#the season 4 finale was literally one of the most poorly written episodes in the whole show just because they needed tom and daria to get t

[communist-octoling]

fuck tom dude

[hattersarts]

gomens s2 thoughts, all spoilers!

I spent 10 hours talking to my housemate about the season after we binged the whole thing in the morning but here are the highlights and the biggest takeaways from the season.

okay i did love the ending, i love that we get the conformation of love AND going into the divorce arc next season (if they're not properly together by the end of season 3 however, i am rioting) they're slow burn and a whole season of them getting to the final 10mins was tasty.

HOWEVER. it was an extremely clunky season when it comes to writing, lots of either set ups missed OR set ups repeated 4 times that they're drilled into out heads. there was also lots of dialogue that really needed to be tightened up. the lesbians were so poorly written i thought they might have needed to be cut BUT they just needed to have more bearing on the rest of the plot AND say things like real people would say things and LITERALLY SHOW ONE SINGLE REASON WHY THEY WOULD LIKE EACH OTHER WITHIN THE FIRST EPISODE.

gabe/bulz romance was the one that should have been cut, have them do more of a oh-my-god-my-boss-sucks kind of thing, lean into them complaining about having to avert a civil war after armageddon stopped and touch on the "structural problems" the angels mention later. Have gabe/bulz be super punished for working together which puts huge fear into az and crowley about what happens if you try to team up as an angel/demon pair (but an extra reason why az takes the job at the end so he and crowley can be the same)

imo it works more if the only mirror of their romance is the HUMANS which should lean into themes to season 3 of how they need to team up with humans (re:"us vs them" line at the end of season 1) to actually achieve their happy ending.

Nina and maggies best scene was their last one telling crowley he needed to talk to az but i think that was one that needed to be cut, it would have been far more satisfying to have crowely work out it out himself that he loves az and wants to tell him (still via maggie and nina but more subtle rather than them telling him to his face AND via spending more time with az in the season)

flashbacks were all pretty good, loved the jobe one and that final "lonely" scene. the nazi one needed some trimming the most (why did all three come back to earth, it made scenes too crowed, have them fight to be a zombie)

shax was disappointing, she was kind of just incompetent the whole way through which didnt make the stakes very exciting, (that whole scene of her talking to the legion was unfunny and pointless) i wanted crowley to mentor her more like when he gave her advice in the first few meetings we saw (kind of in a very non-demonic way, not expecting anything in return) and her to then meet him on equal footing in the finale. would have been a little accidental taste for Crowley to have his good deeds come back to haunt him while showing he's different to demons.

speaking of the finale fight, that halo had NO set up, it was sick as hell but ??? the fuck did that come from. the fight should have been won by az and crowley performing another HUGE miracle together, discorporating the demons (which then would alert heaven and hell something was up in the bookshop and the final scene can happen)

az taking the job from metatron was very good, its consistent with his character where he still hasn't let go of his faith in good/god, he's only been upset by the angels running heaven and still has faith in the system while crowley has realised none of it works and it's only them together that matters. it was nice to show he still hasn't truly accepted crowley for who he is now (tho imo he knows he loves him, he just hasn't quite unrepressed himself) and him not turning down the job after crowley confesses to him shows he still thinks he can fix it. Crowley on the other hand thinks he's now lost him, az has broken he the trust he had in him, he's going to be in big depression mode

few thoughts of good directions for S3:

finally delivering on what crowley said at the end of S1 I think is the most satisfying. the final showdown should be humans Vs heaven/hell with Crowley and az on the human side, helping them win the conflict. there would be suggestions that this is actually god's ineffable plan, this is a conflict she wants to happen and the things that Crowley and az went through are what make them perfect ambassadors to help the humans.

the set up for az in S3 to finally work out he and Crowley can't work out within the unfair rules of the system and for him to abandon heaven (tho not I think, becoming a demon) is good. a sucky ending imo for season 3 is if az somehow "fixes" heaven and via bureaucracy and not via blowing it all up.

growth moments for Crowley in S3 might be having more contact with humans since he's already abandoned hell and it would put az & crowley on similar footing (as az very much loves humans already) when they decided to side with humans for a humans Vs heaven/hell conflict.

anyway, gay people

[abla-soso]

I have to say if the nettles being cut leak does happen I’m definitely dropping the show. And I have been very generous about the changes even enjoying some of them but nettles being cut isn’t even the final straw it’s the writers gleefully taking a flame thrower and burning the haystack. I literally had only one expectation from this show (well two) adapt Nettles and don’t make her his bastard daughter and the fact that writers cut nettles suggests they are catering to worst of the Targ Stans in the fandom. My only hope that if true Martin goes off on the writers like he did on his old blog when he talked about a frustrating experience he had in the 80s about his publisher trying to whitewash a the main character in his novella nightflyers on the cover a few years ago https://t.co/3BZfwRk70Y

I'm already done with the show (I haven't watched a full episode besides episode 2, and I don't plan to watch another full episode. I only watch the scenes of the characters I still care about and read about the rest of the context through fan accounts when nessasry).

But if they cut out Nettles, I will absolutely refuse to consider the show as a legitimate adaptation of Fire and Blood. It will just be a poorly written fan fic to me. The story of Fire and Blood is about the beginning of the fall of House Targaryen, and a part of that fall is destroying the false myth of Targaryen Exceptionalism. Nettles is extremely important for that. Besides, she's the most unique and interesting character in the whole story, so cutting her out is a dumb decision on its own.

I'm hearing some news about Martin wanting to be more involved in seasons 3 and 4. But at this point, I don't think I can even trust his judgment. He has long accepted that this show is a completely "separate canon" from his book (I'd say: a shitty fan fic from a Targ stan who doesn't understand Martin's themes and turned his story into a whole different one). I don't think he cares anymore about the show writers butchering his themes and characters. I think he just took the money and went: "eh, let them do what they want. the show is their story and not mine" 🙆‍♀️

[jugheadvarchoni]

Ranking every Riverdale Season (from worst to best)

Reminder: this is just MY opinion. Feel free to share your own!

7. Season 5

With the exception of the first 3 episodes (which I just consider to be part of 4), this season was just a huge nothingburger disappointment. The idea of a time jump was cool, and it even started out okay. Then it quickly went off the rails and not only fell back into repeat territory but the jump itself was just executed so poorly… I was beyond done with Hiram villain stuff atp. The Mothmen were fine, just nowhere near as good as the Gargoyle King or Black Hood for me. Too many characters are written TOO awfully (especially the queer characters) and sometimes it feels like they tried to cram way too much into it. It just leaves the season feeling bloated and incoherent. Best parts by far were Toni getting a big role and the introduction of Tabitha.

Still, those weren’t enough to save the season imo. Overall S5 felt the least like Riverdale to me & it was lowkey boring a lot, so it gets last place. Boo. 🍅

6. Season 4

I’m actually so serious when I say I really love this season. S5 is probably the only one I dislike, the rest of these can change at the drop of a hat lol.

The main reason I’m putting S4 here is that it was very hit or miss with my enjoyment of the storylines. Jughead’s stuff at Stonewall was okay. Cheryl got another unhinged story when she should’ve been getting therapy, Archie’s story was mind-numbing, The Auteur was creepy and great until it was revealed to be Jellybean (wah-wah-wah). Maybe it has to do with COVID throwing things off, but the whole season was just a little lackluster and disjointed. Also, TICKLE-PORN?????

The tribute to Luke Perry was beautiful tho. Miss him. 💔

5. Season 1

ALRIGHT. Before you pull out those pitchforks, just hear me out. It’s an incredible season, it’s the most well-written, the tone was amazing, and it set everything up perfectly.

But I do think that because it’s only the first season, and because it’s so short, a lot of the dynamics I personally love just don’t exist. Toni isn’t on the show yet. And I feel like part of what made Riverdale stand out, WAS the craziness and the willingness to do literally anything remotely cuckoo, which S1 just didn’t have. I’m just personally very attracted to wackiness of the other seasons. It’s a little overrated.

But again, this still season is INCREDIBLE and I’m still obsessed with its’ vibes.

4. Season 7

Don’t hurt me. 😭

But buckle up, because I have a lot to say here.

I REALLY had such a good time with this season… I mean, the Choni of it all is really want gets me obsessively thinking about this season on a daily basis. The way they were treated in the first half is everything I wished for them back in the earlier seasons. If this were a ranking based on Choni throughout the seasons, S7 would be #1. Kevin also got a ton of great stuff. S7 was so kind to the queer characters… Other than them, I just love how they got to have FUN. They took us back in time and basically just put the characters into an old-timey Archie Comic. Ridiculous but entertaining side plots that actually kept me interested and put the characters in a totally new environment. And despite the fact that people seem to want to ignore this, they ARE still the characters we’ve known and loved since S1, they just didn’t remember. But the memories are still there, and still inform all of their decisions and relationships.

Unfortunately, my biggest gripe with S7 is the way it feels disconnected to the rest of the show overall. They really let the comet story flop hard. Even if we decided to stay in the 50s in the end, we should’ve had way more time with our characters with their memories. They should’ve had conversations that were long overdue, that circle back and bring things to a close, the way final seasons should. I would’ve preferred they go back to the present, but in an altered timeline due to all the changes made to their lives. Tabitha was WASTED and thrown away and it makes me so mad tbh. They chickened out with the Varchie vs Barchie thing and instead we got that dumbass polycule and everyone dating everyone only for literally no one to end up with anyone (except Choni & Clevin uwu). The later half is especially a letdown, because that’s when we should’ve been ramping up to the end with their memories and certain people coming back together. Instead, we just got a lot of randomness. Which, while fun, doesn’t make for a good final season imo.

I think this season would’ve been ranked in my top 3 had it NOT been the final one…

It’s such a polarizing season for me and that’s why it’s smack dab in the middle!

3. Season 2

What a lot of people consider the glory days lol.

Everything that was well-established in S1 was built on and just made even better. The dynamics between the core four and each one of their storylines was spot on and interesting. Black Hood is probably the most interesting mystery villain we ever had on the show and delving deeper into the Cooper family was great. The slasher horror movie vibes with Black Hood’s story & his victims were just elite.

The season was darker and full of lots of twists and turns, which I always appreciate to keep my on my toes. We got introduced to Toni and Choni was born!

It did have some meh stuff tho, the Archie vs Hiram wasn’t all that interesting to me in this season, even though I DO like Hiram a lot. He’s always been an intriguing character to me, I just think he was severely overused. I also don’t like Bughead lol. The Chic stuff is hit or miss. It was bordering on crazy, but not quite at that sweet spot yet.

Overall this season was more exciting and deeper than even the likes of S1. And this is, of course, where we started getting into the Southside Serpents and the gang wars, which I think is such an iconic aspect of the show. Just a fun, deeper, more interesting season for me!

2. Season 6

I’m a sucker for witches and magic and time travel shenanigans, so this season was RIGHT up my alley. Rivervale, Sabrina, the spookiness, Cheryl’s witch arc, Percival was great, Tabitha getting to shine, I loved SO much of this season. Having one villain, that they all focus on I think did wonders for the cohesiveness of the season. Almost everyone got involved in it, there weren’t as many tangential storylines, and the buildup to the comet was so much fun. It was the perfect blend of camp and wackadoodleness and serious life/death stuff.

The worst part for me, is the ships. Tangs being a plague on society and them making Toni’s whole storyline about being a mother (a bad, awful one ugh). Fangs was never a standout to me, but they just made him insufferable this season. The custody battle was insanely stupid and a waste of time. “Baby Anthony” sucked (Dale FTW). Barchie has always bored me. Cheryl/Heather just felt like besties lol. The ships suffered hard in this season lol.

Still, we got Choni confirmed soulmates and Thabigail + Jughead/Tabitha were cute. So that aspect wasn’t ALL bad.

