thing she’s doing we’re instead turned into girl boss moments. The majority of the audience wasn’t mentally prepared for the turn cuz in-universe practically no one had realistic reactions to her and called her out. This especially backfired cuz alot of people that were watching the show were not reading the books and making theories. ( like dude at the very least your actors shouldn’t be so horrified and shocked like forget following the marvel way of keeping scripts secret for months just follow the Alan Rickman snape thing and let them know so they perform accordingly )

Now instead of learning from that they want the love dany got before season 8 from the audience but it’s like now you know how this ends for rhaenyra this is not a secret but again alot of the audience watching this probably hasn’t read the books so you have to lay down the groundwork otherwise you’re going to end up in the same position once again cuz the book-blind audience will only see that oh rhaenyra has been making all the right decisions why is she also turning ‘mad’.

They should be thinking longterm right now and how to make sure the prestige of the show remains even after it’s over but that won’t happen if again you are purifying these characters and fundamentally changing who they are but still want the same plot beats to happen.

at this point I can’t easily picture the outrage for rhaenyra taking an evil turn later on and how the show runners are sabotaging her

I do hope they aren't planning on downplaying Rhaenyra's mad queen arc, because that would completely ruin her character (though what we've seen from this season so far, there's little hope of a book-accurate Rhaenyra arc happening).

How it's going now I can almost see it being the threat of Aemond and Vhagar and stories of their devastation in the Riverlands being the reason people rise up against the dragons and Targaryens as a whole (instead of it being Rhaenyra's paranoia and cruelty, as well as Helaena's death, that causes the people of King's Landing to turn against Rhaenyra, kill the dragons, and drive her out of the city). The way Aemond has treated the smallfolk so far, how he will in future episodes, according to the leaks, and this episode's highlighting of all the sheep being sent to Vhagar despite the lack of food in King's Landing, along with the smallfolk apparently loving Rhaenyra and the Blacks despite them causing the blockade and Meleys murdering hundreds... it seems to be conveniently setting up the blame of the fall of the dynasty to go towards the Greens completely.

I wouldn't be surprised if Rhaenyra continues to be absolved of wrongdoing... although it would clearly be a much more interesting show if the writing would start allowing Rhaenyra her fire and exploring her superiority complex and the impact it has on how she rules and others view her.

If they continue to present her as some flawless girlboss and somehow also want to include the mad queen arc though... they'll be in for a rough ride.

[snowblack-charcoalwhite]

Despite the bad writing, it seems that Aemond was not received as negatively as many people thought. I have skimmed through different social networks: with reddit, except for subs dedicated to a part of fans (TB, TG), on mainsub and popular subs about TV series, people still receive Aemond quite positive, they like the character's extreme personality and enjoy it or they just think of him as a character they love to hate, like Cersei. On twitter and instagram, of course there are many hateful comments/posts considering that 90% of the fanbase is TB. However, there are also many viral posts about Aemond. As for tiktok, oh well, I think regardless of everything, with character design alone he will never lose. The press also had a lot of praise for Ewan, although less than the others possibly due to a lack of memorable scenes and limited screen time, but among the young actors Ewan still impressed critics. I think for Aemond, the charisma and "aura" as well as the acting that Ewan contributed really helped a lot with the viewer's reception of the character. In my opinion,the change in the fanbase or the fact that many fans turned their backs on Aemond did not much affect the way the public viewed him. That I think is good for Ewan and also shows that no matter how much the writer intentionally reduces his screentime and writes about him poorly, Aemond will still always make an impression on the viewer, even in the scene where he just stands and doesn't say anything.

Good day/night!

Right, I checked out some reactions as well (on Reddit and Youtube mostly) and based on what I saw my impression is pretty much the same as yours. GA has not been nearly as hard on Aemond as the fandom has been. Some people are shaking their heads at his words and actions but then immediately say something along the lines of "I think he is fantastic".

And IMO it could be explained by the combo of two factors:

1) The unkillable (thanks to Ewan's acting and the character design) vibes and presence - just what you pointed out. HBO really struck gold with the casting here: with someone less fascinating and charismatic they wouldn't have managed to fumble Aemond's character development like that and preserve the character's popularity among the viewers. Huge kudos to Ewan, honestly: he makes the absolute most of everything he's given by the script, no matter the quality or the quantity.

