#the show forces the Audience to accept change

[ssaalexblake]

The thing about saying that ‘doctor who is about change’ thing is that it’s not really true imo. Not in the show. The plots aren’t often About the people or situations actively changing as a catalyst for a story, it’s normally just a consequence of their story arcs that things do, in fact, change. Meaning that the bottom line in the equation is not change itself, but that change is a consequence of the driving forces of the stories. 

I actually think that dw is a weird tv phenomenon that forces change upon you because every few years it reinvents itself for its own survival. It is not About the change but it cannot escape change due to its very nature, so therefore it is about change. 

[apollos-boyfriend]

i quite enjoy hooky/marionetta but by god does their author have a goddamn fetish for timeskips

[aspiringwarriorlibrarian]

Taking advantage of the free Nimona video and....wow, the Director really believes her own bullshit here. Like it's not just a show for Ballister's sake (or at least, not completely), she genuinely believes that he's ultimately responsible for her actions by being common and disruptive and that he forced her to murder her queen to stop him from becoming a knight. "Today, everyone will see you for who you really are." "She thought someone like you could be a hero, and it cost her her life." She literally runs Gloreth's direct descendant through with a sword and then in the moment after he "dies", her reaction is "May Gloreth forgive you." Not me, never me, no matter how many people I have to kill. May Gloreth forgive you for existing in a way that inconvenienced me even slightly.

Like the religious aspect is not subtle, as far as the Director is concerned her every word and thought and action is the will of Gloreth herself and challenging her is a sacrilegious act. Ballister can change, Ambrosius and the knights can change, the whole kingdom can sit there watching Nimona break down and decide they were wrong about her and accept her, and the Director is still standing on the battlements demanding that they blow up the city because it's what she wants and the mere idea that she could ever be wrong is blasphemy.

Which is a genuinely good message for the film's younger audience as a whole. "Yes, people can change and become better. Yes, whole societies can change and become better. Yes, people deserve second chances. But there are some people who cannot and will not change, and you shouldn't lose sleep over your inability to convert them."

[xqueen-of-disasterx]

The winner takes it all

𝐏𝐚𝐫𝐢𝐧𝐠: Scarlett Johansson x fem!reader

𝐒𝐮𝐦𝐦𝐞𝐫𝐲: Scarlett Johansson just hit the peak of her career, she had everything: money power glory. One thing was missing, the Oscar. After she finally won the award she found a special way to celebrate her win with her perfect little girlfriend as a helper.

𝐖𝐚𝐫𝐧𝐢𝐧𝐠𝐬: SMUT, dom!scarlett, sub!reader, alcohol use, oral, object insertion, recording of sexual activities, Oscar in places they shouldn't be, degradation

!Disclaimer English is not my first language so please excuse any grammar or spelling errors. This story is completely fictional. I do not own these characters!

𝐀/𝐍: I swear | was drunk while writing this l'm not a weirdo okay 😭

𝐌.𝐥𝐢𝐬𝐭 | 𝐍𝐚𝐯𝐢𝐠𝐚𝐭𝐢𝐨𝐧

Third times is the charm, right? That’s what Scarlett thought when she sat in the audience of this year Academy Awards. She was nominated for best actress for her latest movie, last time that had happened her award was stolen from her, but not today, she thought.

She sat in the big theatre room you, her younger co- star turned affair sat next to her, nervously she tapped her fingers over the armrest of the seat. “Scarlett” You called out the older actress had her eyes fixated on the still empty stage. “Scarlett?” You tried again hoping to reach through to her. “Huh? Yes, what’s the matter?” Her fingers still tapping the soft fabric of the armrest. “You’re so nervous” You slip your hand over hers “How couldn’t I be? Have you seen the competition this year? There’s no way I win against Emma Stone”

You chuckled intertwined our hands, it was dangerous you knew that, but luckily no one way paying attention to you. The fact that you shared so much more than just the screen was intoxicating to you, sneaking around the crew to share a few passionate minutes with the older actress. She made you feel the things none of your boyfriends ever could. How she touched you, loved you. But everything had to come to an end, and so did the affair you two had. “You blow them all out of the water” You assured her.

The alcohol did it’s job pretty well in Scarlett’s eyes she had had her faire share of expensive champagne glasses to calm her nerves. And then it got time for the category of best actress. The announcer had the all telling red envelope in hands opening it in exactly that moment. “The Oscar goes too” she slipped out the card “SCARLETT JOHANSSON” The theatre broke out into loud cheers and claps, Scarlett however didn’t even register her name being called she was still in a state of pure shock.

Both you and the director leaned in to give her a quick peak on the cheek and a small “You did it” before she made her way up to the stage to finally accept the thing she never thought she could get.

“You did it” You smiled at her when she made her way into her hotel room. You had sneaked off the after show party to surprise your older girlfriend. Nothing special really just a bit of champagne and lingerie but just seeing you spread out on the sheets made her crazy.

“Now what do we have here” She smirked she was clearly intoxicated and so were you. “Fuck baby girl” She groaned upon seeing your promiscuously clothed body. Later that night she had changed from the big dress to an expensive pantsuit. She slipped of her blazer placing it on to one of the hotel room’s chairs.

“You’re playing with the fire little girl” She chuckled her eyes never leaving your body. She sat her pretentious golden man on the bed side table. “I know what I’m doing” You breathed out. Your eyes meet and she down to kiss you.

Her hands slid over your exposed skin going onto your back. With skilled fingers she unclasped your bra slipping it off your shoulders only to throw it behind her. “Fuck you little slut, I’ve barely done anything and you’re nipples are already hard” Her degrading words forced a moan from your throat.

Her thumbs rolled over your hard nipples, she enjoyed seeing you squirm for her, under her. She chuckled before kissing down your stomach licking over the soft skin of your tummy.

She pressed her nose against your pubic bone taking in a deep breath. She tugged your panties from your legs tugging them into her pant pockets. She kissed your clit kitten licking the bundle of nerves. She paid extra attention to the spot because she knew how needy it made you.

She gave your cunt a few more bold licks bumping the crock of her nose against your over sensitive clit. She pushed her tongue inside your tight heat enjoying not only the taste but also the feeling of your muscles clenching around her.

“Fuck Scarlett” You moaned out your hands gripping tightly into the pillow behind your head. She kept on working you towards the edge of ecstasy until she pulled away letting you huff in annoyance all you wanted she just chuckled.

“Aw” she mocked you “Was my little girl just about to cum?” You shook your head still whining. Her eyes darted to the trophy next to you and a mischief grin was planned on her lips. You knew exactly what she was thinking about.

“Scarlett no” you said with urgency “What? I’m not doing anything” She reached out for the golden man upon closer inspection it had the right shape, you had taken bigger after all. “Well” She started her hands stroking over the stature “don’t you want to make me happy”

“I do but” Scarlett stopped me “No buts baby now spread your legs” You applied to her wishes spreading your legs for the older woman. She hummed in approval her fingers stroking through your slit collecting your wetness on her fingers.

She covers her trophy in your juices on her lips there was still this shit eating grin. She was more excited than a little kid on Christmas.

She held the cold metal against your entrance pushing the head of the stature past your hole, watching in an awe how your pussy ate the metal man.