Tonally, it’s soooo different from the other seasons but I think they strike a better balance between mystery villainous plot and campiness than the other seasons. I ate up the supernatural and horror stuff, the plot is one of the most consistent in the whole show, there’s good character development and I just loved the craziness. They easily redeemed themselves after that abysmal S5. 🙏

1. Season 3

Ahhh PEAK insanity. Wild, compelling, dark but also silly af sometimes. The show went off the rails in the best way and I have a blast every time I watch it. A true fever dream. They embraced the crazy and I think that’s what sets it apart from all the other seasons. Imo, there isn’t a single “bad” episode here. They were still in high school, giving us that teenage drama/those dynamics that made Riverdale what it is. My fav ships were together (not without their drama), there was an intriguing mystery with the Gargoyle King. The flashback episode with the parents was amazinggggg and I loved everything about the Gryphon’s and Gargoyle’s storyline and how it trickled down to affect so many people. The atmosphere of the season, the main cast that got focus and actually got to have screentime together, Heathers heing probably their strongest musical. I love it SO MUCH.

There are some weaker points tho. There is a lot that happens this season, like A LOT. But I enjoyed it so much that I lowkey give it a pass for being so convoluted. Dilton was wasted and killed off after not getting much in general. Bughead & Veggie suck. I wish the G&G and Cult stuff had been intertwined better.

An organ harvesting cult led by Chad Michael Murray? Archie fighting a bear? Mass seizures? Babies thrown into a fire and then levitating? Veronica opening a speakeasy as a teenager? Choni cat burglars? Archie in juvie? Bunker sex? Speakeasy sex? Fizzle rocks? Killer DnD? THE EPIC HIGHS AND LOWS OF HIGH SCHOOL FOOTBALL?

I-C-O-N-I-C. Riverdale is at its best for me when it doesn’t care about being a normal gritty teen show. Maybe this season was a little messier, but I think the sheer fun and craziness more than makes up for that. Everytime I rewatch this season, I enjoy the crap out of it and am reminded why I love these characters and this silly little show so much. ♥️

So to recap:

S3 > S6 > S2 > S7 > S1 > S4 > S5

P.S: if there’s a major typo or I put something in the wrong season, lemme know. I just regurgitated this all from memory when I woke up so my thoughts were hella jumbled…

[pinktwingirl]

Have you watched the one piece live action? There the show runners were brave enough to show the 1-2 episodes to the fans first and the whole season to the critics. Although the marketing tactics of Netflix is questionable, the show was made with love and care.

I felt gaslight with all this raving for Loki here and there especially on tumblr and Reddit. The reviews are making it like a masterpiece, raving Tom’s performance like it deserves an Emmy. The fact they only showed 1-4 episodes and that too critics speaks volumes.

I’m worried for the awards, Loki will steal one piece’s thunder. The cast deserves the love since they were HUMBLE ENOUGH TO THANK THE FANS IN ADVANCE . Plus they are relatively unknown too.

God only if the Loki’s finale is more than atrocious the secret invasion.

I have not watched the live action One Piece yet but I’ve heard mostly good things about it. It just goes to show the lesson that Disney/Marvel consistently fails to learn: good adaptations are born out of love and respect for the original source material. Contrast that with the Loki series, in which the writers literally said they wanted to “strip Loki of everything that makes him Loki.” Like… wtf is wrong with you??? People loved this character for a reason; why would you think we wanted to see him turned into a hollow, boring shell of himself? Also, as much as it pains me to say this because I genuinely think Tom Hiddleston is a great actor and I know he’s capable of better work, his performance in the Loki series is most definitely NOT award-worthy imo. It’s a jumbled mess of cartoonish over-acting that’s honestly painful to sit through. Like I remember watching the scene where Alligator Loki bites President Loki’s hand off and just feeling embarrassed for Tom at how cringe the whole thing was. (I haven’t seen S2 nor do I have any plans to but I’d imagine his performance is more or less the same as S1.) To be fair, though, the dialogue is so poorly written that I think anyone would have a hard time making it sound natural. Also, we’ve seen him give truly great performances as Loki in his past movies so I don’t blame him for it; I blame the direction.

[lea-sbian]

Alright so I’ve been seeing a lot more Monkie kid posts since the announcement of season 5 and the trailer within. I’m not here to talk about the animation but instead how many people I see saying season 3 and especially season 4 were poorly written and preformed, which is baffling to me because like… did we watch the same show?

Spoilers below the cut

I can admit that season three was the weakest out of all the seasons (though I still really enjoyed it, especially the season finally like god that was so good) but season four picks it right up and is in my opinion the best season out there, we get more character moments with the cast, we get the breakdown of MK as a protagonist, where he came from, and how he needs to grapple with his past along with the mystery of where he’s from, finally confronting it. We get character growth from tang, pigsy, and mei and most especially Wukong and Macaque. Like god, there’s so much good writing I don’t get why people are saying it sucked… is it just that there’s not as many fun episodic adventures? Well, one thing I love is that that’s exactly what MK wants now, but the narrative literally addresses this with the ink mk fight and MK’s desire for things to go back to how they were… just like how certain fans want things to go back to how things were in season 1 and 2. But we’re past that now, we can’t go back to ignoring the bigger issues, and now that the jade emperor is literally dead things are gonna get INSANE. I’m so exited for it.

And to all the people saying the dialog is written cringier or clunkier in the newer seasons, it’s not any different than in season 1 and 2. That shit has some of the most hyperactive cringe dialog in the whole show, but we love it anyway.

Anyhow sorry yall just had to rant a bit

[deltaengineering]

Summer Anime 2023: GoHands saves anime

Sugar Apple Fairy Tale S2

I wasn't really all that impressed with S1 of Sugar Apple, but it was fun enough. There was a chance it would do away with its naive ruminations on chauvinism and slavery, after all. And yeah, it did that. But maybe I should have stated more clearly that that bland nonsense also needs to be replaced with something better, and that part certainly did not happen. The show fills the vacant space with two things: The kind of completely uninteresting worldbuilding and politics that were all over S1, weren't good there either, but were so insubstantial they weren't worth of note. Well, now they are. The other is that we get a ridiculously evil over the top villain that's amusing for one episode, but gets old really fast. Not to mention that everyone (outside of the designated villain, which is why you know he's bad) seems to love Anne now, especially Challe. So the spicy romance interplay is gone and Challe is now an edgy white knight that tips his fedora to m'lady. And the big finale is that Anne inspires a dozen pretty boys to invent Christmas, somehow. This one just is very poorly written and as of S2 has optimized out all things that distract from that. 4/10

Noble Farmer

The appeal of Noble Farmer isn't what the show does, but what it is: Notable action shounen mangaka Hiromu Arakawa telling a few anecdotes about her growing up as a farmer on Hokkaido. Of course we've known that since Silver Spoon, but it's still enough of a novelty to just barely carry this short series. Sometimes it's funny, sometimes it's not. As usual, a short doesn't actually need to be all that good to be an easy watch, but I've seen better ones. 5/10

Instead Of Zom 100 You Get NieR:Automata Ver1.1a

Why hello, we have a vacant 5/10 spot for mysterious reasons. Let's talk about a production disaster from the season before that just managed to end in this one. To be honest, I've already forgotten about Near A Tomato Service Pack 1 (Backer Beta) so I'll have to patch it up with my knowledge of the game, which is probably for the better anyway. Or is it? I am one of the few people that don't think that Nier Automata is the pinnacle of storytelling¹, so one reason to even give this a chance is to see if the story clicks better if it's told in a more straightforward way. But then it just seems that the opposite is true: Yes, it is indeed the main plot of Nier Automata, but the lack of nonlinearity and other assorted participatory/environmental storytelling just points out that there isn't all that much to that, especially towards the end when it's just about beating up the big monster, but in a sad way. The few things that it does change or add either don't amount to anything we didn't already know or have their payoff pushed onto the sequel. At least the music is still fantastic but it's just literally the game music, so that's nothing new either. This anime is probably for the fans, but even the fans will quickly realize that it's inferior to the real thing - though for them, inferior to the BEST. STORY. EVER!!!! is likely still plenty good enough. 5/10

¹ Before a million salty Yoko Taro fans jump down my throat, it's pretty good, okay? Just not as exceptional as you think. Thank you.

Yohane the Parhelion -SUNSHINE in the MIRROR-

So why does this exist. I can only imagine that Numazu has a bit of surplus marketing budget now, so here we go, Aqours is back... In the form of an appealing, but pretty bog standard children's show. Sunshine already wasn't the most profound Love Live show, nor did it have the most multidimensional characters, but naturally this is a shallower version of that - with the curious exception of Mari, who somehow is a more well-rounded character here than she originally was (though what that means is left as an exercise to the reader). Yoshiko herself of course has a bit more going on, but she better have, given that this show is very definitely about her and her problems - and it's still not really enough. All of this of course is expected from a children's afternoon show where the big bad is a vague "calamity" that doesn't even get defined as much as being made out of people's negative emotions or something like that. No it's just uh, bad (and by bad I mean purple), and then gets defeated by friendship and good vibes and an Aquors single. This show should have really done more random nonsense like Chika and her sisters randomly having a Sentai team and Dia being Kamen Rider for tedious IRL reasons, but that quirkiness is so minor it feels more out of place than anything. I don't want to be too harsh on this because it's still fundamentally a good time, but there really just isn't much to it. But I guess that's just how it goes with entrenched franchises, right? 6/10

GoHands presents the GoHands Power Hour featuring The Girl I Like Forgot Her Glasses and The Masterful Cat Is Depressed Again Today

Before I get to the details of these shows, there's quite a bit they have in common, and that is, obviously, being made by GoHands. I have a pretty complicated history with GoHands. Yes, I did watch the whole Handhakersverse mostly because it was unbelievably ugly, but on the other hand, there is something to be said about an unique, consistent aesthetic: GoHands is dreamcore. I don't think it's pretty, but I do think it's fascinating, which is why I wasn't amused when every Anime Opinion Haver immediately wrote these two off as being unwatchable and took cheap shots on Ecks Dot Com. So I'll watch them. I thought. That'll show em.

The punchline was obvious: Neither of these shows are crassly ugly in a meaningful way. They're a bit overdone, but honestly they're more reminiscent of some SHAFT productions. Really, outside a few meme gif shots in the first episodes, there's nothing special about the looks apart from an overreliance on postproduction gimmicks like particle and lighting effects and stifling color correction, and everyone loves those when KyoAni does them. So there goes the reason to watch them... Except then, in a truly GoHandsian further twist, they're actually good. I'm as puzzled as you are.

Well, "good" is maybe a bit much. Glasses Girl is definitely watchable though, mostly just because Mie is remarkably cute. Of course, this being an entry in the "my classmate is wacky and I can't deal with it" genre, the same cannot be said of Komura, whose React-Man antics are most charitably described as "occasionally not annoying". The show gets a lot of credit for actually finding new ways to make the one joke that is in its title reasonably fresh, and it even manages to elicit some d'aww feelings towards the clumsy kid romance it develops into. I can't tell a lie, it's fine. 6/10

This one honestly is pretty good though, even though the absurd wish fulfilment setup of "I'm a lonely dysfunctional office lady but my cat is actually a perfect homemaker" seems thoroughly sketchy. To be honest, Yukichi actually does act like a cat, so I can only assume this is indeed written by a lonely dysfunctional office lady. As far as surreal daily life comedies go, this one's a winner though. It's cute, it's funny, and all that. A rather simple comedy about a very obvious joke setup, but there's enough going on in the periphery to make it not boring - and then there's hooks like half the female cast having a crush on Saku, which if acted upon would instantly make this one of the dankest yuri shows of all time. One can only dream. 7/10

BanG Dream! It's MyGO!!!!!