2) (a not so good one) The shallowness of the show where making the audience truly connect with the characters and care for them is concerned. People seem to be warming up to Aegon this season (not all of them but quite a few) - and still no one (of those I have watched reacting to Rook's Rest) was really angry at Aemond for trying to kill him (there was surprise but no anger). Many of the reactors were outraged by him klling Rhaenys though - but literally a week later they seemed to have moved on. So, it's quite understandable that while many TG fans (specifically those who are very passionate about Aegon or Alicent and focused on them) might have developed animosity towards Aemond - just as hardcore Rhaenys' stans, GA smply dgaf.

[leikeliscomet]

We Failed the First Black Doctor (Part 1)

We failed the first Black doctor.

I know you’re thinking ‘What the hell, I didn't do anything to Ncuti!’. That right there is part of what I mean. When tabloids and fans say ‘the first Black doctor’, our minds go straight to Ncuti Gatwa and rightfully so. Some fans might say Lenny Henry. Some fans might even say Peter Davison. When I say ‘First Black Doctor’, I mean Jo Martin. I think about the Fugitive Doctor. I think about how in only one episode she appealed to so many fans. I think about how she carried a gun and ripped off a Judoon captain’s horn. I think about how a great character was fumbled so badly by the show. I think about how fans barely think about her now. I think about how the first Black doctor was done so dirty. Your next thought is probably ‘Well isn’t that Chibnall’s fault?’. In a way, yes. But also no. What exactly went wrong varies from writing processes to behind-the-scenes structure to fandom politics. To unpack why Fugitive was done dirty, we need to start from the beginning. 

Series 12 would be a complete 180 of series 11; returning monsters, a more energetic soundtrack and heavier reliance on Doctor Who lore (or whatever was left of it). Apart from a vague Timeless Child namedrop in The Ghost Monument, Thirteen’s run was smoother than her predecessors in terms of less overwhelming narrative arcs. No Hybrids or a Time Lord Victorious, just a girl and her fam. Until one day in Gloucester, a tour guide named Ruth would transform in a lighthouse and essentially change Thirteen’s life for the rest of her run. What seemed like an RTD-esque Judoon episode turned into the debut episode for a brand-new incarnation of the Doctor. And we never saw it coming. And neither did Chris Chibnall apparently. In an interview, he revealed that the script for Fugitive of the Judoon was already underway and the Fugitive was a last-minute addition. This was red flag no 1. A last-minute character wasn’t inherently a bad thing, as it was assumed Fugitive would return again in the second half of series 12 and likely in series 13. These appearances were lacklustre, but I’ll go into more detail later. Fugitive’s casting made a lot of noise; bad and good. Right-wing sides of the fandom were outraged at a Black woman playing a role they thought was exclusively for white men (no surprise there) and plenty of comments fuelled with misogynoir, antiblackness and colourism were thrown her way too (no surprises there either). What made this outrage worse was Fugitive’s ambiguous role in the timeline. Many were angry about Fugitive being before One and thought it disrespected William Hartnell’s legacy of being the first incarnation of the show. Contrary to popular fandom belief, Chibnall didn’t actually confirm if Fugitive is pre-Hartnell or not, he left her placement vague on purpose. We as fans have reason to believe so because she didn’t have a sonic and we saw One to Two’s regeneration on screen along with One’s companions, so we know she couldn’t be between those two. Pre-Hartnell is a ‘fanon’ theory, but this doesn’t take into account how Fugitive's TARDIS is a police box already. Another popular idea in the fandom is the season 6B theory. We know Two regenerates into Three, but the physical regeneration is never actually shown on screen, so a sneaky incarnation between them is possible. But again, the missing sonic does poke a small hole in that theory. Fugitive did however state she was smart enough not to need one rather than saying she didn’t know what it was, so maybe the 6B truthers were onto something. The Timeless Children promised to answer these burning questions and didn’t. So, we were back on square one, assuming we ever left it in the first place. With Chibnall also confirming Fugitive is not from a parallel universe, so she had to fit into the main lineup but not after Thirteen, figuring out the origin of the Fugitive became a painful and lengthy debate for answers we never got and probably never will.