“Fuck” She groaned as she heard the mewl sounds growing in volume the more the man disappeared. “That’s so hot” She shifted to her knees to reach out for her phone taking it from the nightstand

“I need this for my personal collection” She mumbled pointing the camera to where the Oscar was connected to your body. You both had agreed to her being allowed to videotape you, if she didn’t release it. You both knew that a leak of this video would make it onto every cover of every tabloid magazine. Did you care? Absolutely not. Scarlett even less

The feeling of the cold metal against your walls was intoxicating, you mewled and whimpered. She moved the stature in and out of your tight heat bringing you close to your release. With her skilled fingertips she played with you overstimulated clit loving how your body squirmed under her.

The camera was still on your glistering cunt the camera panting to your face twisted in pleasure. “Fuck I’m gonna cum” She smirked again throwing her phone away to pay more attention to your desperate body. “I know baby” She kissed your nipples with a few more thrust she made you see stars. She let you ride out your high before pulling out the award again watching in an awe how the cum dripped the golden man. “Scarlett” you breathed out still catching your breath “What the fuck”.

:)

Taglist:

@badbitchrebequinha @notaloserjustasnoozer @misscaptainchaos @tashakink @strawberrynatsstuff

[cherrybomb107]

I literally wouldn’t have cared if they decided to pull a Cyberpunk Edgerunners and kill off our entire main cast save for one or two characters and let the bad guys(the establishment) win. Tragedy isn’t the problem. The problem is the way they went about it. The show had so many plot threads to tie up, there was never any time to truly reckon with all the tragedies that were occurring.

Ekko losing his tree because of Arcane poisoning would be tragic. Notice I said “would be” because that plot line is literally never addressed again. It gets brought up, and then forgotten about. Vi being hit by her girlfriend after she makes the decision to put on the uniform of her oppressors and contribute to oppressing her own people in pursuit of a little sister who she can’t accept has changed is tragic on multiple levels! That’s some compelling shit! But the show never meaningfully addresses these issues or lets Vi react to them without throwing her into a new situation where she has to fight and lose something again. All Vi has ever done her entire life is try and fail to protect her loved ones. She gets punished for trying. It’s almost like the universe itself is out to get her! But we never see Vi break down and pick herself back up. We never see her make any choices to do what’s best for her. The plot decided for her and that’s the problem!

Vi and Jinx deciding to go their separate ways after all that they’ve been through would’ve been tragic. These two sister who love each other more than anything having to break apart for who knows how long and holding onto the hope that maybe they can reunite and be sisters again is gut wrenching…or at least it WOULD be if they actually decided to separate! Vi didn’t decide to leave her sister, Jinx didn’t decide to leave Vi, the narrative forced them apart! The narrative keeps ripping them away from each other and it’s starting to feel intentional. Trying to tell the audience that the only way Vi can truly be happy and choose herself is by having her baby sister die and being forced to live with her girlfriend in a city that will be extremely discriminatory towards her is not it. I’m not saying that Vi and Jinx have to ride off into the sunset together. But I am saying that if going their separate ways really was for the best, the show wouldn’t spend so much time trying to convince us of that. It would just happen organically. Which, to me, it didn’t

Jinx losing Isha was yet another tragedy! But the show doesn’t really show Jinx grieving and then deciding to fight for what she believes in after Ekko convinces her to try. She tried to kill herself five times. FIVE TIMES!!! How on Earth did she go from that to a badass piloting an airship, dripped out with her new outfit and steeled sense of resolve? We don’t know because it happened offscreen! I understand the show had time constraints, but come on. This plot line deserved more time to shine. Sevika being on the Council is a tragedy. It’s an empty gesture for one, and majority rules for two. That means Sevika will be forced to try to barter for Zaun’s freedom while being surrounded by a bunch of classist Piltie pricks who despise her and everything she stands for. She will be talked over and talked down to. That’s not a happy ending! But the show frames it like it is! And I’m sorry but if you can’t watch interviews of the writers saying their thoughts on the show and you genuinely believe that they have the range to write Sevika being on the Council as thoughtful commentary? No comment😭😭😭

Caitlyn’s corruption arc is yet another tragedy! Both because of what happened to her AND the fact that the arc wasn’t done! Caitlyn’s arc was supposed to show how no matter how “good” and “kind” a privileged person believes them self to be, their unconscious bias and prejudice against the out group will rear its ugly head the second they experience a fraction of what the marginalized group has been experiencing for centuries. It was so easy for Caitlyn to say “I understand now. How easy it is to hate them.” “Those animals!” “I thought you were different, but you’re not. It’s her blood in your veins!” How easy it was for her to weaponize The Gray. How easy it was for her to work with Ambessa and co sign martial law despite knowing better. How easy it was for her to risk killing a child just to get to Jinx. That’s super compelling! But the problem is we never see Caitlyn wrestle with her decisions. Guilt should be eating her ALIVE and all we get is a complete 180 from her after a time skip! Then she does nothing to redeem herself! And once again, no the writers absolutely did not intend that to be commentary on how the privileged are able to get away with things the lower class would be imprisoned/killed for. If they did then Caitlyn could’ve had a confrontation with someone from Zaun, whether that be Sevika, Ekko, Jinx, Vi or someone else, where they call her out on her hypocrisy. Then we would see her wrestle with that and realize the monster that she’s become.

Unfortunately, all these tragedies are not given the proper narrative weight they deserve. Or they’re not treated as tragedies when they so clearly are! THAT’S the problem! It’s not tragedy, it’s the framing! And it’s the way y’all are so condescending whenever someone criticizes the show. Why is every single critique met with “You didn’t watch/understand the show”? Why is it always “What were you expecting?” “You’re just mad it didn’t go your way.” “You’re just a hater.” “You have no idea how hard writing a script is.” “They planned the story from the beginning, this is how it was supposed to be.” And on and on and on. It’s exhausting! Why is it so hard for y’all to understand that it is possible to understand and have love for something but still have gripes with it? It doesn’t mean I love the show any less! It just means I’d love it even more if not for these certain aspects of it. That’s it, that’s all🤷🏾‍♀️🤷🏾‍♀️🤷🏾‍♀️

[horse-girl-anthy]

Revolutionary Girl Utena: Gender in Context

beneath the cut, I discuss the RGU's portrayal of gender in the context of 1990s Japan.

in Ikuhara's interview with Mari Kotani, he stated that in traditional Japanese society, "prince" meant "patriarch." the same is true in Western societies--there was a time when a prince would be an heir to a royal line. by 1997, this meaning had died out of large parts of the world. even the association between princes and traditional masculinity was fading. Saionji, the weakest, most pathetic man in the show, is a parody of historical Japanese masculinity, with his kendo and his blatantly regressive beliefs about women.

in RGU, prince may still mean patriarch, but in a far more subtle fashion. Ikuhara and Kotani discussed the changing expectations for men in the latter half of the 20th century--it became gauche to fight over a woman with one's brawn, so instead, power struggles were played out in the arena of looks and sex appeal. one can see this reflected in the character Akio, whose power as a prince arises from his ability to turn "easy sensual pleasure based on dependency" "into a selling point with which to control people."