It's always the same with these gacha franchise shows. Even when they're good, they're always bloated by too many characters, too many established plots, too much desire to make everyone equally likeable, and a strict adherence to the status quo. Over the years, many a time I have written "but what can you do". What can you do, indeed?

So here comes MyGO, where the plan apparently was "how about THIS time we just don't do any of that". Now, this part is interesting only for people like me who watched this show as part of the franchise. Nobody else would (or, honestly, should) care that this franchise show breaks the mould uncommonly hard — only whether it's good. Thankfully, MyGO is also just one of the best teen drama shows around, franchise or not. I guess it really helps if you make a show that a writer would actually want to write and not just a bunch of corporate mandates, but Ayana Yuniko takes it no the next level and does things that even "regular" shows in a similar lane don't attempt; for example, Tomori completely fixes the problems I had with Bocchi (of The Rock fame) by being treated appropriately seriously. Now, I don't want to oversell this show, you won't get the next Kids on the Slope here - it's still a small-scale anime about a bunch of drama kids that produces not one, but two marketable bands in the end. But within this framework, it really is about as good as it gets. Every character is complicated and has major personality flaws, which seems very risky but extremely worth when it pays off like here. In short, it's textbook character drama. It's a bit silly at times, but I'll accept that as yeah, teen girls in bands can be pretty goddamn silly. It also doesn't have an ending, but I'd question whether a low-key drama like this even can have a proper ending. They manage to make their disastrous teen band work for a bit, what more can you expect?

I guess I should mention the looks also, which are nothing particularly special when you know the fairly high level of CG animation Sanzigen have consistently been doing. Of course this serious show doesn't have much of the cartooniness, but makes up for it with select instances of really good direction — MyGO has a particular knack for uncomfortable wide angles.

In the end, MyGO is an uncommonly legitimate character drama with low stakes. It can dip into melodrama but not any worse than these shows always do. Ironically the most questionable aspect is that there will be a sequel based on the other band, Ave Mujica, which work extreme well as a joke about how they are everything MyGO is not. But that makes them an awful band full of awful people, and I'm not sure if I want to actually watch that. It's certainly a tall order, but then again, I didn't expect much from this show to begin with. For now it's an 8/10

[jackiestarsister]

OUAT Rewatch: Overall Thoughts

~ The difference between binge-watching and watching it week by week, season by season is huge. I was more patient with the drawn-out storylines and filler episodes.

~ I don’t think a series like this would have been made after the Trump presidency, covid pandemic, and other events since the mid/late 2010s. Its themes of hope and redemption already seem old-fashioned and idealistic, but I think they may be needed now even more than when it first came out.

~ There are great themes throughout the show: seizing the present moment, being open to love, giving people second chances, looking to the future with hope rather than fear.

~ This time around, I was more aware of the music score and how different characters have their own leitmotifs. I love it!

~ For many shows, the pilot/premiere episode is not great, and it takes a while for the story to find its footing. But the first episode of OUAT is absolutely perfect and one of the best in the series.

~ The first few seasons and last couple seasons were great. I much prefer the seasons when the characters are in Storybrooke dealing with a variety of problems and antagonists, rather than introducing a particular world and/or character and focusing entirely on them for half a season. The writing suffered most in Seasons 4-5, to the point that it felt like the writers were creating drama purely for the sake of drama, even at the cost of consistency in themes, plotlines, worldbuilding and characterization. But even in their worst parts, there are still great moments here and there.

~ Although I don’t always like the costuming choices, some of them are great! The Camelot styles are probably the closest to the European medieval fairy tale style one would expect.

~ It’s great to see a show with so much emphasis on parenthood and family, including the breaking of intergenerational cycles of trauma.

~ It’s great to have a female-centric show (Emma, Regina, and Snow White are the main characters for most of it), but it sometimes feels as though they would have benefited from more women in the writers’ room and wardrobe department. This is most painfully felt through the duos and trios of sisters during the “Frozen” arc; it sounds like men trying to write about the bond of sisterhood with no actual understanding of that dynamic.

~ The most compelling thing about the first few seasons is Emma’s effort to connect first with her son and then with her parents. The later seasons explore other aspects of her identity, particularly her fear of losing the people she loves.

~ Cora Mills is the best villain. All the others are just trying to live up to the standard she set, and they all start to sound repetitive after a while.

~ As someone who was obsessed with “Peter Pan” as a kid, I wouldn’t have expected to enjoy a story that depicts Captain Hook as a hero and Peter Pan as a villain, but it works so well! Colin O’Donoghue’s Hook is fantastic, and Robbie Kay’s Pan is truly sinister.

~ Rebecca Mader was great in “Samantha: An American Girl Holiday,” but I hate her as the Wicked Witch. She’s so sickly sweet and poorly written in her first few seasons, only becoming tolerable later on.

~ As a lover of “Beauty and the Beast,” I loved Belle and her relationship with Rumplestiltskin in the first few seasons, and was saddened to see both the characters and the relationship decline later on. They try to make Belle a strong, active character, but she is still too often swept off the chessboard, and their relationship devolves into toxicity and abuse before finally being resolved in the end. It feels a bit demeaning, like it’s living up to modern, literal interpretations of B&B rather than leaning into the symbolism and psychology of the story.

~ Emma and Hook’s relationship strikes a beautiful balance between epic love story worthy of legend and ordinary couple navigating the day-to-day difficulties of dating. I think Emma’s struggles with trust, vulnerability, and commitment are very relatable to young adults today.

~ Rumplestiltskin did not need that many love interests. Seriously. I lost count of how many women Robert Carlyle got to kiss in this show. He’s supposed to be a physically and morally repulsive villain, the Beast that only Belle can truly love. Making him an object of so many women’s desire undermines that.

~ The script throws around a lot of religious/spiritual words—like hope, faith, grace, redemption—without really digging into what they mean.

~ The worldbuilding is inconsistent and illogical, particularly with the Dark One, the Author, the rules of magic, and the existence of different realms.

~ I don’t like that they treat the Disney versions of so many stories like they are the official canon, rather than retellings of much older stories. The incorporation of characters from more recent movies like “Brave” and “Frozen” is kind of hit or miss. I will say, though, that the casting for Anna, Elsa, and Merida was spot-on!

~ The writers and characters go back on their own word a lot. The biggest example: the first few seasons emphasize that “magic comes with a price,” but the later seasons use magic as a cheap plot device and shortcut.

~ It’s great to see redemption arcs for many villains, but many of them involve character regression just for the sake of stretching out the drama. And because sometimes they simply kill of characters

~ The writers seem unable to decide whether they want the show to be idealistic or realistic.

~ I don’t like how the show leans into negative stereotypes and misconceptions of foster care. I remember watching the show back when my own family was hosting foster kids; it was extremely awkward hearing the characters such awful things about foster homes.

~ It seems like the writers struggled to decide which characters should be leads, supports, recurring, or limited to a certain period. They kill off characters that might have been better off staying alive, and resurrect characters that might have been better off staying dead. It makes me wonder if they looked at Grimm’s fairy tales and thought “Hey, these are full of people dying and coming back to life, we could use that!”

~ The show sometimes seems to reinforce the very labels it tries to transcend, particularly the concepts of “hero” and “villain.” It tries to be deep and nuanced but sometimes ends up sounding shallow and dissonant instead.

~ I was prepared to thoroughly dislike the seventh season, but I found myself enjoying it a lot! It managed to capture at least some of the sense of intrigue and suspense that characterized the first season. My main critique is that it should have been a separate spin-off, not tacked on to the rest of the show. It doesn’t really build on the previous seasons’ storylines; it just puts the action in a new setting and mixes old protagonists with new ones.

[tempestswing]

Okay so I actually have watched every episode of RWBY, I really liked Volumes 1 - 3 but I can't say they're genuinely very good, and i wasn't a fan of 4 - 6, but I think RWBY has definitely had an upwards trajectory in 7 - 9. Whilst I personally enjoy the show and will continue to do so, I don't think it's a genuinely well written show.

Putting aside my criticism of the pacing and exposition and such, here's a few specific concepts and ideas I think RWBY definitely wasted, although some could certainly be addressed in future seasons (but the fact is they've had 9, that's plenty of time).

1. The White Fang: As people in the notes on the OP are saying, this plot line is handled poorly at times. I won't elaborate on the organization as a whole but I will on two characters -

1A) Sienna Khan feels very wasted. Probably as a result of how late she was introduced in the show. I think they should have had her present sooner, maybe giving speeches or something? As it is, she gets name dropped a couple times, finally shows up, and is immediately fridged. yes, I consider her death a fridging because she's killed ultimately to develop Adam's character, to show how ruthless he is.

1B) Adam. Just... Kind of pathetic actually how shallow this character is and how negatively it impacts Blake's character. I don't really give two shits about Adam as a character, but he was someone important from Blake's past, someone she looked up to and respected. Her literal introduction in the black trailer is her leaving him. Adam should have been a more two-dimensional character, someone that allowed the audience to understand why Blake was so loyal to him for so long. As it stands in the show, Adam looks like a monster and we can't understand what Blake ever saw in him. He's got no principles despite being the literal leader of an activist group. All of these problems are bad enough before we get to his death - that's Yang's first time killing another human as far as we know, and very possibly Blake's too. They're both 17 at the start of the show, and train to kill monsters, not people. The trauma and psychological effect of killing someone is almost entirely brushed over.

2) Volumes 1 - 3 waste the Grimm I think, at least up until the finale. The whole concept of RWBY is cool fights against monsters - watch the Red Trailer, it kicks ass! Obviously, a show can't be all action. But we could have character development, romance, etc, all in the context of humans vs monsters. but we're very quickly introduced to human antagonists, and they make big sweeping changes to the status quo, and I think ultimately it takes the bite out of Salem's reveal because the Grimm have never really felt like the show's ultimate threat (at least until the Fall of Atlas).

The idea that oh, all this evil is traced back to one woman should be shocking and interesting to the characters, for whom the Grim are the biggest threat their world had, but we the audience don't really see it. Episode 1 has Ruby fight Torchwick and Goons, our early arcs are stuff like "Jaune gets bullied :( " and "the gang goes to a dance :) " and we never really feel like the grimm are a big part of the world and a threat until V3. In Volume 2's breach, sure the Grimm getting into the city is a big deal, but that arc is ultimately a White Fang arc. The Grimm aren't the problem, it's the White Fang setting off a bomb and letting them in that causes the trouble. You could replace them with a big wave of water or something and the arc would play out the same pretty much. The Fall of Beacon doesn't even do much to change that, because the main threats there are still human (or robot, I guess?). The Grimm are there, but they feel supplementary.

3) the Weapons. This is possibly the most controversial point, but I think RWBY has sick as fuck weapons but I don't think how static they are is a good thing. Every character, bar Jaune, is using the exact same weapon they have when we meet them, no upgrades, no changes? Weapons are a great visual shorthand and can be used to both characterise and showcase the development of the character.

I will use Nora as an example. She's a loud, energetic, and gleeful woman. Her weapon is a reflection of her, with a heart and lightning motif, as well as literally being a grenade launcher (and a hammer). Could her development through the series be reflected in weapon upgrades? How would the loss of her teammate, Pyrrha, reflect in changes to her fighting style or combat techniques? Perhaps Nora could add more defensive capabilities to her hammer, allowing her to protect her friends (she can channel electricity, maybe an electric shield?). Or Yang, who's lost an arm from being reckless and rushing in - and still doesn't have a fucking better ranged option?

These characters are 17 when we meet them. They're really making zero changes to their weapons until they die? And seriously, Jaune, as the only character to get an upgrade... DOESN'T GIVE HIMSELF A RANGED OPTION. When I first saw his little sword upgrade I thought the two bits at the side would fold out next, creating a bow or crossbow kind of look, but nope! It just makes his sword slightly longer and heavier! And then he gets that little magnetic barrier grenade in Volume 8 and I want to scream.