Fortunately, details about the Fugitive would end up in her design process. Costume designer Ray Holman added elements of previous doctors in her design. The tweed in her jacket comes from Eleven, whilst her black trousers and boots reference Twelve. Her boots are also for combat purposes, drawing parallels to Three in terms of martial arts ability. Additionally, the colourful shirt she wears is Kente cloth, a colourful Ghanaian fabric, giving a small African cultural nod to our first Black doctor. Jo Martin has spoken about the importance of representation in interviews, stating she didn’t see a lot of Black characters growing up and how Fugitive allowed Black kids watching the show to have someone to look up to. She also noticed the Black and mixed race cosplayers and has shouted them out on her Instagram page. Many pictures and stories on her page showcased fans of colour in blue jackets and yellow glasses, giving the Fugitive her well-deserved flowers. For the first time, we had a doctor that looked like us and this was what made the Fugitive groundbreaking. A dark-skinned Black woman with locs playing the Doctor is something I didn’t see coming. A wish and a hope maybe, but seeing it come into reality definitely touched me. Not only was I seeing a Black woman of my complexion as a main character in Doctor Who, but she was the main character. Not only that, but her backstory was engaging. Why did she run away? Who is she running from? Where does she fit in the timeline? Within one episode, Jo Martin had already captured the ‘Doctor essence’ needed for the role, with some even saying it challenged Whittaker’s performance.

Enter Ruth. We see her get ready and head to work on her birthday. We don’t know a lot about her but she seems friendly. Her partner Lee on the other hand seems a bit sketchy. Fast forward, Judoon are on the hunt for the fugitive who they assume is Lee. Thirteen and the fam swoop in to help the two out. Thirteen knows something is wrong and she can’t place her finger on it. But as time goes on the situation spins out of her control. The alleged tour guide has ripped the horn off a Judoon’s head, an act of dishonour and humiliation. Thirteen’s doubts grow as the two reach the lighthouse because the holes in Ruth’s story are starting to show. Why live in a lighthouse? Why have a blank gravestone? Enter the Fugitive Doctor, previously Ruth. The lighthouse was her fob watch, hiding her memories and true identity. Lee was her companion playing a role similar to that of Martha Jones in Human Nature/Family of Blood and gave his life to save her. Taking that story, we now see how it plays out from the other side; from the POV of Martha Jones as protector to the POV of the Fugitive as the protected. In this 50-minute slot, we already have a backstory for this new doctor that still leaves room for the imagination. On board the Judoon ship, Gat is defeated by Fugitive with a gun she didn’t even have to fire. As she timed this according to the ship’s acceleration, Gat’s shooting takes place in interstellar space with no laws so Fugitive gets away with murder. Almost literally. She’s confident with a powerful presence and takes control of the room, contrasting Thirteen’s more chaotic and vulnerable approach. Thirteen and us as the audience are stunned as this complete stranger has saved the day and made it look so effortless. From there, the groundwork had been done for a new main character in the Chibnall era cast. But this wasn’t delivered.

Part 2 ->

[outrunningthedark]

I would understand the outrage against tommy had the the last time we saw him, he left in a way still framed as a bully and bigot and on bad terms with hen and chim. But that’s not what happened. When he left, it was clear they were all friends and fairly close too. Then we continue to get a couple random mentions of him between season 3-7 from chim. Then he comes back in season 7 and why does he come? because CHIM calls him up. and did y’all see Hen’s reaction to seeing Tommy? She most definitely was pleased to see him. If he wants Buck’s love interest they would not be so obsessed with his behaviour from 15-20 years ago

All of this. Ofc. I'm ngl, sometimes when I see a Buddie stan bringing up how he mistreated Hen and Chim I have to wonder whether they actually sat through non-Buddie episodes pre-season 4 or if they just skip to the parts where things got "good". Because Tommy's "redemption" was very much established before he ever came back this season. Does that mean people have to like it? Nope. But characters getting redemption arcs with little to no build up, and even if they don't "deserve it", is what this show does. If that's such a problem...why are those people even watching? Why are they still here? And if the answer is for Buddie...fandom isn't dictating canon. People need to separate what they ship from what they see on screen when they're not the ones writing the scripts. Also, gonna say something that might come as a shock, but as much fun as BuckTommy fans are having with the invisible string theory (that they are not taking as seriously as others think, lol), Tim could not have predicted that he would actually get approval for Bi Buck nor that Lou would be willing to take on the role as the LI. Would Tommy have been an asshole if Tim thought "We might be able to bring him back for Buck in 5 years?" Obviously not. But Tim wanted to introduce a LI with a connection to the 118, with a connection to Buck's co-workers and friends so that it wasn't just some guy showing up with no last name and no backstory. (And this is what REALLY has the fandom so angry, right? He's not getting the same treatment as Marisol.) It just so happens that THAT guy was Tommy.