Akio has his moments of showboating masculinity, but when preying on Utena, he operates by making himself seem non-threatening and soft.

not only that, but he purports to want to allow students to express their individuality and thus approves of Utena's masculine form of dress. this is a front--by the end of the show, he's telling Utena that girls shouldn't wield swords. thus, through Akio's character, the show argues that traditionalist patriarchy in Japan isn't gone, but instead has only been papered over with false progressivism.

with all that said, there seems to be more to the character. he's taken the family name of his fiance, Kanae, and whatever material power he has in the school is dependent upon her family. in Japanese society, this is considered a humiliating position to be in, something that only a shameless man would do. the show never gives the audience any insight into how Akio feels about this--is he unbothered entirely, or are his actions against the Ohtori family an expression of his repressed anger? does he harm the children under his care to compensate for his humiliation?

this aspect of Akio's character may seem irrelevant in light of the larger, immaterial social forces at work in the show. however, I would argue that it was included for a reason. Akio, despite his status as ultimate patriarch of Ohtori, is in fact a highly emasculated character, to the point where lead writer Enokido even said that he is driven by an infantile mother complex.

to explain why Akio was portrayed this way, we have to discuss Japanese history. the nation suffered a major defeat in WWII and was forced to accept whatever terms the United States laid out for it. for an examination of how the Japanese have never truly processed those events and have plunged into modernity with reckless abandon, I recommend Satoshi Kon's Paranoia Agent. to sum it up briefly, in a very short period, the nation regained its economic footing, and by the 1980s had the largest gross national product in the world. this economic boom may have allowed Japan to maintain a sense of sovereignty, dignity, and power, but it was inherently fragile.

the infamous "bubble economy" lasted from 1986 to 1991. during this time, anything seemed possible; financial struggles appeared to be a thing of the past, and capitalist excess reached new heights. the ghosts of this period can be felt across Japanese media; for instance, think of the final shot of Grave of the Fireflies (1998), where the two dead children look down on Kobe, glowing an eerie green to imply its impermanence. the abandoned theme park from Spirited Away (2001) is explicitly referred to as a leftover from the previous century, when many attractions were built and then tossed aside in a few short years.

the bubble popped in 1992, leaving an entire generation feeling cheated. the bright futures they'd been promised, which had actually materialized for their parents and older siblings, had been lost to them overnight. economic crises are often accompanied by gender panics. to quote from Masculinities in Japan, "The recession brought with itself worsening employment conditions, undermining the system of lifelong employment and men’s status of breadwinners in general. The unemployment rate was rising, and although it never reached crisis levels, men could no longer feel safe in their salaryman status. Their situation was further complicated by the rising number of (married) women entering the workforce."

with this in mind, Akio's character can be taken as a representation of masculinity in crisis in 90s Japan. he's forced to rely on women for his position in life and has failed to save his only relative, Anthy. he tries to escape his misery through hedonism, perhaps an allegorical representation of how men tried to maintain their old standard of living after the economic bubble burst.

but of course, Akio is not the main character of RGU--the story is about girls. mangaka Yamada Reiji discussed the series in the context of the 90s, stating the following:

while I opened this essay by discussing the prince, the same points could be made about the princess. despite the increasing irrelevance of royalty, princess is still an important concept. how does it relate to the socioeconomic landscape of the 90s?

in Yamada's view, RGU is full of relics of the 80s; for instance, the figure of the ojou-sama, an entitled young woman who never lifts a finger for herself. during the economic bubble, it was increasingly common for women to be entirely taken care of by the men in their lives. Yamada names Nanami as a clear ojou-sama type character: she weaponizes her femininity, demanding to be rescued, doted on, and served.

however, by 1997, the ojou-sama could no longer expect to get what she wanted. from the 80s to the 90s, the percentage of women in the workforce increased around 15%; it was no longer viable for most women to be "kept" by their families. as the men experienced the humiliation of not being able to provide for their wives and children, women were undergoing a disillusionment of their own.

Yamada blames Disney for creating the ideological structure which led women astray. obviously, the company is known for its films about princes rescuing princesses. in Yamada's recounting, during the 80s, the company was infiltrating Japan through its theme parks as well; across the country, Disneylands were opening up, and people were buying into the escapism the corporation offered. Japan, as America, became a country of eternal children. its people were waiting for a prince to appear and save them.

but fairy tales can't stave off reality forever. Yamada claims that RGU embodies the rage of young women who woke up one day and realized that they had been raised on a lie. this anger pervades the work from beginning to end.

though RGU was created in a particular social context, its lessons can be extrapolated to any time and place. as the first ending tells us:

I hope this essay helped provide more context for the series. thanks for reading!

[gremlingottoosilly]

Colonel!kőnig × Ballerina!reader where he accidentally watches a ballerina performance and of course falls in love with the reader who plays the role of the evil swan

Konig never understood going to performances. Yes, it's something about being more cultured, actually seeing good art instead of the same raunchy novels his whole squadron is reading instead of doing something useful. He can't believe that the higher-ups would really waste so much money to give his whole team a bunch of tickets to a fucking ballet performance - but he guesses that it was on a very good sale. Enough of a deal to force at least 30 men and women out of their usual uniforms and into something resembling the parade ones - as much as he fucking hated wearing so many signifiers of his rank. It would always bring too much attention from civilians and too much teasing from his squadmates. Their pet colonel needs at least one tactical Horangi to actually talk to the receptionist. Konig never understood art - and he continued to never understand it when the first row of dancing girls went on the stage. They were pretty, he supposed, with long legs and pretty muscles - but honestly, pin-up models interested him a lot more. Maybe if the ballerinas would actually show their legs a bit more instead of dancing like a bunch of- You lock eyes with him - a huge man sitting in the front row in the audience, it's not that hard to miss him - and everything changes. For him. Somehow, someway. He didn't even get into the performance plot fully, but once you changed from an innocent, boring, samey-looking white swan into your black dress and bold makeup, he suddenly understood everything there was to be understood. Konig is an art lover now. Even if he can't quite remember the actual name of the play you're in. He doesn't know the proper etiquette for sitting through a ballet performance, but he punches a couple of his guys when they are trying to whistle at every somewhat romantic interaction between you and the male dancer. A bunch of fuckers noticed how their colonel was looking at you - and he is pretty sure that if he isn't firm enough with them, they might as well kidnap you as a pretty little gift for their commander. A small trophy in this endless war, a feeble attempt at busting the morale by getting their boss a girlfriend. Konig thinks that he won't even be opposed to said gift if it was proposed right about now. After the performance, he eye daggers every pathetic fuck who is giving you flowers - and it's quite a lot of people since you are prima and play the main role - right before actually dragging one of the poor guys into a secluded room and lightly punching him on the face until he is out, so Konig could take the opulent flower bouquet for himself. Just for him to stumble over his words and barely even say anything as he gives you the flowers, not knowing how to elegantly say he earns more than your ballet salary and he is willing to spend thousands of euros on giving you your own dance studio if you could only accept his flowers and- You giggle awkwardly at the giant man standing in front of you - you accept the flowers with a light smile and apologize for getting a bit of heavy makeup on his hand(Konig considers never washing his hand again) Yeah, Konig is definitely a cultured man who is going to every one of your shows now. And if you'd fall out of the organizer's favor and stop playing the main role... It's never too late to ask his boys to get their colonel a little treat.

[byerseason]

some ranting

people do not realize how important the representations are and it’s really pissing me off so much. they act like byler wouldn’t be a representation just because they don’t like the ship.

talking about my own family, they’ve always been homophobic due to religious reasons. i had a friend who was lesbian, and when my mom accidentally heard about that, she forced me to cut ties with her. that was how she was in the past.

we watched st with her multiple times. and whether you accept it or not, the queer characters do make a difference. my mom started to feel empathy towards will. he was always her favorite since s1 but in s4 she wasn’t disgusted by his sexuality or anything. she was in fact feeling sad for him.

these characters give the audience the chance to see what these people go through. to see the harshness of their lives and how they can’t even accept and love themselves, and for what? for the most basic human feeling ever, love.

i was talking about will and how he changed her with my mom and she told me if i ever experience some kind of things or anything i can always talk to her. that wasn’t something my mom from 3 years ago would do.

and now if byler happens, she will see how pure the love can be even if it’s between the same gender. how hard their lives can be. just because you don’t like the ship itself it doesn’t mean it’s not making a difference for good. and we need these representations in mainstream media like stranger things. you know my mom would not sit down and watch heartstopper or any other queer-based show. it’s important to shove it to their faces. and for byler, mike’s point of view is gonna be a perfect representation of internalized homophobia since we don’t have many shows that have that. it’ll perfectly show what people thought was love all along was STILL love but a queer one, which will prove them it’s not any different.