You can't even argue that changing the iconic weapons is bad because they're iconic when Mecha-shift weapons are an established part of the world since episode 1, upgrades could just be new Forms of the same weapon.

This post has gotten unreasonably long and if I had time I would also complain about silver eyes, the maidens, Ozma, Raven, CFVY and the vytal teams, what the fuck is Vale doing post V3, etc. There's a lot to criticize RWBY for, even as a big fan of the show! It doesn't have to be a perfect show for me to love and enjoy it! None of this stuff makes the show unwatchable or not entertaining.

"rwby had a lot of good ideas going for it but completely squandered them" list some examples. go on

fucking do it

be fucking specific. actually list something goddamn fucking specific

this is the "the show keeps threatening to be good" crap again, you've got nothing beyond a vague assertion that "it's totally bad guys, trust me. i said it was bad and a lot of people liked my tweet even though i'm only regurgitating things i've heard and i know nothing about the show or its production but obviously i'm right" it's just meaningless vague horseshit because you know nothing about the show and have exactly fucking dick to support your claims

[tuiyla]

hi new anon here :) i find it somewhat frustrating with this whole tatum thing that most people who are pointing out that tatum was s1 leighton dont see how it was just poorly executed. i think they couldve easily dragged it out to s3 instead of abruptly ending it the way they did. a lot of the problem they have with the last 2 episodes could easily be fixed by dragging it out to next season. it felt as though s2 had two halves - s2A being ep 1 to 8 and then s2B being 9 & 10. it's almost like they had this plan and wrote out 1 to 8 before realising "ah shit, we have 2 eps left" and crammed everything in there. that or they feared they wouldnt be renewed and just shoved everything in so they could secure one.

they spent so much time building tatum and jackson only to abruptly write both off either in a 5 second break up scene or in tatum's case, offscreen. and the opposite is true for kimberly/canaan. they spent so much time for jackson and whitney trying to move on that it felt like they didnt do enough to solidify kimberly/canaan's feelings? i dont know why they couldnt just try to keep jackson on first, show that kimberly started having feelings and having canaan reciprocate before pushing for the kiss. have whitney be unaware but rejected by canaan at the end and show her devastated as her cliffhanger and kimberly's be being with jackson but thinking of canaan.

the same with tatum and leighton - bringing leighton back to the women's centre and the return of alicia (preferably having leighton have bumped into ginger or tova earlier) and then have her fight with tatum blow up outside tatum's last scene or have tatum say something 10x worse and leighton realising its not tatum she wants to be with and its alicia. and even if they wanted to write tatum off, couldnt they wait before putting alicia and leighton back together? show them wanting it but not immediately so they actually end up talking about what happened in s1.

it is such a shame because i feel like they couldve easily fixed this and have a much better coherent season with better response had they just made certain tweaks like showing leighton missing the women's centre, planting the kimberly/canaan more and more obviously etc. i love the show and i really dont mind how the relationships pan out (i just love the main 4 fully), but they failed at what they tried to do. unless all they wanted was how outraged almost everyone has become.

(im not sure if youre still taking asks on this, but if you dont wish to answer, it's ok :) just wanted to let the thoughts out)

Hey Anon! I've said most of what I wanted about the TSLOCG finale but I welcome others' thoughts so no worries.

And you've pretty much summed up so much of what I also thought about the last two episodes. I guess you could "justify" Leighton's speedrun by saying that a season 3 wasn't guaranteed and they wanted to wrap up at least one of the main four's arcs neatly, but that would sound like such a lame excuse to me. Like you say, what makes this extra frustrating is that the Leightum breakup and Leighton's general development didn't need much to have landed much better. Literally if only they didn't write eps 9 and 10 in such a way that feels so disconnected from the rest of the season. Mainly for Leighton, but to a degree for Kim and Whitney too. That "oh shit we only have two eps" feeling is the exact one I also got from watching the finale.

God, I just really don't see why we didn't get anything from the women's center or from Leighton's social justice development before episode 9. And I don't see the logic behind how Tatum was written if that's what they were going for all along. Just does not land. And I vibe with your (second to) last paragraph so much as well because I still do love this show and these girls, and I don't much mind the relationships atm. I just want Leighton to be happy so be that with Alicia ig and I don't inherently have a problem with Canaan and Whitney, it just feels like it was only for the sake of love triangle drama. And since fixing it would have seemingly been so easy, it is frustrating. Obviously it's easy for us to be smarter than the writers now that we're seeing the finished product but I'm sorry, if I was a professional screenwriter getting paid to craft stories and characters I simply would want to make sure huge character moments have weight behind them. Rip to them I guess haha. I am a bit bummed to represent the outraged camp, trust me I'd rather I didn't have to, but I think it's important to emphasize that the show is still good and more than deserving of a season 3. I'm still holding the show to high standards moving forward, I'm mostly just outraged that I couldn't be as proud of Leighton in episode 10 as I should have been because I felt cheated out of an actual arc.

[pale-silver-comb]

So I know absolutely nothing about Leverage except what I've been seeing you post lately and I have to admit you're making it look tempting to watch! Can I ask what are some of your favorite things about the show/reasons you would suggest people watch it? And is there really a poly relationship that is canon?

Okay. Okay, okay, okay, okay, okay. I am going to do my best not to just “asdfghkjl” at you and answer coherently.

In a nutshell, Leverage is about 5 people. 4 are criminals (Parker, Hardison, Eliot and Sophie) with different and unique skill-sets and 1 is an ex-insurance investigator (Nate) who, at one point or another in his career, has tracked down (or at least attempted to) the other 4. The whole show is essentially: man reluctantly reforms 4 criminals to use their criminal powers for good and 4 criminals move into man’s life and stubbornly refuse to leave because, goddammit, now they have morals. 

I’ve got a lot of favourite things about the show but the main ones are as follows:

1. Found family. And I’m not talking about loners who come together to fight crime and happen to co-exist to the point where they realise they happen to have found themselves a family. I mean, Nate and Sophie are the Drunk Uncle and Wine Aunt who somehow become Mom and Dad to 3 beautiful criminal children. Mom and Dad love their criminal babies and the kids love them (as well as each other, but we’ll come to that in a moment). You get amazing family moments such as: Mom and Dad packing the kids lunch before sending them out to kick corporate greed’s ass; Mom and Dad giving the kids ridiculously expensive and personal Christmas presents causing their most Grumpy Kid to go very very quiet and soft as he runs off to gleefully play with his new murder toy; the kids interrupting Mom and Dad’s big Movie Style Kiss to ask if they can please keep their new underground layer and huffing and puffing when Dad tells them no.

2. Found family: the OT3 edition. To answer your question, the OT3 is indeed canon, confirmed by the creator. Now, usually, “confirmed by the creator” infuriates me because most of the time it’s a way for a creator to be seen as “progressive” without doing anything to actually be progressive. That isn’t the case here. The OT3 are built up carefully and while it is obvious the creators didn’t originally intend for all 3 of them to become a relationship in the romantic sense, by mid-season 5 we are given a very clear picture of where Parker, Hardison and Eliot are heading in their relationship. There aren’t any kisses at the end to signal this but there are solid marriage vows in not only one but two episodes. (And by marriage vows I mean literal equivalents of marriage vows: “for better or worse” and “’til death do us part”. I’m not even exaggerating). The OT3 also doesn’t need explicit romantic narratives to convey how much they love each other. Their love is laced through the whole show, from the way they teach each other things to the way they respond to each other and work as a unit. The way they fiercely protect and admire each other. Like someone once said, if you need characters to kiss or say I love you to let the audience know they love each other, you are writing them wrong. 

Aside from that, each of the parings in the OT3 are just. Gah. They are so well done, with friendship being the solid basis for them all. The creators never expect the audience to assume anything about them or fill in the gaps. They give us their relationships on screen and reference many things off-screen to show us how these relationships continue to build in between episodes.

Hardison and Parker are a canon couple and date in the show: it’s approached slowly and they are so goddamned sweet. They are basically every fluffy slow-burn trope with a healthy dash of mutual pining in the mix. They are basically that quote “love is patient, love is kind”. (I would like to add their romance never becomes the focus of the show or overrides the importance of any other relationship they have with the other characters, especially Eliot.)

Hardison and Eliot are the Old Married Couple and from day one are already bickering and looking at each other/making comments that are found in every UST fic ever (not to mention Hardison has a very good knack for making Eliot grin like a little kid, when usually he’s basically an Angry Little Chef Man). They argue, they play, and love each other plain as day. 

Parker and Eliot are more subtle but every bit as wonderful. They have an unspoken connection and understand each other on a level no-one else can. Parker and Eliot are not good with giving themselves over to affection for different reasons (and Hardison plays a central role in helping them realise it’s okay to want it and have it- that boy has endless patience) but there is something so beautiful in the way the two of them come together on their own and develop their own special bond that works for them. Parker and Eliot are that trope where the characters don’t need to speak to understand each other perfectly. They just do. Their love language is a lot of the time non-verbal but speaks volumes. (Parker also likes to annoy the hell out of Eliot and Eliot....just.....lets...her. Because he’s soft. The softest, grumpiest boy.) 

I could go into so much depth for each pairing and their dynamics as a 3 but that's for another post.

3. Subverting stereotypes. There is the occasional hiccup in the show regarding stereotypes but ultimately, Leverage gets an A+ when it comes to writing characters and making them 3 dimensional people who are not defined by certain characteristics or events. Nate could so easily fall into the White Man Pain trope where he uses the trauma of losing his kid as a reason as to why he is entitled to act like a dick. Nate is a dick but he doesn’t use his pain to excuse it and I appreciate that. Hardison is a black man who is soft and nurturing. Easily the most empathetic and patient of the group. He’s nerdy, an actual genius, and has the biggest heart of all the characters. Nate is maybe the glue but Hardison is definitely the heart. Media’s usual aggressive, amongst other, racist stereotypes can fuck right off. Parker is canonically autistic (I am sure this was confirmed by one of the creators) and she is not defined by it. It’s not written as some kind of singular personality trait. It’s part of what makes up Parker but it’s only one facet of who she is and not once is her actions, thoughts or feelings treated like a joke. Sometimes people don’t understand why she does and says the things she does but it’s met with patience and fondness over the course of the show. Equally, it’s not met with over-caution. Parker is just Parker. No-one tries to change her. The other nice thing is Hardison, who always makes sure Parker knows she’s amazing because of who she is and not in spite of it. Finally, Sophie is in her 40s. She’s not treated like she’s past her prime. Ever. She’s sexy, smart and never is she pitted against or compared to Parker (who is younger) for anything. Sophie is amazing and there’s never even a conversation of “I may be older but I am still *insert adjective typically associated with younger women here*”. Sophie is possibly the first female character I’ve ever seen who isn’t just unapologetic about her age but has never had to apologise for her age. It’s a non-issue and that’s that. The women on the show are written so well, right down to secondary characters and it’s beyond refreshing.  

4.) It’s just fun. The show has a “monster of the week” type format. Except instead of a ghoul or a ghost, the monster is some corrupt wealthy and powerful individual or organisation. The show draws on real-life individuals to do this and therefore closely parallels real-life people and events. It addresses important political, economical, social and environmental issues while at the same time remaining fun and light-hearted. The characters constantly get the chance to play dress up and by GOD do they have fun with it. You get to watch Eliot beat up bad guys in the most delightful of ways, usually after a witty non-sequitur and with a weapon you’d never think could be a weapon. The dialogue and back and forth between the characters is everything. And finally - my favourite thing- the team can never resist striking a dramatic pose after they’ve taken down the bad guy, making sure the bad guy sees them. I mean, they COULD just walk away, satisfied they’ve taken the person down, but nope. They gotta be dramatic bitches 24/7 and pose like they are models for every single month of this year’s Criminal Calendar.  