[eerienostalgia]

Not my usual content but I have some thoughts on the first two episodes of Star Wars: The Acolyte

(P.s. this is unfortunately not a positive review)

WARNING: THE ACOLYTE SPOILERS AHEAD

I hate to say it but, God, I’m so disappointed.

This is a show I wanted to enjoy so terribly bad. I love the setting. I love the diversity but the writing just completely ruins it. It makes me so frustrated because I feel like Star Wars has really been lacking in having diversity in their shows, and I was so excited to see them actually create a diverse cast, but of course they had to be given a show with just an awful script.

There were so many problems thematically and narratively but I think that one that really was the most jarring was that: there was no tension the entire time I was watching it. Almost every single one of the big questions were answered in the first two episodes. All besides who Mae’s master is, but just having one singular big question isn’t enough to leave me intrigued, and with the way events have been unfolding, it will probably be answered in episode three.. There should never just be one question in a series marketed as mystery. The beauty of that genre is: all the little questions that present themselves slowly being answered *until* you reach the big question. The best shows are where you don’t even know the big question until the last half of the show.

Another killer of the tension was the amount of exposition. It’s the hallmark of bad writing to me when a character, or those around them, just start explaining their backstory, especially a backstory they presumably already know and have no reason to say out loud. This is the most apparent during that moment on the ship where Yord first confronts Osha, and starts explaining her entire traumatic history IN THE FIRST EPISODE. These scenes could have easily been flashbacks, or just, explained in a way that made sense narratively?

On that note: not to compare shows, but to absolutely compare shows, an incredible example of how backstories should be told is Andor. One fact I especially love about it, is that during the flashbacks to his childhood, either everyone is speaking a language we don’t understand or not speaking at all, and almost the entirety of it is told solely by visuals, context clues, and little off hand comments and we don’t know the full story all at once. It’s something that is gradually revealed to us. It’s a backstory that feels earned.

Think about how much more intriguing the story might have been if we didn’t know about the fire, and we didn’t know that Osha had a sister. If the narrative had let us believe for a little longer that Osha was the one killing Jedi. How long would it have taken for her to spiral? Would Sol still be able to believe her in the face of damning evidence? Who is this girl that looks exactly like Osha? Is it her? And most importantly we would have the question of WHY she wanted to kill all these Jedi in the first place! *But* we don’t get any of these questions, at least not for longer than 30 minutes, because the narrative didn’t suspend knowledge long enough to allow them to happen.

At times I also found the way characters got out of situations to be… too coincidental. Such as the fact that the designers of the ship Osha was first put on as prisoner seemed to think it was a great idea to have the escape pods right in front of cells?? As well as the fact she was able to survive the crash of said ship in the first place, seemed to get thrown out of the chair she was sitting in, blacked out, and stood up and walked away as if nothing had happened. The ship was quite literally on fire from the inside as it went down and her along with her clothing were completely unscathed? It’s just outrageous, and don’t even get me started on the fire… in the vacuum of space.

I am able to let go of a handful of incredibly lucky escapes out of situations, but the first two episodes of this show felt like it was just a series of incredibly fortunate events. Even after presumably murdering a *master jedi* she was allowed to sit in the ship completely unrestrained. I understand Osha was close with her former master but she should not have been let off the hook quite so easily, especially for a group of monks who take very seriously their lack of attachment rule. It was just so frustrating to see tension resolving itself almost as soon as any semblance of it was created.

I do believe a lot of these issues are problems of most modern TV shows now as a whole. Writers have begun to assume that the audience needs everything spelled out for them, which makes shows bland and boring. Perhaps my frustration with The Acolyte is from the disappointment I find amounting due to all of the horrible shows recently who have shared its weaknesses.