[tealvenetianmask]

I want to take apart the use of the word, "dramatic" in the fandom a little and try to understand why it gets applied to Stolas so often and not to Blitz. Because, honestly, they both sort of are . . .

If dramatic means "oozes emotions and makes the audience feel something for them." Both have really intense emotional moments in the show.

The truth is, they also both hold back quite a lot though. (So maybe neither is dramatic?) There are tons of examples, but to save space, here's one of each. We see Stolas forcing his face serene in the middle of a drunken crying session in Apology Tour, and we see Blitz leave rather than let Stolas see him cry in Ozzie's.

And they BOTH don't let the people in their lives see that they're hurting. Stolas wears a mask for Octavia, and Blitz wears a mask for . . . everyone in his life, really . . . Until recently, both wore masks for each other pretty much constantly too. But when they're each alone, we see the truth.

Okay, so obviously it comes down to presentation, right? Specifically gender presentation . . .

Stolas gets judged as dramatic (and even whiny or self-absorbed in anti circles) because he laments in deep, lofty ballads, with make-up dripping down his face, which is honestly such a win for all the grown-up emo kids watching. He relates to soap opera protagonists and wants to be chased after while he's boarding a train. He reads romance novels.

In short, when he expresses emotions, when he consumes media about romance . . . he's being traditionally "feminine." (A note: this is also why he's often portrayed by fans as "the woman" in the relationship- and that can have its own problems, since, yes, this is a gay relationship between two men, and regardless of gender presentation, neither needs to be "the woman.")

Blitz on the other hand . . . well. He's not masculine in every way either, is he? He loves to crossdress for fun work. When he's enjoying his down time, he's watching two cutesy horses kissing.

But he expresses emotions in ways that are socially accepted as masculine. Namely, anger. It's not dramatic to do any of this, is it?

He calls listening to love ballads "gay . . ." oh, and he uses the same insult for Stolas . . . you know . . . trying to talk about emotions with him. So, for better or worse (worse- this is a bad thing), he's pretty deeply entrenched in society's expectations of masculinity. Or anyway, he performs it more convincingly than Stolas does. Well enough, it seems, to convince some viewers that he's 1) just an asshole with no depth and/or 2) just a chill and badass regular dude man.

But here's the kicker. NEITHER of these characters are wrong for having emotions and expressing them. It's a good thing actually.

In the world of the show, expression heals. Singing helps Stolas process the changes in his life. His decision to tell Blitz how he feels WILL ultimately help them both with their character development. Blitz ends up happier than he's been in a long time and manages to repair a friendship after 15 years apart once he explains his emotional experience to Fizz and cries. Accepting some emotions other than anger in Apology Tour (even if he's far from finished processing them) enables Blitz to grow profoundly as a person.

This blog is in favor of being dramatic.

[twilightkitkat]

Thinking about the role of the "love interest" in superhero media and how poolverine subverts this.

The "love interest" in most movies is just a placeholder. Boring. Tame, Predictable.

This is especially true in action media, wherein romance takes a backseat and is often seen as an add-on rather than a main plot point. Romance is either a source of conflict or motivation that serves to drive a character arc forward, but no more or less.

Take, for example, Vanessa. I love her character. Her personality and character are fascinating. However, especially in Deadpool 2 and 3, she serves more as a device to move the plot forward rather than a genuine character. The first movie established her character and importance, so it's understandable why Wade chose to hide his identity and how he slowly came to terms with his new identity. She helped move his character arc of self-acceptance forward, yes, but she also existed as her own entity.

In the movies after this, she isn't treated with the same care. She's used as a central motivation in Deadpool 2, a force that drives Wade to save Russel and confront Cable when his character motivations aren't easily tied to morals. However, that's it. She isn't fighting alongside him or given the same treatment as the other important "family" characters. In Deadpool 3, she's treated with even less care, only having short scenes at the beginning and end of the movie to give Wade a representation of "home."

This isn't to say Vanessa isn't an important character and shouldn't be treated as such. However, the purpose of having a "love interest" in an action movie's plot isn't just to have someone to love. It's almost always to have someone who can be kidnapped or killed to spring the main character into action. It's someone who fades to the sidelines so the main character can show off while showcasing their relationship success.

Consider this: in all of the Marvel comic universes, Deadpool and Wolverine have had many different partners. Different names, different faces. It's common for the "love interest" of a superhero to be seen as an accessory that changes shape depending on the comic artist or franchise. After all, they don't need a cohesive identity to serve their purpose as a "general, digestible reason for the main character to act."

Everyone understands how love can cause people to do crazy things. There is no further elaboration needed, even for morally grey or black characters. It's an easy way to make an understandable motive for the audience. Suspension of disbelief.

And yet, the superheroes remain the same. They get to keep their identity throughout different media. It's always Wolverine and Deadpool. Logan and Wade. Even if they have slightly different plotlines, their core characteristics and intrinsic identity are constant.

Logan could have Jean Gray. Or Mariko. Or Silver Fox. He can have anyone play the role of "love interest," a role that can be shapen by a ball of clay and changed entirely to fit the narrative.

But his "rival" and "best friend" in the multiverse will always be Deadpool. They're notorious for being referenced in each other's media. For fighting. For working together. They are A Set.

This is why I'm so much more drawn to Poolverine than other ships. Wade has different love interests depending on the media type. So does Logan. I can't tie in knowledge from different interpretations into the romance because the love interests are fluid. But with each other, they interact in almost every universe. Have a consistent bond. A "standard." They're soulmates, in a way, forever destined to meet and be important to each other.

This is setting aside how female love interests are treated in male-oriented media in general. They're normally seen as someone to be protected, to stay at home, and welcome back the hero when they return. Some are allowed to be strong, to have abilities, but rarely ever do they stand on equal footing with the male main character. Not where it matters.

This is exhibited in both Wolverine and Deadpool's movies. Vanessa is introduced as a "badass," someone who's part of the underworld and knows how to fight, yet she's often placed in the damsel in distress position. She could match Wade before his mutation, maybe, but after he dons the mask and becomes Deadpool, his work is over her pay grade. The same happens with Mariko in the Wolverine movie: she's initially introduced as someone who can fight, but Logan ends up protecting her almost entirely and is responsible for rescuing her from her kidnapping at the end.

It creates an emotional rift between the side of the "hero" and the side of the "love interest," because it feels like they aren't fighting together for the same cause. It feels like the love interest is treated more as a "reward" for the hero to come back to after saving the world rather than a person.

When the entire movie follows the perspective of the main character as they fight, and action scenes are primarily used to invoke emotion, it feels lackluster to have the love interest stay at home. The most intense moments of emotional connection are typically portrayed between the hero and someone else who understands their suffering who they're trying to reach, such as a villain or rival or friend.

Love interests are never on the same "playing field" as the main character and thus can't relate to their struggle. The director tells the audience that they should be happy or sad when a love interest is on screen, but they don't show the same level of emotional depth when the main point of an action movie is action. The entire premise of the main character is action, and yet the love interest is absent from it. Or a victim rather than a player.