5.) Competence Porn. So. Much. Competence Porn.  

Honestly, I could list a thousand reasons for why Leverage is amazing but to list them would to be spoiling so many amazing moments you’d get to discover for the first time on your own if you do choose to watch it. It’s the kind of show you can watch with an eagle-eye and sink your teeth into. But it’s also the kind of show if, you would prefer, put on in the background for something entertaining while you do something else. Each episode is about the job at hand but it’s made up of so many moments between the characters that show how much the creators and writers care about them. You’ll laugh, you’ll cry, you’ll do whatever it is you do when something Soft and Wonderful happens that makes your heart melt. I am so beyond grateful for Leverage. It’s everything I always wanted in a show. Nearly every show I’ve watched in the past 10 years has disappointed me in some way, usually either because the writers run out of steam or characters who I love are treated poorly or given some kind of unnecessary “shock value” arc. Leverage doesn’t do that. Leverage is what it says on the bottle. Fandom isn’t something I joined because I needed canon fix-its. Fandom only enhances and celebrates an already excellent canon. 

[sortasirius]

“Gimme Shelter” and The Bomb

Living in the middle of clown town is always an adventure but they’re recently opened a five star restaurant that’s free to all residents so we’re eatin good lmao.

Wow.  Uh.  Wow.  Lots and lots and lots to unpack here.

This is.........long lmao

I mean.  Should we just talk about some of the *cough cough* married details we’ve got going on?  That picture of Cas from “Tombstone”?  Who took that? Who else COULD have taken that?  Why is it a printed photo that Cas just happens to have?  Why did it look like it was cut in half?

Okay, I also want to talk about the energy between Dean and Cas, and not the energy of two intensely married people.  We haven’t seen them together that much since 15x09 right?  I mean we’ve had bits here and there, but to me something still feels off.  I just can’t help but go back to the unresolved ending of their time in Purgatory (”I have to say something.” “You don’t have to say it, I heard your prayer.”).  It just feels like there’s awkwardness hanging in the air, like when Dean and Sam leave right when Cas gets back, or the way that Dean hangs up on him.  It feels like we’re supposed to be sus, which I most definitely am.  Things aren’t 100% fixed, even though they’d like us to believe that they are.

Baby man Jack?  “Marvelous Marvin the talking teddy, I have one!”

Also just,

“Can we wear matching ties?!”

“Yeah, blue’s a good color on you.”

I CRY.

I think it’s FASCINATING that Rowena is spending her time in Hell making things “boring” for demons, changing things. “People will end up where they belong.”  There is NO WAY that’s throwaway.

“Hello!  Where can I find the Kool Aid.”

Literal king.

There are a lot of ~parallels~ in this episode, a whole lot of callbacks, and not in the jokey oh hey remember that episode.  There are all very deliberate and coded carefully into the dialogue so that even people who watch casually and pay attention will pick up on them.

“We...dated.  Years ago, sort of.  More like we watched a lot of old movies together.”

Ok.

Which, nbd, same exact fucking episode as

Come on guys.  Just like.  Come on.  Davy.  My man.

Good to point out too that Davy Perez also wrote “Tombstone.”

I just want to take a second and appreciate that we at got this Amara this season.  No weird drama between her and Dean, just a literal badass who knows she’s a badass.  Dabb and co are going to save every poorly written character before this is over.

Cas’ fucking speech y’all. 

“I do know what blind faith is.  I used to just follow orders without question, and I did some pretty terrible things.  I would never look beyond the plan.  And then of course when it all came crashing down, I found myself lost.  I didn’t know what my purpose was anymore.  And then one day something changed, something amazing.  I...I guess I found a family.  And I became a father.  And in that, I rediscovered my faith.  And I rediscovered who I am.”

First of all, we deserved to see this from Cas.  We deserve to hear him talk about how much he’s grown, how much he’s changed from the “soldier” in season 4. 

Cas found who he was with Jack, with Sam, with Dean.  He found out he was a Winchester.  His love for others is so palpable this episode, the way he mother hens around Jack, the way he looks at Dean, I just completely adore him, and I loved being able to see him reflect on his own growth.

Okay, moving along to Amara and Dean’s convo...fuck man.  F U C K.

Dean’s pain in this scene.  His pain over Mary, over the lack of choice.  It’s so palpable, and I don’t think anything could have prepared me for Amara’s answer to his “Why?”

“I wanted two things for you, Dean.  I wanted you to see that your mother was just a person.  That the myth that you’d held on to for so long of a better life, a life where she’d lived was just that.  Myth. I wanted you to see that the real, complicated Mary was better than your childhood dream because she was real.  That now is always better than then.  That you could finally start to accept your life.”

“Hm.  And the second thing?”

“I thought having her back would release you.  Put that fire out.  Your anger.  But I guess we both know I failed at that.”

His anger.

His anger through the whole season.

His inability to let go of the anger.

Dean’s anger, his inability to let go, we now know, of course, that his happiness didn’t come from Mary.  He still had the fire, he still couldn’t let go of the anger, the rage.  So what is it?  Not even Amara knows what will bring him peace, she just knows that her solution failed.

And then, as if we needed more parallels to this season:

“I’m furious.  To learn that all my life I’ve been nothing but a hamster in a wheel, stuck in a story.”

If that line sounded familiar to you.  It’s because it is.

It’s not a common phrase, especially since Davy Perez FILLED this episode with callbacks.  We’re in the endgame, nothing is unimportant.

For Dean to bring this line back up, right after Amara tells him that she thought that Mary would bring him peace, that she was wrong in that assumption.  For that line to get brought back up when Dean talks about his anger in that scene with Cas, right in the middle of their breakup, where the whole catalyst of his prayer is about his anger, how he can’t let go of his anger.  How he’s sorry he got so angry at Cas.

Bruh.

And then, as if all of this wasn’t enough.  Jack drops the twist.  That he has to die to kill Chuck and Amara.

It’s his own version of the empty deal.  That isn’t a mistake.  Both are going to come into play, Jack’s deal and Cas’.  Mirrors of each other.

Putting his hand on Cas’ shoulder, telling him his death is not Cas’ choice, but his own.  I think this, this scene is going to come back into play.

And then to end the episode with Cas telling Dean, telling him about Jack’s death. 

“In case something goes wrong and I don’t make it back, there’s something you and Sam need to know.”

So...our fluff episodes are over.

There’s so much in this episode, but what I think bears repeating at the end is Dean’s anger, what will bring him peace, Jack’s impending death, and Cas’ deal.  All of these are going to be our catalysts moving forward.  Dean’s anger arc isn’t over, just as Cas’ deal hasn’t been resolved.  Next week ~seems~ like it’ll be a fluff episode, but I am certain that it won’t be.  There’s gotta be some big to do about what Cas is going to tell Dean.

Idk what to tell y’all other than the volume inside of this clown car is astronomical.

[thepapergirlandthespiegelman]

Castlevania Season 4: I’m not mad, just disappointed

Season 4 is poorly written fanfiction, which is...better than a lot of things could be, I guess.

Spoilers below the cut.

Content warning: trauma, sexual assault, psychological manipulation

The Gods Have Had a Change of Heart

Or, “Season 3 Blocked and Ignored”

Season 3 felt like the fabric of the universe had been twisted just to inflict additional pain. Season 4 overcompensates in the other direction; trauma evaporates, and good things happen for no other reason than to make our favorite characters happy.

The Season 3 finale left two characters in particular totally devastated: Alucard and Hector. Alucard is violently betrayed in a horrifying sexual assault by the first two people he’s spoken to since Trevor and Sypha left. He ends up killing them in self-defense and puts their bodies on stakes outside the castle, alluding to his father’s habit of doing so and potentially hinting at a turn toward evil. Hector is seduced by Lenore and then enslaved using a magic ring.

Yet at the start of Season 4, it’s as if these things never happened. Alucard is troubled, but not totally devastated, certainly not evil. Taka and Sumi are referenced in exactly one conversation with new character, Greta, in which she says the rather tactless throwaway line, “I had a boyfriend and girlfriend at the same time once. But they never tried to kill me.” Hector is nominally imprisoned, but immediately seems highly agentic, perhaps even more so than before. He studies, lays traps, and makes secret plans with other people. Furthermore, his relationship with Lenore is completely transformed. From falling to his knees in abject horror and despair at being enslaved, he suddenly switches to light banter, in what is apparently a basically okay, mutually enjoyed romantic/sexual relationship. Manipulative, selfish Lenore is now a sympathetic character struggling to reconcile her own role and feelings with Carmilla’s plans.

The events of season 3 happened, remaining canon in the most basic, literal sense. But the emotional weight attached to them has disappeared into thin air.

Not gonna lie, I did breathe a sigh of relief when I saw that Alucard and Hector were okay. I’m soft-hearted! I don’t like seeing characters I like suffer! I mean, conflict is important, and I can deal with (or even enjoy in a certain sense) seeing characters suffer if it makes sense and serves a narrative purpose. But as far as I can tell, the season 3 finale was nothing more than lurid, meaningless violence. I probably wouldn’t have continued watching the show if it devolved into nothing more than finding novel ways to torture the characters.

Still, it doesn’t feel quite right to pretend like nothing happened either. Or, really, not that nothing happened, but that those things didn’t matter, didn’t hurt, didn’t leave lasting scars. That’s...almost kind of worse.

But, I thought, I can sort of forgive this sudden shift in the stars, given that there may have been some sort of change in creative direction relating to Ellis’ decreased involvement with the show.* Plus, season 3 was insanity. It’s not like it was full of great writing choices, so if we quietly ignore some of them, maybe that’s for the best.

*I only later learned that Netflix actually chose to continue with Ellis’ season 4 scripts. It is not lost on me that maybe Ellis doesn’t know how to write about the lasting effects of traumatic sexual experiences or how power dynamics can make a sexual relationship problematic because he doesn’t understand that those things exist.

Characters Being Nobody and Nothing Happening

Pretty Pictures, Not Much Else

Unfortunately, the disconnect between seasons 3 and 4 isn’t the only problem with this season. Although I felt that season 4 was a bit less boring than season 3 (I particularly enjoyed some of the earlier episodes of season 4), it suffers from the same basic problems of Characters Being Nobody and Nothing Happening.

None of the characters experience any significant development, let alone any sort of coherent arc. Sypha has changed slightly, becoming more rough and jaded. I did really like the scene where she talks about becoming the kind of person who says “shit.” I think it really speaks to how entering into a relationship with someone means taking on aspects of their lifestyle, and how that can change you in ways that you can’t predict and therefore can’t exactly “agree” to. Sometimes those changes are good, sometimes they’re bad, sometimes they’re neutral, and sometimes it’s difficult to know. But you have to accept that you’re sacrificing some aspects of the person that you could have been if you chose to live completely independently, or with someone else.

Trevor really hasn’t changed since season 1 when he first decided to take up the mantle of hero again. Likewise with Alucard. Hector and Lenore change, as previously noted, but that change is sudden, jarring, and occurs completely off screen in between seasons 3 and 4. Carmilla dies as exactly as she lived: bitter, angry, and violent. Saint Germain just kind of...gets fucked over in a nonsensical subplot, which is its own whole can of worms.

We also get several new characters in season 4, none of whom have developed personalities or motives, nor do they develop any of those things over the course of the season: Greta, Zamfir, Varney, Ratko.

And nobody. Does. Anything.

Trevor and Sypha spend the entire season trying to explore and aid Targoviste, which comes to absolutely nothing. They’re unable to help anyone, Zamfir dies, and they end up just jumping through a magic portal to the actually relevant subplot in the finale. Carmilla literally does little more than draw maps until she’s ultimately killed. Hector plays a minor role in Saint Germain’s extraction of Dracula from Hell; otherwise, he and Lenore basically just exchange banter. Saint Germain does sort of do some stuff? But it’s often unclear how he’s made his connections, who the people who are helping him are, or what exactly he’s doing in terms of his magic beyond “whatever it takes to get back to his lover.”