It’s so unfortunate, because I do believe this is a cast full of talented actors who were just handed an awful script. I unfortunately find myself already mourning for the show this could have been.

HOWEVER, through the sea of the multitude of negative thoughts I have concerning this show, there are a handful of positives. I think the choreography is very well done, especially compared to a lot of the live action Star Wars shows I have come across recently. I truly did feel interested during those scenes. However no amount of showy lightsaber duels will be able to overshadow horrid writing.

I believe the actors were good and did the best they could with the script they were given. I think a lot of them made some very strong character choices that made the characters pop out to me a bit more. I especially enjoyed the way Mae’s friend who made the poison was portrayed.

I also to a degree, enjoyed the sets and costumes. I found them intriguing on their own and I enjoyed the more intricate designs for the ships interiors. I just wish they had pushed the envelope more for what the Star Wars world would have actually looked like 100 years previous. To me it mostly felt the same as any other Star Wars project, which is disappointing because when you look at our world today vs. the world in the 1920s the difference is astronomical! I would have loved to see some more rudimentary versions of common place items. Perhaps an earlier version of the holograms that is blurry, or an earlier version of a droid like R2. (Which by the way, apparently the R2 units have been in production for a hundred years by the start of the Clone Wars considering they were mentioned in this show)… I digress.

The world would have been much more captivating with a stronger, more rustic aesthetic. It does the show a disservice to make it blend in so much with the previous Star Wars projects.

The worst part is that I do genuinely think these are interesting characters that could potentially be a part of a very intriguing story, but the writing just completely stifles any sense of mystery or intrigue. I want to be confused. I want to figure out the mystery. I want to feel like I am watching a story unfold rather than a series of events.

I am holding on to the hope that perhaps these two episodes are flukes and the reminder of the season is beautiful and thought provoking and action packed.

I don’t want another disappointment.

[drivinmeinsane]

Thoughts on RG!Ken as a Romantic Partner (Bad End)

As a result of his patriarchy journey, Ken decided to flip the script and view you as his accessory of sorts. He likes it when your outfits compliment his. He will pick your clothes for you.

He's terribly possessive in a contradictory way. On one hand, he doesn't want the other Kens to so much as glance in your direction, but at the same time he wants to show you off.

He wants you to be his "bridewife". You being his long-term long-distance low-commitment casual partner just doesn't cut it for him. He wants all of you to himself. He would give you his necklace to signify your special relationship. He plays his desire to marry you as no big deal, but it's incredibly important to him. He needs to be wanted in a tangible way.

He is wildly insecure. Ken needs a lot of reassurance and approval from you even if he won't admit it out loud since men don't need that kind of thing from their partners.

Pet names? Ken uses them relentlessly. They're all a little condescending but they belay his affections. He calls you things like "tiny baby", "mini baby", "my rainbow", "my divine girl/boy". He'll go on a tangent with the names he throws out getting increasingly more outrageously long.

He keeps you in sight at all times. Partially just to marvel at how he got so lucky, but also because he's insecure that you might choose another Ken. He has to be the object of your attention. You're never allowed to brewski beer anyone else.

He likes explaining things to you. It's even better if you ask him questions (the simpler the better so he doesn't get flustered). He talks at you for hours. He also 'writes' you songs and plays them at you and sings in that goofy voice of his. Any activity that gets your eyes on him is worth doing.

It's not unusual for him to cry in your arms at night. He's no stranger to burying his head against your stomach and sobbing. He's wracked, not quite by guilt, but by the stress of being a figurehead for a movement he doesn't even really care about (he just liked the horses and the respect) and how he drove away Stereotypical!Barbie. It was simpler being an accessory to Barbie, even if he wasn't even one of the cool ones.

He's very physically affectionate with you on top of the names and showoff behaviors. He'll pull you right against his own body. He lives for kissing you. One of his favorite things is to sit you in his lap facing him and drape himself over you, holding tight.

He only has eyes for you. You're his and he's your Ken. There's no room for anyone else in his obsessions.

Despite all his shortcomings and twisted logic, there's always an undercurrent of care in everything he does. He treasures you even if he puts on a macho, cool guy persona for the other Kens.