This is why Poolverine subverts this trope. You have two people, each with their own franchise and life. Each with their own skills. Each with similarly powerful abilities.

They are equals and are treated as such by the narrative. They take each other seriously and have an emotional connection because they understand each other's suffering. They both are out on the battlefield, fighting the same war and overcoming their differences. They both are allowed to have "cool" scenes and "sad" scenes and "funny" scenes. They both are given the spotlight to experience character growth and have their own unique internal conflict because they both are strong characters who are narratively important.

They both have chemistry. Which is nearly impossible to attain when the love interest isn't even in the lab.

[markrosewater]

If Universes Beyond is "Additive" as you said a few days ago, then why not make an "additional" format rather than forcing a change to Standard?

The psychographics are about the different ways you can psychologically approach the game.

If you’re a Spike, you’re about proving what you are capable of (which often means winning, but not always). That means you focus on picking the best card for the job at hand. That’s going to be dictated by card power and not creative decisions. Whether you like a creative execution (be it in-multiverse or Universes Beyond) or not simply isn’t the deciding factor.

If you’re a Timmy/Tammy, you’re about experiencing something. That means you pick the cards that best create the experience you want. If creative choices are a big part of that experience, then you will prioritize choosing cards that match what you want for your deck.

If you’re a Johnny/Jenny, you’re about expressing something. Your card choices are about you saying something about who you are. If creative choices are important to that message, it will impact which cards you play with.

The issue about mixing in-multiverse and Universe Beyond cards is only forced for the Spikes, because they’re the one psychographic that has to make choices irregardless of the creative execution of the card.

For the Timmy/Tammy and Johnny/Jenny players, if Universe Beyond cards dilute your experience, make other card choices. Don’t play with them.

That’s what I say about the cards being “additive”. You can add them to your deck if they enhance your experience. If they lessen your experience, don’t add them.

The big question is what matters most to you. If you’re choosing a card because it will increase your win rate, then you’re making a Spike-y decision. And that’s fine, but it means you’re prioritizing mechanics over flavor.

My core message is you the player have total power over what you play. You pick the format you play, you pick who you play with, and you pick the cards in your deck.

This issue isn’t new to Universes Beyond. Some people don’t like the cuteness of Bloomburrow, or the modernity of Duskmourn, or the famous characters in cowboy hats approach to Outlaw of Thunder Junction. If you want to make Spike-y decisions, then you play the card regardless of your personal opinion of the creative choices of the card.

Maybe you’re playing a card with a cutesy name you don’t enjoy, or a piece of art that’s not your style, or flavor text that you find groan worthy. That’s a decision you make when you build your deck and you choose what to prioritize.

Everyone has a different line of what creatively is acceptable, and it’s human nature to want to believe that your line is “the line”.

I’ve been doing this for a long time. Every line we cross is somebody’s line. But Magic, at its core, is about pushing boundaries and trying new things. It’s one of the defining qualities of the game.

My message is you can choose your own line. Magic adaptability allows you to play with what makes the game the most fun for you. You can choose to not cross your own line, but it does require you to prioritize that line over Spike-y decisions.

Look, we’re going to keep adding things to the game that players demonstrate they enjoy, whether that be mechanical or creative. It’s the defining quality of the game’s growth over the last thirty-one years.

And by the way, the data strongly, and I mean strongly, shows players enjoy Universes Beyond. All the people that made The Lord of the Rings the most popular set of all time are just as much Magic players as those that never purchased it.

And why not make an additional format? Because the data says there isn’t a large enough audience to support it. If there was, we’d make it. We’re very influenced by the desires of the players.

Our goal, as it has always been, is to make the best game in the world. We iterate, you give feedback, and we adapt. Lather, rinse, repeat.

One of the big lessons I’ve gotten designing Magic is that it’s going to adapt based on the totality of the desires of the players. Enough players like something, and the game starts adapting to it.

That adaptation is not always what I personally would choose, but over the years, I’ve come to realize the fact that the adaptation is not the choice of any one person, but the totality of the playerbase is the thing that makes Magic a game unlike any other.

It’s a living breathing entity that’s constantly becoming what its players want it to be. And that’s pretty cool.

[imbecominggayer]

Writing Advice: Too Many Characters

A common advice when writing stories is "don't write too many characters". But, like with everything creative and good, there is no definitive answer to how many characters should be in a book!

So I will be discussing numerous variables in storytelling which impacts how many characters you should have and what makes something in a book "pointless".

Themes! Themes! Themes! (Omori Spoilers, Not Too Much)

The most important question that a writer has to ask themself is "what is this scene/book/media trying to do?". If your story is based on the relationships we have with others and the impact they can have on our psyche then having a close-knitted community of people will drive the message of intimate connection better then just having more people in there. If your story is focused primarily on introspection, looking inward, individuality, and other spiritual activities then the protagonist is more likely to spend longer durations of the media by themselves.

An example of these to forces is the popular game of Omori.

(SPOILERS ABOUT OMORI<3)

Omori is a game that focuses on acceptance first and foremost. Self-acceptance to be more specific. Due to the fact that the game is a piece of introspection both for Sunny and for the player, the most important moments in the game such as the "reveal" sequence of pictures and Black Space are ones that are done on your own.

However, the game also prioritizes the relationships Sunny has between his friends as this serves as motivation for the final duet. The final duet was an act of bonding as Mari and Sunny just wanted to spend time together, doing something they liked.

The introspection moments are pushed towards the end of the game because it's only when Sunny has that support and belief in his friends, can he rise above his doubt and shame and fear.

2. What Is The Purpose Of This Character?

All characters need to have a purpose in the narrative. Both within the context of the world and in the context of the book.

Within the context of the world, they need a goal that is going to impact the protagonist either positively or negatively.

Within the context of the book, what is this character giving to the audience that wouldn't otherwise be there?

Pro tip: All the characters you have need to have more then one purpose! Characters that give exposition can't JUST give exposition.

If you have a love interest that can be cut out without taking away a vital part of the story either from a thematic(theme) standpoint or a narrative(plot) standpoint, just replace them with an object and move it along!

If you have an ally character that only shows up twice and can be changed into "I went down to the store to buy these items", give that "ally" tag to someone more story relevant"!

3. Priorites?

Ask yourself this: "Do I have the book length to dedicate time to this person?"

If the answer is no, follow my next steps. If the answer is yes, here is how to make them better.

When I say "prioritize", I mean you need to figure out what type of character this character is. Are they a main character? A side character? Cannon fodder? A symbol? WHAT ARE THEY?

Also, can you give these character responsibilities to someone else? This simultaneously gives those characters deeper complexity and eliminates more characters

Example: Love Interest, after being trapped by the villain, uses their intelligence in order to provide information about the villain to the hero. (Love Interest + Ally + Informant)

Example: Friend is revealed to be a double agent on the side of the Villain. However, it's revealed that Friend was secretly a triple agent who is finally redeemed from their original believed betrayal. They're back to being an ally. (Friend + Betrayer + Ally + Enemy)

[gffa]

Disney, hire me as your Attachment Advisor, I will shove so many George Lucas quotes at your producers and writers, I will shove so many context-laden clips from the movies and TCW at your creatives, I will make powerpoint essays about how it's more Buddhist-aligned, not Attachment Theory-aligned, I will cite literally every time attachment has ever been discussed by Lucas AND in the show itself and show you that it's always aligned with fear, possessive feelings, and selfishness, I will do this work for you for free, I can even literally just point you to my Jedi Citations collection, DISNEY, HIRE ME AS YOUR ATTACHMENT ADVISOR, I CAN HELP YOU.