Sure, there are fight scenes, but they feel meaningless. There’s no context, no stakes. There’s also a LOT of dialogue, and it is. Not well written. Exposition is embarrassingly clumsy at times, and the philosophical musings are cliche at best, muddled and confusing at worst. There’s just not all that much going on.

That is, except for Isaac. But more on him in a second.

What Kind of Show Is This?

When the plot line adapted from Castlevania III: Dracula's Curse ended with season 2, the show struggled to establish a new identity.

Despite nominally dealing with themes like whether humanity is inherently good or evil and how to cope with wrongdoing and loss, seasons 1 and 2 ultimately boiled down to a pretty generic action-adventure/fantasy plot with found family/power of friendship elements. Main characters Trevor, Sypha, and Alucard don’t really wrestle with big philosophical questions or suffer any major defeats. They know that they have to take down Dracula for the good of the world, and they work together as a team to do it, with a little character development relating to their various backstories sprinkled in.

Then season 3 happened, and things got weird. The trio is broken up for what feels like a pretty trivial reason—Alucard has to protect the castle and Belmont hold, I guess? And the result of that decision is that the dynamics for the three main characters are completely unbalanced.

Ellis openly admits that he basically went feral with the writing of season 3, and it shows. The messaging in seasons 1 and 2 was cliche, but consistent. The message of season 3? Anyone’s guess.

Season 4 reversed the darkening of tone from season 3, but shares its inability to pick a story and tell it.

Isaac is the Main Character

Always has been.

While I can’t say that his character or arc are perfect, I can say that he actually has a character and an arc. He starts off motivated by his fierce loyalty to Dracula, then has to struggle to find his purpose once Dracula is gone. He goes from subservient to agentic. He goes from fully endorsing the genocide of humanity and not caring about his own life to seeing some worth in humans and genuinely wanting to live. He has an interesting moment that deepens our understanding of what night creatures are, while also serving as an exploration of the meaning of one’s fundamental nature. Most importantly, these changes happen naturally over the course of the show. They never feel forced or out of the blue, and while I feel like even more could have been done with Isaac’s character, there’s a lot to appreciate about what is there.

If there’s any thread holding Castlevania as a single, coherent work together, it’s Isaac. Not only is his character the best executed and the most coherent over the course of the show, his character explores themes that are larger than himself and relevant to the show as a whole, like those mentioned earlier: misanthropy versus a belief in the value of humanity; the ability to go beyond one’s “nature” or initial circumstances; and how to respond to being wronged or losing something important to you. Exploring the individual lives of characters is great, but really good writing usually requires going beyond that to reflect on broader questions and ideas. Isaac is the only character here that serves that larger purpose.

Sorry...I Just Don’t Buy It

The season 4 finale is crazy, although in a different way from season 3′s.

Varney being Death makes no sense on several different levels. I’m not going to spend a lot of time picking that particular plot twist apart, but I will talk about why I think it doesn’t work at the largest scale, and how I think season 4 might have been done better.

Last minute twists with zero foreshadowing are rarely a good idea, and this is no exception. Why introduce this “Death” entity at the last minute to be the most important battle of the season? The finale of the entire show, even? Besides the lack of logic or emotional buildup, this robs the show of the opportunity to make use of the antagonists that it already has. Since Dracula died, Carmilla has been the obvious choice for a new big bad. Why hasn’t she done more?

Season 4 feels crowded with characters and plot lines that amount to nothing. Why not bring some of these characters together? If Carmilla is the main antagonist, how come she never meets any of the protagonists (except Hector, who is a pretty minor player in this ecosystem) or even affects them in any way?

Season 4 feels like maybe it was trying to make something out of season 3 and the model that it presented, but it ultimately fails to do so. The writers throw the trio back together at the end anyway, so why not have them rejoin sooner and work together? Maybe Sypha and Trevor’s past experience with Saint Germain could have helped Alucard and Greta piece together what he was plotting sooner, rather than all four of them being completely blindsided by it in the penultimate episode. (Sypha and Trevor know that someone is trying to resurrect Dracula, but they fail to find out any actual detail about the plans, despite their supposed attempts.) Have characters actually do stuff, figure stuff out, advance the plot!

Likewise, maybe Carmilla becomes aware of Saint Germain’s scheming, sees it as a threat, and tries to take him down. Maybe she tries to get involved and somehow use alchemy or the Infinite Corridor to her own benefit. What does it look like when power-hungry Carmilla, who wants to rule the world, finds out there’s an entire multiverse out there? That could easily set her up to be a foil to Saint Germain, causing him to realize that what he’s doing is wrong.

What actually ended up happening in the show feels disjointed and often empty. In particular, most of the events that happen in the last two episodes just don’t really work for me. I didn’t like Trevor suddenly sacrificing himself to this random, new, super powerful enemy, or how the gems and dagger that he found just happened to be the perfect weapon to kill this new enemy, or how he inexplicably returns from the dead.

This kind of thing is what I mean when I say that this season feels like fanfiction. Trevor comes back from the dead for no discernible reason other than that it would really suck if he died. Greta as a character seems to literally only exist to be Alucard’s girlfriend and support him so that he doesn’t have to continue to be alone and potentially turn evil. Alucard’s trauma from Taka and Sumi and Hector’s trauma from Lenore are both conveniently erased. Even Dracula and Lisa are resurrected somehow and get their happy ending. And it’s like, I guess I prefer deus ex machina to the opposite (Does that have a name? When everything is going well but then something terrible happens for no reason other than to make things worse for the characters?), but they’re both bad writing.

God. This isn’t even getting into what happened with the Council of Sisters. And I don’t even really like those characters, but that doesn’t mean I want to see their characters handled poorly.

I’m not sorry that I watched until the end, but I can’t in good faith recommend the show as a whole. If you’ve yet to watch Castlevania, just stop at the end of season 2. While there are some shining moments in seasons 3 and 4 (4 more than 3), it’s just really not worth it.

[why-this-kolaveri-machi]

it’s a fucking metaphor!

Titans 3.08

i’ve finally gathered the mental and emotional resources to do this thing, so let’s go! as always, i’m typing this up as i see the episode.

SPOILERS AHEAD

1. on watching this opening scene, i was thinking back to how gar was in s1, or even the early bits of s2. the way he idolised the others, particularly dick, and his readiness to go along with whatever they said, and the way he practically bled the need for acceptance. and here he is now, openly defying dick, fully open to and aware of the flaws of the people he loves and admires, knowing he is accepted no matter what and extending that generosity elsewhere. it’s a remarkable bit of character growth that’s... sort of blossomed in the background and so rewarding to see and acknowledge. 

1.25. i guess what i really love about this conflict over how to respond to jason--as clumsily as it is sometimes written--is how their histories and individual traumas inform each character’s reaction. dick is torn between his guilt over what’s become of jason and his drive to do what batman had essentially given up on doing: he is motivated to track down red hood at all costs but there’s a sense that he’s not completely sold on the idea that the only way to stop him is to kill him. (he might go the comics route and try to put him in arkham? god, imagine if the season ended with jason in arkham.) kory’s never had much of a connection with jason in the first place, and jason has done one of the worst things he could do in her book: track and kill a member of her newfound family and is threatening to kill more. 

and gar... sure. look. the idea of jason and red hood as separate entities appeals to him; that red hood emerged when jason was drugged to the gills by scarecrow and lost his usual inhibitions. gar’s struggled with what he becomes when he’s pushed to his limits, too--he did rip open that experimenting scientist with his teeth way back in 1.07, after all, and he was brainwashed by cadmus in s2 into becoming a literal monster. he needs to think, to know, there’s a dichotomy, a line that can only be crossed under extreme duress or by outside influence. 

and he says--and we say--that he was accepted back into the titans in spite of what he’d done, but was he really? gar’s always struggled with his footing in this group; relegated to the caretaker, the tech guy, the gatekeeper, and sometimes punching bag even though everybody’s paying lip service to how much of a family they all are. perhaps gar reaching out to jason and offering acceptance is aspirational on his part: perhaps this is the effort he hoped the titans put/or will put into getting gar back, even when it would seem like he’s too far gone.

1.5. anyway my point is that i don’t think it’s worth discussing this in terms of right/wrong decisions because all of their reactions make a lot of sense given their backgrounds/personalities. gar is doing a fine job here of tracking down jason’s friends and trying to find him that way, but we the audience know that jason is ultimately going to end up an anti-hero/eventually-hero character, so with that knowledge in mind we know that gar’s reaction is the right one. it’s knowledge that the other characters don’t have, so to judge them on it is... uh, unfair.

1.8. also, molly is awesome, yay!

2. dick and barbara flirting over the phone is so cute! i love to see this side of dick: lighter, peppier, willing (even if somewhat reluctantly) to put his mission aside to go out on a date with his girlfriend. and i love how easy this makes his dynamic with kory too: it’s all very domestic and utterly delightful. 

(also, re: the water leak in barbara’s office--you’re saying GCPD could afford fancy-schmancy table-wide touch screen computers and evil-lair lighting but needs its frickin’ commissioner to catch leaking water from above her desk with mugs and fishbowls????)

2.2225. this is probably a teeny tiny thing and i’m not sure i want to bring it up at all BUT. the fact that dick feels compelled to lie to barbara about not liking fancy gala food and eating something more substantial before the date? not a terribly great sign, though i wouldn’t call it a red flag per se. 

“this from a man who forced his students to eat cauliflower crust pizza...”

3. so.... conner and kom are a Thing. huh.

in theory i really like the idea of them bonding over an innate alien-ness and longing for a place they could really belong. both of them are alien twice-over: conner a mix of kryptonian and human, practically generated in a test tube, and kom being somebody that was born different and rejected by her own people, now stuck on a planet dominated by an entirely different species. i even like them exploring this bond physically. i guess it’s the sense of... uneasiness around what we do and don’t know about kom that makes this scene land slightly left of centre to me. i think titans, especially through s2, has cultivated in its audience a sense of distrust even until the final episode, just in case somebody vital to the season is suddenly revealed to have had ulterior motives (i’m even low-key suspicious of leslie). i really want to see this kom-conner dynamic play out but the anticipation of watching the other shoe drop is sucking out the enjoyment.

4. for fuck’s sake dick, gar’s not your gatekeeper.

TIIIIIIIIMMMMM \O/

4.5. i love this nod to tim’s origins in the comics, the way he just comes in and lays out all his evidence and makes it clear to dick that he needs tim’s help as robin. the fact that he was there at the flying graysons’ last performance, he was obsessed with their acrobatic moves, and was observant enough to connect those moves with that of robin and later nightwing... all of this came together to put him where he is right now.

(i also love how he can’t contain his giddy excitement when talking about the day dick grayson’s parents died... to dick grayson. even if dick weren’t nightwing, that would be a deeply uncomfortable thing! yet tim can’t help himself, and i love him for it.)

4.8. it’s a testament to how much dick’s caught off-guard that he can’t come up with a better response to tim’s allegations other than “uh... he stole my moves! as you know, no two gymnasts in the world are allowed to do the same moves. now, let me escort you out while pretending poorly that i’m not at all shaken by this...”