18+ content under the cut.

He's not patient and that extends to the bedroom. He gets aroused at the drop of a hat. He will put your hands where he wants them to get the point across of how much he needs your touch.

Ken also won't keep his hands off of you. He shamelessly gropes you regardless of your surroundings. He doesn't have any hangups or restraints when it comes to you and intimacy. He wants whatever makes him feel good and he wants it right away.

Receiving gratification in front of the other Kens gets him going. It shoes off how "manly" he is and how much his perfect partner desires him. He's not shy about being an exhibitionist.

He's a taker. He's not prone to reciprocation or getting you off. His books and research for the reinvention of patriarchy taught him that you were made to service him.

Ken's incredibly loud in bed. He makes it a point to show off to the other Kens that he has someone in his life that's willing to be intimate with him.

{ m a s t e r l i s t }

[sokkastyles]

Iroh being framed as a messiah while talking about eugenics

Perfect summary of everything wrong with Iroh

Yeah, no, actually. There's no point where Iroh argues in favor of eugenics, and in fact, the actual script of the episode has Aang refute the notion that it means some people are born bad, but that the point is that everyone has the capacity for great good and great evil. Eugenics is bullshit, but generational trauma is very real, and people have the capacity to end the cycle of violence with the choices that they make.

Azula stans, especially, try to insist that it's about eugenics so that they can be fake outraged about it, and then point out the logical fallacy in the argument (the one they insisted was being made to begin with, despite the episode itself disproving this). If Iroh was trying to argue Zuko was just good because of his blood, then wouldn't that argument also apply to Azula? The Azula stan argument is that Iroh is just being hypocritical, instead of realizing that the argument was never about blood in the first place, but about legacy and choices, which is what Iroh has always believed in. Yes, the same argument does apply to Azula. Because it's about the choices we make.

The A and B plot of the episode are juxtaposed together for that reason. When Aang says he believes friendships can last more than one lifetime, it recalls how he told Zuko about his friend Kuzon and asked if they could have been friends if it weren't for the war. It's all about generational trauma. All of it. Even the melding of Roku and Sozin's bloodlines was part of a legacy of greed, consolidation of power, and domestic abuse.

It's all about generational trauma and choosing not to continue that cycle, but I can understand how that's uncomfortable for Azula stans who are invested in the idea that everyone else is at fault for awfulness don't want to admit that. Kinda puts the lie to the idea that they actually want her to heal, though, because believing in such a fixed mindset is the reason she won't.

Also, @malevolentlightning, I know you are the one sending these sock puppet messages to multiple accounts. Truly classless behavior.

[automaticpenguincreation]

My Love Mix-Up Th

Ep. 5

I did not do a bullet point reaction to this and I will no longer do so for upcoming episodes. This summaries my feelings:

“My Love Mix-Up! [4/12] - So... this is not good. The technical aspects of this are actually bad. Considering the number of sponsors is actually kinda incredible that it's so badly put together. The sound, the lighting, the editing, overall just... not good. Now, the rest. Look I don't want to ruin anybody's fun, so I'll keep watching this one quietly, unless something outrageous happens. But for the record, and this is all I'm gonna say, they are ruining the best parts of these characters and this story, and even if I ignore that (which I can't because it's an adaptation), it's pandering and it's a lazy attempt at recapturing the magic of msp, with a worse script and recycled material. Also I cannot believe they didn't put Atom in a trashing bag.”

- My-Rose-Tinted-Glasses

Source: https://www.tumblr.com/isaksbestpillow/754740923081097216?source=share

My last commentary is this: Ignoring that this should not be a remake because they do not care about the original work but everything also feels so forced. The plot points and the characterization all bends towards characters having moments. I’m not against turn off your brain shows but it is worrying that they are putting their heavy hitting popular pairs in these types of shows. It seems that overall GMMTV is moving towards have these moments and nothing else matters. There is a spectrum there from My School President (the show seemed to go on tangents work at cafe versus sticking to the they are band overarching plot) to We Are (gibberish plot that repeats the same thing over and over again). I think it’s frustrating to me because the money and the talent is there. The actors sell these moments well for the most part but I want romance in my QL. I want love.

Do I @my-rose-tinted-glasses ? I'm not sure of tumblr ethic.