Everything I saw in the show aligned perfectly with my view of what the Jedi mean by attachment from the movies (especially with Episode II). You fail to understand that George Lucas words outside of the movies mean shit. You cane have the largest collection of words that has come out of Lucas's ass and it still does not change the movies. Look at the poster for AOTC. A Jedi shall not know love. Obi-Wan speaks beautifully about the undercurrent of remorse he feels for not being able to have an attachment with Satine because he lives by the Jedi Code which forbids it.

You people are so delusional.

Hi! You are so right bestie it has been way too long since I've talked about my love for Mace Windu! You are so right to have brought this up and I will meet your challenge! He is the Force's strongest soldier because the absolute nonsense he has to put up with every day, as someone who deals with the rest of the Council being hilarious assholes, who deals with Kenobi and Skywalker's nonsense, who has Yoda as a friend, and yet he seems to genuinely like all of these people?? Even when they're bonkers?? My man is stronger than I could ever be.

Not to mention, he goes on a whole ass mission with Jar-Jar, has to watch him make out with his girlfriend, the queen of the planet who told falsehoods about your family, and you have nothing but patience and kind words to say about them, and you only roll your eyes a little at Jar-Jar's antics, something even Padme does and she's worked with him even longer than you have, and by the end, you're friends with him, you like him and would probably hang out with him again if the chance arose???? Mace Windu is on ANOTHER LEVEL from what I would have done in his position!

And he's a former theater nerd! "The Council's gain was the theater's loss." Jocasta Nu says about how he didn't have time for it anymore after he got so busy with the Council, like can you IMAGINE Mace Windu doing plays? I want to know sooooooo bad how Jedi plays are different from non-Force-sensitive people's plays, I want to know what kind of cool effects they create with the Force, I want to know if they use their psychic empath abilities to literally connect with their audience! I want to know DOES MACE WINDU HELP THE YOUNGLINGS STAGE CUTE LITTLE PLAYS IN THE CRECHE? BECAUSE I BET HE DOES.

Because that man is so good with kids! Remember that Star Wars Adventures comic where he was so gentle and sweet with the little Twi'lek girl? Reaching down to help her up, smiling openly at her, walking with her back to her village to make sure she was safe, talking with her to make sure she understood how important and valuable she was in the galaxy? Because I'm still not over that!

His relationship with Anakin in canon is pretty great, too, like, yeah, Anakin should take a seat and stop borderline pitching a fit about getting a rank he didn't earn, and Mace still offered to believe him, despite that Anakin had accepted Palpatine's forcing the Council to put him on it. He still trusted Anakin to help him in that fight against Palpatine! Plus, oh, man, their banter on the Endurance when they're teaching the cadets? That was such good-natured teasing, that was exactly the kind of banter Anakin would have had with Obi-Wan, and by the end of that whole fiasco (do you ever think about when Anakin was in danger and Mace yelled, "Anakin!" and desperately yanked him to safety, because he was worried about him? because I think about that a lot), Mace complimented Artoo by saying he saw what Anakin saw in him, that he was complimenting Anakin at the same time? Or pretty much EVERY interaction between Mace and Yoda is absolute hilarity, the side-eye they give each other, the teasing Yoda does when Mace is on a mission with Jar-Jar, the way Mace holds his hand out in the comics for Yoda to springboard off of into the middle of a fight? ICONIC FRIENDSHIP, I WOULD TAKE A WHOLE NOVEL ABOUT IT, DISNEY.

Or that time even AT THE END OF THE CLONE WARS, like they are just a MONTH out from Revenge of the Sith, if that, and Mace is STILL trying to get the droids to stand down, that he's destroyed thousands of them, none of them have listened, but he's still trying, offering them a better life away from the war, a purpose again, even if he knows it probably won't work, that man still believed in compassion for anyone and everyone. Like, baby Boba Fett TRIED TO KILL HIM and Mace STILL argued for leniency and rehabilitation, rather than jail, because he saw a young child who was hurting and he wanted better for him. He was direct with Boba, he didn't try to befriend him, Boba would never have accepted that, but he told him, you're going to have to get over your hatred for me, he says this for Boba's sake, not his own, because he knows what poison the desire for revenge is, look at the path it's already leading Boba down.

Or EVERYTHING WITH THE ZILLO BEAST, he tried so hard to rescue that poor creature, he fought the Senate so hard, he was so gentle with the hand he carefully pressed to its face, even when the Zillo beast was dangerous, even when it had attacked them and could so easily kill more, he wanted leniency for it, he wanted to save it because he understood where it was coming from.

Or EVERYTHING WITH PROSSET DIBS, that guy tried to murder him, was ranting about how he would dance on their graves or whatever, and Mace looks at him and says, we need to help him, it's our duty to help him find the light again. And his big punishment is literally just library duty, because when Mace can decide the outcome, that guy always goes for helping people, always goes for the option that would bring them back to the light.

Even as a young Padawan, his greatest struggle was to temper his anger, which was sparked because PEOPLE WERE BEING HURT by the false prophet on Mathas, he was angry because he saw how many people were suffering and the people in charge just let it happen, his heart hangs heavy when he witnesses people in pain, because Mace Windu deeply, deeply cares about the people in the galaxy.

He cared about civilians, he cared about clones, he cared about his fellow Jedi, he didn't have to be bouncy or super smiley to show that, either. It was in every action he took. He cared so much.

And, okay, yeah, he was COOL AS HELL AND WOULD HAVE BEATEN PALPATINE'S WRINKLED ASS IN A FAIR FIGHT.

OR THAT TIME ON RYLOTH THAT WAS LITTERALLY THE COOLEST SCENE THEY EVER ANIMATED, THE SOUND DROP? THE ABSOLUTE BANGER PHYSICAL STUNTS MACE WAS CAPABLE OF? GODDAMN HE WAS SO GOOD.

AND LEST WE FORGET--CUTEST BB YOUNGLING EVER!!!!

[co-dependance]

I’ve seen people talk about the main theme of the owl house being acceptance, and I think they’re completely right about that. But I haven’t really seen anyone look at the sub themes depicted in the show around the acceptance theme.

Specifically how the owl house is really advocating for child autonomy. Specifically in the ways of discipline, showing that communicating and talking with children ends up being a lot more beneficial and effective than punishing them.

The most obvious example comes with the collector, where instead of talking to him, King’s dad punished the kid by putting him in essentially time out, for the actions of his siblings. Which he would’ve learned if he had talked to the collector. And then following that, every interaction before talking with Luz, has the collector being used or placated in some way instead of being treated like an actual child due to the amount of power he has. The titan trappers revering him as some sort of god, Belos manipulating him, and even king attempting to appease the collector, instead of really talking to him. Though for king it’s a bit more understandable. Even so, the show showcases the collector’s change only after he’s talked to like a person, and then shown why his views were wrong.

Luz, who’s the main focus of the show, has her character arc and journey centered around being punished for her not fitting in at school. And while, yes, some of Luz’s antics that were shown seemed to be legitimately dangerous, the real solution would’ve been to talk with her and teach her about safety and why bringing wild animals and fireworks into a school building is dangerous. It should have also been that Luz should be able to talk and negotiate with her teacher about what would be acceptable for her projects with her endless creativity. The solution was not to essentially punish Luz for being creative, and what that only did was make her feel worse about herself and more isolated from the people she thought would be on her side. And then we were shown in thanks to them and for the future, Camilla’s growth into understanding that not talking to Luz about this, and essentially forcing her into normality, was not the way to go about things.