4.9. i’ve talked about this before, but i find the logic around secret identities in this universe utterly fascinating. the titans don’t make much effort in keeping their identities secret: everybody seems to know that kory is starfire for instance, or that gar is beast boy. dick grayson is seen hanging out with kory a lot, especially at crime scenes. it won’t take a lot of sleuthing to find out that the titans are currently camped out at wayne manor, and to put two and two together.

my theory was that superheroes and villains have become such an integral part of daily society that it’s almost not worth it to seek out their secret identities, or that it’s just not a big deal anymore. like politicians or diplomats, not everybody bothers to look into who exactly their local politician is, but the people who know just... know. it’s a sort of unspoken social contract.

tim’s broken this contract by confronting dick about his identity, and dick’s not ready to deal with it. not entirely.

look at him! *pinches his cheeks*

5. ngl, it was quite satisfying to see jason knock the scarecrow out like that. 

5.5. i guess... the question of jason’s culpability is always going to be a thorny one and would make for a great courtroom drama spinoff. there are a number of factors to consider: jason’s personality, the rough circumstances under which he grew up, his undoubtedly stressful transition to being robin, bruce wayne being... well, bruce wayne, never feeling accepted by the titans and having most of them turn on him, being roundly defeated and almost killed by deathstroke, alfred’s death, a fuckload of ptsd, his violent death, crane’s manipulations, coming back to life, crane plying him with a drug. but there is no easy line to draw between any of these factors to his actions. i think it would be a disservice to jason’s character to attribute his actions entirely to these things and rather irresponsible to do so. i think jason has to reckon with the fact that when he took crane’s drug, he wasn’t reckless and chaotic like the thugs he gave it to; the planning that went into hank’s death was meticulous and the way hank died--dawn essentially tricked into pulling the trigger that blew her lover into bits--is so drawn out and cruel. 

5.75. it’s occurring to me that crane might have given jason a placebo. maybe jason’s dependence is psychological, and he’s externalised his fears in such a way that he believes crane’s drugs literally wipe them out, however temporarily.

in any case, the boy needs (more) therapy.

6. “he walked like robin...” fuck, tim

“gait recognition sweep” god, this show. i don’t know whether to laugh or cry. hey, once we’re done doing this gait recognition thingy, can we get a goddamn plumber in the house??? or move the commissioner’s desk so that sewage water isn’t dripping on her head or the million dollar touchscreen desk???????

6.5. oh no dick!!!!!! i am delighted that you got hurt but i feel ashamed about it! that looked like it really hurt!

he’s really not having a good time of it, is he. from being shot by a sniper to slamming at full speed into an suv, he’s got to be really fucking battered by now. and that’s just the physical side of it.

“can you believe that just over a week ago i was sitting in san francisco eating cauliflower crust pizza and feeling good about myself for the first time in five years...”

7. kory’s having visions again! now that she’s figured what they are, do you think the show’s just dropped justin? it’s curious that HPG hasn’t been brought up in a while after featuring relatively heavily in the beginning. hmmm.

8. dick’s in hospital but... he looks remarkably whole for someone who took a spill like that. you’d think he’d at least have a bruise to show for it. on the other hand, i love that the first thing he says is ‘i need to call home’. reminds me of season 1 dick and his clumsy attempts to explain away his found family as an ‘alliance of necessity’ or some bullshit. what a long way he’s come!

*gasp* dick’s hallucinating again!!!!!!!!!!!! i’m doing the dick’s hallucinating dance! can you believe that we’re carrying over these huge honking issues unearthed in season 2 onto season 3? can you believe?!!! all that time and effort i spent talking about dick’s mental health from last season has not gone in vain!!

... ahem. anyway. more on this later.

“hold on barbara, i think kory gave me the number to this therapist that she kept calling Hot Psychiatrist Guy...”

9. just an interlude to say that i’m barely halfway through the episode and i’ve already written 2k+ words... ugh. i’m going to try and be more concise.

10. man i fuckin love it when titans goes all out with its weird mindscapes and i’m extra glad that kory’s the focus this time. is that baby kom or maybe a secret sibling that neither of them knew about? was that lady luand’r? and is this place where kory was circling where the secret sibling is? it’s all very intriguing. 

(if justin turned out to be that sibling... we’ve a real luke/leia situation on our hands.)

11. aw, i knew that nice security guard was going to die, but it still hurt to see him go :(

12. this show is so bizarre. like i get the mindscape as a narrative device, but jason using sex workers to try and vocalise his guilt about killing hank was just weird. like. i have to use tamil, sorry: idhulaan yaaru pa room pottu yosikara??? some things just can’t be translated into a second language.

i guess one way to interpret jason’s reckoning with what he did to the titans as a sign of him coming off crane’s drug, but i think it’s more to do with the disillusionment of realising that he was a mere pawn in a more sinister plan, and not, as he thought, a player in control of his destiny, rising to the purpose of liberating gotham of its fears in a way batman never could. along the way, he’s done some truly irreversible damage. it’s a bitter pill to swallow.

13. another hallucination! it’s really intriguing that it’s a young dick(?), younger than we’ve ever seen him, wearing an early-era robin costume from way before he even became robin. (this is also interesting in that it gives credence to the idea that ‘robin’ is an identity that dick created entirely on his own, and as a possible homage to his family.)

“old road, old house... it’s all gone.” i wonder what it all means.

13.5. it’s entirely likely dick’s hallucinating because of a brain injury from the accident, though just hallucinations without any other focal neurological deficit is unusual. he might’ve been microdosed with fear toxin at some point, though i wonder when... did jason do so after dick’s accident? did he get dosed at the factory from last episode? 

it’s also possible it’s a continuing manifestation of dick’s issues from last season--which, if you remember, he never told anyone about and therefore never properly addressed. maybe he was hallucinating bruce wayne in a psychotic episode accompanying an acute stress reaction and maybe that’s what’s happening now. nobody’s denying that he’s under an extraordinary amount of stress right now. another way to look at it is that this is how he externalises conflict that he can’t bear to suppress anymore; if in s2 halluci!bruce manifested his insecurities and self-loathing, then these hallucinations... something to do with his fears, no doubt.

yet ANOTHER way to look at it might be: rachel is reaching out to him through their, well, psychic bond. after all, they were able to use that bond unconsciously last season to get the titans back together; maybe rachel has learned to gain a degree of control over it in themyscira and is sending across warnings? it’s all very intriguing.

anyway:

“i hear you skipped over the discowing suit in your evolution to nightwing... how could you??”

14. can you imagine, gar did all the work of reaching out to jason via molly and jason wants to meet dick? smh.

14.5. “i’m just a regular guy doing regular things” he says, standing at the opening of a secret old tunnel, like a secret person doing secret things, confronting someone who can now officially be called his stalker. neither of you guys are ‘regular’

14.8. ‘my dad was a cop and he taught me how to investigate’ - hmmm. i guess they’re trying to Explain Tim but i don’t think that’s really necessary. so he’s smart and he’s obsessed with batman and robin--that should be enough, imo. 

15. that scene with scarecrow and his mother was... wow. i’m just laughing here helplessly, because what the hell? for a while i thought it was an extended dream sequence and i’m still not entirely sure that it isn’t...

anyway. i still love that titans is happy to throw out its plot in favour of extended character-exploration sessions.

15.5. it seems to me that this scene with crane and his mother (i have no idea if there’s anything in the comics similar to this) serves to move forward this season’s theme of harmful legacies and how parents can damage their children in the name of their mission. in a way it’s been the underlying message of the entire show but we’re really seeing it being reinforced this season. the titans, serving as a foil to scarecrow, are using the damage to rebuild themselves and actually work through their issues together, instead of spiralling further and further into the morass of their issues.

other than that... god, that scene was painful to watch. i can’t say i like this version of scarecrow or how this actor plays him at all.

16. i wonder what’s jason’s play here. i think he’s smart enough to realise that the titans aren’t going to just forgive him and let him be a titan again after what he did, and that dick agreeing to it is just a bid to pin both him and crane down. maybe it’s a ploy to trap them, get back on scarecrow’s good books so that he can have the drug again. who knows.

17. i absolutely felt dick when he said “we’ll bring him in and then re-assess the situation.” what the fuck else is he going to say? the priority is to get him.

so kory and dick are both hallucinating while potentially trying to rehabilitate their murderous siblings. CONFIDE IN EACH OTHER ALREADY

18. TIM NOOOO! you beautiful, reckless fool!

18.25. just to quickly address it here because i know it’s been brought up before: i think it’s perfectly justified to not have conner take tim to the hospital via superspeed because a) i don’t think we’ve seen conner do that with anybody so far and b) it’s probably not a good idea to submit tim’s body to that kind of stress without knowing what it would do to him. the paramedics with actual equipment and experience would be there in a few minutes, so on a risk assessment, i would say dick and conner absolutely made the right call.

18.5. i guess we won’t know what jason really intended to when the titans came to the pump to see him, but this is definitely going to set a big wedge in his relationship with crane. then again, crane got what he wanted--using starfire’s powers to blast through to the underground pipes--so jason can argue that this is exactly what he was working towards, too. 

anyway, mortal peril, hallucinations, murderous family members, creepy visions and robins sprouting left and right. time to get rachel and donna on the scene, i think.

[immaturityofthomasastruc]

#4: There's totally character development, you guys! You just don't see it!

A common critique of Miraculous Ladybug is the lack of actual character growth and development in three seasons, a sentiment most of the fandom agrees with.

At the time of this post, Miraculous Ladybug has been through three seasons with 78 episodes, and nothing has really changed. Sure, by the third season, new villains were introduced, and the season finale shook up the status quo a little bit by exposing the identities of the temporary heroes as a result of Chloe's damnation arc that was obviously planned from the beginning, but despite one of the main plotlines being the relationship between the two, Marinette and Adrien are still at square one. She's still a stammering mess around him, he still doesn't get she has feelings for him, while Cat Noir still can't take a hint that Ladybug isn't into him.

Sure, you could make the argument that they're in relationships with other people now, but not even the show wants to acknowledge it, as a big part of the recent New York City special was about Marinette and Adrien's friends forcing the two to spend time together, even though Marinette said she was trying to move on from him. Even the synopsis for the fourth season says that Marinette still has feelings for Adrien, so now we're wasting even more time on this subplot that's starting to rival Ross and Rachel in terms of tediousness.

Honestly, a good representation of the writing process can easily be summarized like so:

But enough of my rant, what you're here for is what Astruc has said in response to this kind of criticism in this (now deleted) tweet.

Okay, first of all, who unironically uses the term “haterz” to describe someone who criticizes them? What is he, Taylor Swift?

Second, in order to properly analyze this tweet, I'm going to have to talk about Luka and Kagami first. They were introduced during the second season of Miraculous Ladybug to complicate the Love Square, sort of like Jackie and Tom during Star vs. the Forces of Evil. Their reception was... mixed, to say the least. Part of it had to do with how the show first portrayed them.

Now, I like both of these characters, as well as the ships associated with them, but I want to make things clear that this is based on fan interpretation of these characters. If you like Luka and Kagami, or the associated ships with them, that's fine. Same goes for the ships in the Love Square between Marinette and Adrien. While I will be criticizing the writing of the romantic subplots, I am not trying to start a ship war here. This is all about the way Astruc views the writing of Luka and Kagami. So let's please try to keep any comments here civil.

Luka first appeared in the episode “Captain Hardrock”, and was instantly infatuated with Marinette. Fans really didn't like the episode. In addition to the boring villain and horrible animation on display, some viewers simply found Luka to be a boring character. Don't get me wrong, there were still some fans who loved Luka in his first appearance, but for others, it took until his next appearance, “Frozer”, for them to warm up to Luka. The thing is that was because of how Adrien had been for some of the season.

See, mid-Season 2, people had started to question the way Adrien was being written. He had been much more assertive in his attempts to get Ladybug to fall for him, like setting up dates, offering flowers, and supporting the media shipping the two together, claiming they're “meant to be”.

This ties back into why people stated to like Luka more. Unlike Adrien, who was more intrusive of Ladybug's boundaries, Luka was much more calm and understanding of how conflicted Marinette was when she was caught between him and Adrien. By Season 3, a lot of fans found Adrien was only getting worse and basically abandoned ship (no pun intended) to start shipping Luka with Marinette.