And we see this theme again, with Willow forced into the abomination track because her parent’s thought that was what was best for her, until she was able to showcase her skills and switch to what she was actually good at. Alador realizing he missed a lot of Amity’s growth by not talking to her, and then making it up to Amity by letting her set the boundaries and reestablishing their relationship. Odalia being controlling and not listening to her children which lead to actively harming their social development, until she was confronted and then shut out. Belos manipulating Hunter, isolating him, and abusing him, not even listening to what he had to say. And all of these situations were made better and more bearable when they were given the chance to take charge and be heard.

All this, in an attempt to showcase that children can be vulnerable and malleable, but they are also smart and understanding. And instead of deciding what a child needs, it’s important to communicate with the child instead, asking what they need and listening to what they’re saying. And implementing that by guiding and supporting them, not attempting to control them to what someone else thinks is right.

Children are smart and observant, they just need to be taught how to communicate, and viewed and thought of as actual human beings.

In a way, the owl house is attempting to advocate for it’s audience, and that’s beautiful.

[mothknight42]

on the guide, writing women in wwdits, and that ending

I firmly believe the Guide is the one of the most wasted, underutilized, and massacred characters in the show, and the series finale only confirms this. So let's talk about why!

The Guide is interesting as a character study in regression; when we first see her, despite being a lackey for the Vampiric Council, she is quite powerful and assertive. She has no issue telling off our main Vamily (insert Colin Robinson smile to camera here) and we see her in S3 repeatedly fixing the messes everyone causes at the Council all while bemoaning her position. Sure, she is a joke to our main vampires at best, and a nuisance at worst, but she does have power and clout and a voice.

Then when S4 roles around, we finally get some legitimate backstory for her. She used to be a "messy" vampire, and her current uptight personality is essentially a dramatic 360 after suppressing all of her raunchiest memories and being forced into eternal servitude. This is interesting! Even more interesting is how she changes in response to learning this about herself - we see her reject Guillermo despite her passion because she isn't that person anymore ..... and become entirely wrapped up in serving Nadja.

While she is technically the butt of the joke for the whole Vamily, she becomes most clearly Nadja's kicked dog. She vies for Nadja's attention, friendship, and approval. We see her constantly trailing Nadja and helping her with the nightclub in various ways. And of course, we see how Nadja derides her, dismisses her, and on occasion, throws her a pathetic bone (such as 'gifting' her the vial box during the Wraith Union episode). By this point, we as the audience KNOW the Guide is quite powerful and capable in her own right; and yet, here she is, nipping at Nadja's heels like a lost puppy and desperately trying to be included.

In many ways, the Guide is set up very directly as a foil for Guillermo, with Nadja as her master (MISTRESS NADJA!!!). Both Guillermo and the Guide are powerful and unique in their own right, both more intelligent than the other vampires in many cases, and yet, both are seeking acceptance from those same vampires who treat them like dirt. It is good writing! And a good way to establish that despite Guillermo's dreams of becoming a vampire, it will not guarantee him the love and acceptance he is seeking from Nandor and the rest.

And then the writers almost completely abandon it. We get very little commiseration between Guillermo and the Guide post her rejection of him, and instead as Guillermo becomes more clearly loved and accepted and PROTECTED by the Vamily, the Guide is shoved in his place as the butt of many "not you" jokes. There is no clear purpose given for this beyond that the writers find it funny; after all, the Guide herself is no longer the uptight pencil pusher we meet her as, so the Vamily's repeated rejection of her just feels like a cheap gag - one that gets less and less funny as time goes on, since the Guide IS often included in Vamily hijinks. Clearly she is ALLOWED to be around them, so the hate directed to her feels forced for a cheap laugh rather than having some legitimate purpose.

And then all of this culminates in Morrigan Manor, right? An excellent episode that shows the Guide's true personality (she is fun! she is clever! she listens to the interests of the Vamily and cares about them!) as well as how hurt she is to be rejected by them (rejected by Nadja specifically - we will come back to that). She doesn't imprison Guillermo and draws a direct connection between the way she is treated and the way they treat him ...... but while Guillermo has spent the season in cahoots with Nadja/Colin/Laszlo, who have hidden his secret to protect him and have proved they care about him, the Guide gets none of that. She gets false closure via a handpicked clip that turns out to be another joke at her expense! And for no good reason! She has now spent three seasons proving she wants to be and can be a good friend to them, that as a vampire she is powerful and useful to them, her personal interests (painting and maintaining archives) are things the other vampires also show interest in ....... and yet!

I've seen arguments that the Vamily are "selective" about their friendships, that friendship is the most meaningful thing for vampires, that the Guide *wanting* to be their friend is why they won't let her, but I'm sorry, no. All of the vampires make plenty of friends, if not with other vampires than with humans throughout the seasons. One of the longest running arcs in the show is that of Sean with Laszlo, and we see how both Nandor and Nadja accommodate that friendship without real question or pushback. Even in Pine Barrens, the problem Nandor has is not that Laszlo likes Sean better, it is that Laszlo has been neglecting Nandor. Nandor just wants to be INCLUDED in guy time; he tries to connect with Sean himself and has no real issue with the guy!

The Guide isn't accepted into the Vamily, despite actively helping them for four seasons, because the writers think it is funnier for her to be the new Guillermo - except without ANY character arc or importance. She is the cheap gag they can trot out whenever necessary, and the series finale really leans hard into that by both making her a parody of a Trump supporter for a quick laugh (a joke that by and large just wasn't funny and felt extremely out of place in the series - even beyond the optics of making that kind of joke, it felt lazy and was only aiming for a shock value laugh) and making her body into a commodity for the Monster to lust over. She is stripped of much of her agency and anger for no real purpose. The only shining moment for her this season, her rejection of Nandor, feels like a breath of fresh air that is immediately forgotten about in favor of making her into the woman who gets shit on and ignored for laughs.

The Guide could have been used for anything. Anything! She is older than some of the Vamily, has a very fun hinted at backstory, has different powers and a disposition to the rest of the main cast - and is played by KRISTEN SCHAAL, a veritable comedy icon at this point. And yet, she is shoved to the background, only brought out into the forefront for a cheap joke at her expense - a joke that stopped being funny seasons ago.

All of which has to do with the show's inability to write women.

Nadja, a main character for god's sake, by the end of the show is turned into a dumb angry woman caricature - her arc, of trying to find her own voice and purpose amidst a household of narcissistic men, is cast aside in favor of cheap jokes about not 'getting' humans, despite spending five previous seasons being shown as extremely competent with humans. Her and Laszlo's strife this season feels like it is solely in service to Laszlo's arc surrounding his desire for creation/fatherhood while doing nothing to further Nadja's own arc of self actualization. (Side note: I know a lot of people disliked them fighting this season and said it came out of nowhere, but that isn't true; as far back as the Bloody Mary episode, we see Laszlo trying to 'protect' Nadja and her being exasperated with him - the problem this season is that it doesn't feel like Nadja gets any real agency in Laszlo's concern for her. Every time she tries to put up a boundary, he steamrolls over it with grand declarations of his love. It sucks!) Post the Nightclub arc, Nadja's character loses steam and she exists solely to further other character's arcs, while her own goals and dreams and plans are abandoned. Dolly's entire existence was about trying to help Nadja find purpose, something Nadja nor the viewers ever get closure on!

The WWDITS writer's room is seemingly allergic to writing women beyond making them jokes or commodities for men. Despite multiple seemingly self aware meta jokes in series about Nadja hating other women because she is a woman, about the men in the house being misogynistic and obnoxious, the writer's over and over entrench these annoying and backwards and LAZY tropes, all while giving characters like Colin Robinson and Laszlo legitimate arcs and serious moments of personhood and reflection that are not immediately cheapened by a joke. Laszlo has not one but TWO seasons dedicated to working through his daddy issues by becoming a father himself, something that in my humble opinion (while not done perfectly) was clearly given some thought and care that we never really see with Nadja post S3.

So it is no surprise that the Guide is just completely wasted, though it is a shame. An easy to write arc would have been exploring a possible attraction between the Guide and Nadja (once again, a fun foil to Guillermo and Nandor!!) especially because it is clear that the Guide does have feelings for Nadja. In the clipshow in Morrigan Manor, despite all of the Vamily being cruel to her, the only clips are of Nadja. The Guide is eager to run away with Nadja (sorry, Sally!) and she spends all of S4 doing Nadja's bidding for seemingly just her approval. (But of course, the show is allergic to portraying anything gay unless it is a joke, and doubly so for anything even remotely sapphic).

Hell, S6 could have been an arc between the Guide and Nadja becoming legitimate friends and working together to help Guillermo at Cannon; after all, the Guide has spent years working in an 'office' like environment, and Nadja has experience with humans. We saw that they worked fine together during the nightclub era - post Morrigan Manor why not show them growing together and finding a purpose outside of the Council and outside of the Vamily, something that both the Guide and Nadja would benefit from as characters? Why not a female comedy duo, since we always get the men paired together for hijinks?

But that would require treating Nadja and the Guide as characters worthy of arcs, which the writers clearly did not want to do. That would require treating women as people with interiority, which the writers clearly do not.

I give so many props to Natasia for working with bare minimum in later seasons, and clearly trying to give Nadja a sense of self and purpose even when the writers were actively working against it. And I give props to Kristen for making the Guide into a fan favorite despite everything the writers did to make her into a nothing burger. It is a shame and tragedy that even in 2024 on a long running comedy show, the idea of women being funny enough to carry their own stories and arcs is clearly still too farfetched to be brought to reality.

[lovetei]

I have been obsessed with Cell Block Tango recently, I always love stuff with the brothers reacting to Mc performing soo...

Could you write headcanons or a drabble about the brothers (Mammon, Leviathan and Beelzebub especially) reacting to mc performing Cell Block Tango?? Thanks!!! ^^

I love cell block Tango 🙈

And I hope you don't mind but I made this like the first part of the Idol AU

--------------------------------------------------

IDOL!MC: If you had been there, if you had seen it! I bet ya, you would have done the same!

Warnings: Suggestive themes, fake personality, foul language, back stage work, dark side of idol industry

Links: Masterlist

----------------- <- IDOL AU -> -----------------

You ended up taking the request on

You mean, it's hundreds of millions for just some short performance plus the birthday is private

Earning that would take months if you decided to keep your head high and refuse

And it benefits you so why not just accept right?

You'll earn hundreds of millions

And you'll increase your popularity among the socialites

"Who are the guests?" I asked as my make up artist add the final touches "The seven avatars, the prince of hell is together with his butler, the exchange students excluding the young angel, the heir of the greatest noble clan, mephistopheles, the reaper and some other nobles."

The make up artist smiled at you and signaled to leave after she's done with your make up "Damn this shit down to the dirtiest ring of hell." You cussed out as you slammed your hand to the table.

"Karasu." You called your assistants name "I can do this right?" You asked as you looked back at him with pure fear and hatred on your eyes that just makes his stomach feel butterflies "Of course..." He answered with such a love sick look.

You looked back at the mirror when suddenly hands appeared from your behind and crept itself up to your oh so precious face, pulling the corners of your lips upward to force a smile out.

"Smile now, dearest." You saw Karasu smiling through the mirror "The show is about to start." He reminded "Give them a good look of this now." He said as his hands fall from your lips to your neck and to your sides before squeezing your waist.

Inside the grand hall though, the greatest of the great are waiting for this so called monster that got almost everyone captivated.

The lower nobles are on the floor sitting on their assigned seats in a circular table.

And the higher ups are on the internal balconies.

A total of thirteen balconies sorrounding the whole hall with Levi sitting on the middle one.

And at the middle there sits a large circular platform where you will perform at and it's surrounded with some glass to prevent the audience from coming up the stage.

Lucifer is intrigued. His dear brother, Leviathan, have never asked for anything until now. He never even wanted to host a celebration for his birthday.

So when they had dinner and Levi decided to discuss this matter to everyone, they all dropped silent. The funds for this event is also extremely high as it only happens sometimes.

And he even requested a gift? "And what could you possibly want?" He asked with a smirk displayed on his face. He loved every moment on his life whenever one of his brothers show this much pride.

"Ah..." He mumbled knowingly after he made Asmodeus show him a picture of this idol Leviathan specifically asked for to perform on his birthday.

The first songs started off as innocent, not until the lights in the room turned red "Hmm?" Diavolo muttered as he noticed how the glass sorrounding the platform changed and got replaced by bars.

"How can I get them to perform for me, Lucifer?" Oh... So this idol is the currently the apple of everyone eyes?

"Slip some change and I can assure you this demon will be dancing on your lap by the end of the night." He even teased.

"And for the last performance..!" The deep voice of the host announced "The cell block Tango!" He added before red lights appeared and your silhouette is the only thing they can see.

"Is this an unreleased song..?" Levi asked himself as he eyed all of your curves before shifting uncomfortably on his seat.

You decided this, with the short span of time given to you to prepare you still managed to create a song that will be the dark horse of the night and that song is this.

Gladly, the performance ended nicely.

--------------------------------------------------

LUCIFER

His face is not showing any signs of discontentment

Instead, it's showing interest

On you specifically

Who would have thought that Leviathan knew someone like you?

He can't help but smirk at the sight of your silhouette in the red light.

Who would have thought that a mere doll like you would catch his attention?

And maybe if you play nice, he might even give you what you want.

MAMMON

He swore to himself that you'll actually be the first demon to ever have him throwing money for you

The way you would look at him from down the stage and wink at him is enough signal

Maybe after the show he'll come and meet you backstage?

Ask for a small private performance if possible

LEVIATHAN

He knew that this was the right and wrong move at the same time

Introducing someone like you will surely peak their interest

But that interest will have you included in their business, in his business

So now, he just sit quietly in his seat as he heard the butler open the door and say "MC have come to you and asked for a private audience..."

He just smirked as he looked down at the people in the hall "Send them in." Is what he replied.

SATAN

The way you have kept eye contact with him as you did a part of the routine

The way he would follow your movements as he tilted his head signaled that you have had him interested in you

He may not have you now, but he'll make sure to have his hands in you

Maybe even more?

ASMODEUS

It sure is not his first time seeing you

Everything going on in the trending list is watched by Asmodeus

And you sure caught his eyes

A young demon being the first idol in Devildom?

What a surprise.

Maybe he'll invite you for a collab or an interview later on after this event

Then maybe you can visit his room once the job is finished?

BEELZEBUB

Who is this demon?

Your face is not that familiar...

So he looked around and saw everyone else captivated

Even Belphie

So when he looked back at you

He finally felt something strange

He should meet you back stage to ask you what you did to make him feel that way...

BELPHEGOR

He's chuckling

He's intrigued

All he can say is that you better make sure what you're getting yourself in

Because the moment he got his hands on you

Those chains and bars won't be props attached to you anymore.