While I believe there are some problems with the way Adrien is being written (which I will get into in a later entry), I don't think all hope is lost for the Love Square, as there are some generally cute moments between Marinette and Adrien, and there have been a lot of great fanfics featuring the two as a couple. So it's safe to say I don't think the Love Square is a lost cause.

At the same time, I can understand why people would start shipping Lukanette instead because of the way they viewed Adrien's behavior during Season 3. I also think they have some nice moments in the show, with one of the few good episodes in the garbage fire that is Season 3, “Silencer”, being all about Luka and Marinette growing closer.

Here's the thing. The way the fanbase perceived Luka? IT ISN'T CHARACTER DEVELOPMENT.

A big reason fans started to ship Lukanette because of how poorly the other romantic subplot with Adrien was going. Hell, people started to ship Marinette with Damian Wayne because of how much they hated Adrien. Some fans have also cited how Marinette looks much more comfortable around Luka compared to when she’s an anxious mess around Adrien, allowing for better interactions with the former.

And Astruc is acting like the fact that more people are shipping Lukanette like it's all part of his brilliant plan. It's hard to explain how ridiculous this sounds without starting a ship war across Tumblr, so let's move onto what he said about Kagami.

Kagami's first appearance in the episode “Riposte” didn't really give the audience a good idea of what she was like, as she was the Akuma of that episode. All we really knew about her was that she was a fencer, her mom was incredibly strict towards her, and she hit it off with Adrien. It didn't help that she didn't have another appearance for almost an entire year.

Her next appearance, “Frozer”, really didn't portray her in a positive light. Because Kagami had a crush on Adrien, she was a lot more cold to Marinette (even though they hadn't met before and when Adrien told her about her at the end of “Riposte”, she sounded eager to meet her) and basically told her to move her ass or Adrien was hers. Oh, you think I'm paraphrasing? That is literally what Astruc said when someone asked the meaning of that line.

Because all girls do is fight over cute boys, right? Such a good message for a “girl power” show.

Her next appearance in “Animaestro ”made her out to be the threat in the first half of the episode for the crime of hanging out with Adrien. This motivates Marinette to team up with Chloe of all people to embarrass Kagami in front of Adrien, and neither of them are ever called out for it. Yes, Marinette and Chloe both have a crush on Adrien, but the show is demonizing Kagami for daring to spend time with him when Adrien honestly looks much more comfortable around her compared to when Chloe or Lila (another character I'll talk about later) force themselves onto him.

So here's a fun fact: If you write a character as a threat to the protagonist in a completely irrational way, all while perpetuating the cliche stereotype of girls fighting over boys, people aren't going to like that character.

It wasn't until the episode “Ikari Gozen” that Kagami and Marinette finally became friends, and people actually warmed up to her because the show stopped trying to portray her as a romantic rival on the same level as Chloe and Lila.

So while you could call Kagami becoming friends with Marinette character development, it just comes right out of left field, I don't really think it was planned out. But even if, congratulations Astruc. You finally wrote some character development for two supporting characters. Now if only you could do it for your main characters too.

(Sorry if this isn’t my best work, I’ve been focusing on another entry that tackles an... interesting example of how poorly Astruc can respond to criticism.)

[macgyvertape]

Castlevania kinda had a pacing problem

spoilers for all of Netflix’s Castlevania. I haven’t seen much analysis for the show on tumblr, im honestly curious if discussions I had with irl friends mirror what fandom talks about

tldr: Castlevania seems inconsistently paced from season to season, and within season as well, leads to a lot of characters motivations feeling unclear so characters repeatedly explain why they are doing something while they’re doing it

overview of the seasons:

S1 I know somewhat of a test for Netflix but it has good main trio character establishment and sets the scale of the conflict

s2: pretty complete emotional arc for most characters and resolves the plot of killing Dracula while setting up additional characters to continue the story. Isaac, Hector, Carmilla all established with the audience as characters whose story would continue

honestly I would bet this is the most popular season

S3: s2 did a bit of worldbuilding, but this season really fleshed out the world with both a wide range of locations and exploring the question of “what now, Dracula is dead but vampires and night creatures remain”.

There were basically 4 plot threads: 1) Sypha/Trevor investigating the cult & Saint Germain; 2) Hector & Carmilla (also introducing Lenore, Striga, Morana); 3) Isaac’s journey of revenge & self discovery; 4) Alucard sits around the castle and is betrayed.

overall characters roughly feel like they are in the same place if not worse. A big criticism I saw at the time, which hold up after rewatching this before s4 is nothing felt resolved for the main characters

I would say this season is where the pacing issues start to become apparent, juggling 4 plot threads that lack a central theme or even mutual character connection. If there was a central theme it would be “humans are awful to each other”. The Judge doing Hot Fuzz style murders, The Wizard in the tower, Sumi & Taka

S4: it starts with the same 4 plot threads, though upfront it is made clear that the plot theme is “people are trying to resurrect Dracula”, and the progression of the plot works to resolve unrelated plot threads until the main trio reunites for the boss fights. To me and my friends watching it was obvious that the show would reunite the main trio, the question was how and how far into the run time.

Season 4 is why I’m writing this essay, for the past 2 days I’ve been like, yeah that character sure explained their motives repeatedly maybe with some philosophical discussion, but it’s just such a weird place considering where they were in s3

Alucard’s arc:

Where he was left in season 3, it was after killing people he had trusted in self defense and impaling their corpses. It was clearly meant to parallel Dracula’s dislike of humanity. However overall his character lacked a proactive motivating force.

Honestly the most interesting thing I found in s3 was Alucard clearly misses Sypha and Trevor, however they don’t miss him or refer to him

One reason Sumi & Taka betray Alucard is for the secrets and power of Castlevania. After inviting the village including St Germain who Alucard was warned of into the Castle, Alucard makes 0 effort to secure anything, not even his personal childhood room. Guess he really learned nothing

Discussing St Germain, I think it’s funny that they had a several minute flashback sequence for his lost girlfriend (who doesn’t have a name or a voice actor), to remind the viewer of who he is, and to justify how he’s suddenly back and down for murder.

In s4 there is the call to help the village, and the walk back to the castle is a montage of Alucard opening up to Greta and becoming friendly literally overnight. He laughs off the impaling, and basically all of the darker things he went through in season 3, which has me asking what was the point of his season 3 arc then? 

Honestly writing this I realize the biggest parallel he has with Dracula is the call to action from a bold woman with a dramatic entrance speech which then leads to a romance

Isaac’s arc:

in s3, with all the other themes of “humanity sucks” I was always unsure if the townspeople were meant to appear irrational while attacking a larger force instead of letting him pass through an leave, or him not caring about how he’s provoking them is meant to show his insanity

ive seen the discussion elsewhere, curious about the Discourse here

is s4 Isaac has the whole monologue about how he now has agency but him gaining that agency was his s3 arc. In s4 he’s already at the point of accepting it. By the end of s4 he’s one of those who comes the furthest from his first character appearance to his last.

s4e5 where of Isaac attacking Carmilla in Isaac’s 2nd appearance had him resolving like 4 plot threads at once (Carmilla, Striga& Morana, Hector, and Isaac himself).

but i do wonder if Trevor, Sypha, or Alucard even know any of these people exist. I think not

I was honestly confused if I missed a scene from his dialogue about building something and what is inherent nature, to “My plan has evolved, my plan is now conquest” because he only conquests the one castle and the rest is left unclear

Upon rewatch the connection there is “killing [the wizard] felt just ... I liked that feeling”, so the show says that Isaac in the end attacked Carmilla for the sake of justice and not revenge.

Isaac in his last conversation expresses the theme of s4 “build something new on these old bones, where people can live for the future”

however, his arc honestly feel scenes were cut, and then dialogue was written around it. He’s the only living character who doesn’t show up in the epilogue and the sentient night creature “what if I could empty hell” dialogue was some of the most interesting worldbuilding. Night creatures with sentience and possibility of regaining memories!!!!

The Council of Sisters & Hector’s arc:

oh I’ve already seen s4 discourse about Lenore/Hector while searching for character analysis, a chunk of it seems to be rationalizing the absolute difference between how s3 ended with these characters and s4. It was extremely confusing for me and my friends; wondering if 1) was Hector showing more emotional intelligence than before and putting on a facade to cover up hatred? Nope 2) did more time pass than 6 weeks for there to be some kind stockholm syndrome? No, Hector seems fine to let Lenore kill herself

The slave control ring: played up in the climax of s3 and easily solved s4. s3 Lenore says if he tries to harm them, flee, or take it off it would cause crippling pain, in s4 Hector just easily cuts off his own finger.

for a control ring that they take time to show a version being on the Rebus, it doesn’t do much controlling of Hector

also guess the definition of “do harm” just refers to direct action

Lenore in s4: has no purpose in conquest, has that useless remarked on by multiple characters, is imprisoned, then kills herself after a genre aware philosophical discussion. This essay is long enough, but what the fuck happened to this character who ended s3 clearly physically and sexually abusive? Seriously this was one of the biggest writing changes to the point where she was treating Hector as an equal. Compare her last words in s3 “shh the real people [vampires] are talking”. The change in the relationship is actually something I would have taken being shown, or atleast told of what exactly caused this change other than the vague “you adopted him”

Striga&Morana get the best arc of the Council. 3 scenes: the tent argument, Daybreak armor fight & argument resolution, declaration of feelings and turning away. You could argue Castlevania is plot to be connective tissue between fight scenes, but for all the dialogue about human resistance in different seasons it was nice to see it. Overall the scenes were short but had a lot of showing what their relationship is not just telling,

unlike Carmilla. For as much hyping up as they did with her, and as much power as she had, she only appeared in 2 episodes and no other group except Isaac knew about her military conquest.

the map scene where she states her motive for conquest of wanting to take things from old men is the key example of how characterization became tell not show. How interesting was that monologue compared to the past seasons flashback to her murmuring the old vampire lord, or all her repeated insults of men/man-children that shows how she judges people??

That monologue had to carry the weight of justifying the Sisterhood bonds falling apart as well as why her motivation changed from building a human pen from Styria to Braila to world conquest. I think it did so poorly

Sypha & Trevor

really Sypha & Trevor have the main plot in the show. I checked and post season 1 the only episode they don’t appear in is s4e6, which is entirely devoted to the Isaac, Hector, and Council of Sisterhood arc. Their partnership and adventures are the main plot of the show.

Its easy to see what Trevor’s arc was over the show: coming to peace with the deaths of his family, taking up the mantle of being a Belmont, and starting a new family with Sypha.

With Sypha I actually had to scroll through tv tropes for what is her character arc, and I guess hers is disillusionment from adventure and life outside the speakers? My friends joke that Sypha’s magic is what the plot demands to look cool in a fight, which isn’t necessarily a bad thing.

Tangent: the ending of their arc was easy to guess: as soon as Trevor went to fight the final boss alone I literally said “oh i bet Sypha’s pregnant, Trevor’s doing a heroic sacrifice, theyll use the unexplained magical dagger mcguffin, and 60/40 odds that he goes through an infinite corridor to outright come back vs just the implication he might come back”

I guess my final thought of the show, was overall the SUPER Final Boss got my by surprise. It was a good twist I enjoyed. Not that Death appeared, I had guessed that from the heavy foreshadowing, but I was surprised by who it was, because I had thought I thought the characters involved feeling shoehorned into the plot was just more bad writing. The Alchemist who put St Germain on the path or murder for no discernible motive for helping? Sure gotta move the plot along. New Dracula court member Varney who has a whole introduction with almost every character he meets and banter about his smell? Sure thats basically how all characters talk with a snarky and acerbic voice.