#the show if it had actual writers/budget

[back-in-the-landslide]

I swear to god I haven’t watched the show and immediately it’s made me want to make it better then how it was written.

This one isn’t an actual redraw, I did it out of boredom. So enjoy this one too I guess. 👍

[foolishlovers]

With 2024 coming to an end, I just wanted to give a quick shout-out to my favourite fics I (re)read this year. I have so so much appreciation for all writers creating beautiful works about our beloved angel and demon pair. Reading these sometimes funny, sometimes heartbreaking, sometimes sappy, sometimes deliciously filthy stories has been a constant source of joy. I truly can't even begin to describe how thankful I am to be part of such an incredibly creative and loving fandom. So so much gratitude for all the different versions of them, all the genders, all the tropes, all the canon fics, and all the human AUs. There are so many more amazing fics I read this year and there are so many more to explore in 2025, but the following few have made themselves a home in my heart. I promise they're worth a read! 💜 [I do fic recs all year long, check out this tag for more.]

Date by @ddagent (2.5k, T)

Every year, Aziraphale is spoiled on his birthday. This year, he decides to do the same for Crowley. There's only one problem - he's not actually sure when Crowley's birthday is.

Roller Derby Queen by @summerofspock (2.5k, M)

Crowley skates for Hell on Wheels and she's pretty good at it too. She'd be better if she weren't so distracted by the new skater on the opposing team.

Sweet Nectar of the Eldritch Gods by @brenna (3.2k, G)

Azira writes a letter to the purveyor of her favorite honeys and sweetness ensues. No offence, but who says “by the by,” by the way? It’s adorable? By the by, do you like wine? Crowley

Poor Men by @why-not-go-with-style (3.9k, G)

What To Do When Two of Your Professors Are Hopelessly in Love With Each Other: an instruction manual by Adam Young (featuring Pepper Moonchild because someone has to be the voice of reason here).

!False (It's Funny Because It's True) by @mirjam-writes (6.4k, E)

Aziraphale drew a long breath through his nose. Crowley, of course it had to be Crowley. The new guy in the sales department, who would promise potential customers just about anything to close a deal. Arrogant, annoying – and wildly, stupidly attractive. Aziraphale hated him.  Aziraphale is a stellar software architect and a project manager, who is so done with the sales department selling unrealistically scheduled and budgeted projects. And he definitely doesn't have a crush on anyone, thank you very much.

Show me where the Nightingale sings by @sabotage-on-mercury (6.5k, G)

After settling into their new home in the South Downs there are still things to process for Aziraphale and Crowley before they can start a new chapter of their life. But winter is turning into spring. There is magic abroad in the air. And finally, the nightingale is back.

The Art of Human Nature by @ineffable-doll (6.5k, T)

Crowley is a painter who has only ever had an eye for nature. That is, until a client named Aziraphale commissions her for a painting to boost her self-confidence, and Crowley discovers that her client is as beautiful as the Earth itself. Then she goes and catches feelings, because she’s a disaster.

Lit by @fellshish (12k, T)

Crowley takes a university course on literature and surprise! The book they’re discussing is Good Omens. Uh oh.

Paradigm Shift by @hakunahistata (13k, E)

“Apologies, apologies! The time got away from me.” Aziraphale Fell entered the room brightly, a binder in one hand, tea mug in the other. Crowley’s languid sprawl went rigid as the senior accounting analyst who had been the indulgent secret in the back of his mind took the seat opposite him.   Or, Crowley Pines at the Office: An AU.

Feast by @ashfae, mostlyjustgoose (15k, E)

Crowley's spent the whole of lockdown asleep. Aziraphale has spent the whole of lockdown baking, cooking, and becoming increasingly frustrated with his solitude. Which eventually leads him to the perfect way to solve all his problems at once... Or, Aziraphale attempts to seduce Crowley with a truly excellent meal, and Crowley is amenable.

Ever-Fixed by @hkblack (19k, E)

Aziraphale Fell had a plan. Go to school, get his degree, and start his life with his beloved at his side as man and wife. Until one day Crowley disappears. Decades later he meets a man, and finds the love of his life again. Anthony J. Crowley, suave, cool, masculine, in control, unflappable, has spent decades building himself up. He refuses to let his confident facade disappear for Aziraphale, who once almost tumbled down the stairs to certain death because his nose was stuck in a book. It’s just sex, and they’ve been dating for months, this time around. There’s no need to get his knickers in a knot. But the past isn’t easy to let go of, even if you’re both avoiding it. A story about love, intimacy, and finding each other again. (Alternatively: Tender smut, but then I wrote love story flashbacks, and now it's just emotional and there's plot in my pornography)

Fireworks by @optimistic-starlight (19k, E)

He had to get himself under control. Aziraphale needed him. That prick boyfriend of his drained so much of Aziraphale's time and energy, dampened so much of the gentle, beaming happiness that Crowley had always adored about him. He needed Crowley there to support him, to do the things a best friend should be there to do. And, well, if Crowley needed him too, if he had to subsume his own pain to focus on making Aziraphale happy, that was something he could bear quietly. He could do it for his angel. Crowley groaned and dropped his head against the tiled wall of the shower. His angel. He had to stop thinking of him like that.

Maybe Next Christmas by @flamingbentleyy (21k, T)

Airports were tricky business, but waiting in airports was as close to hell as one could possibly get. Nobody knew it better than Aziraphale, whose luck had made him end up in one right on Christmas Eve of all days. Although his airport experience turned a little less hellish and a whole lot more entertaining after he ran into an old college friend in that same airport. And then again. And again…

The Small Ad by @theladydrgn, @sylwritesstuff (32k, E)

WORK WANTED: Partner For Hire. Tall, lanky ginger of arguable gender available to be your significant other to keep pesky relatives, nosy coworkers, or well-meaning friends at bay. Able to be as annoying or as polite as you like. Causing a fight over Christmas dinner with your odd, bigoted uncle/aunt/cousin will require an extra £200 up front. £50 for the first hour, negotiable otherwise. Ciao.   It isn't the sort of advertisement Aziraphale usually paid any attention to, but desperate times do indeed call for desperate measures.

Heavenly Wicked Cafe by @waitingtobebroken (33k, T)

There is a terribly rude barista that makes amazing coffee and a saint of a barista, whose coffee tastes vile. And they are in love.

Petrichor & Parchment by @katnoggin (33k, E)

“Mr. Crowley, I presume?” Aziraphale asked in lieu of an introduction, which was not forthcoming. The guy hadn’t even removed his sunglasses. Oh God, he had a tattoo on his face. Aziraphale wasn’t one to judge, but… what kind of gardener had a snake tattoo on his face? Now also available as a podfic from Literarion  [Huuuge recommendation for the podfic!!]

The Heart of the Forest by Kalimyre (33k, E)

Retired librarian Aziraphale moves into a small, isolated cottage deep in the forest with a strange history. He soon realises he's not alone in the woods; a presence watches him. But as he begins to befriend the stranger that lurks in the trees, Aziraphale comes to understand there's more to him than appearances suggest - and Aziraphale's own destiny may be tied to the mysterious creature with the golden eyes.

in your own time by @ineffabildaddy (33k, E)

Aziraphale and Crowley grew up together as next-door neighbours on Hogback Lane, classmates at the local Catholic school, and inseparable best friends. By the age of eighteen, both were hopelessly in love with the other, despite the knowledge that they were doomed to live apart, as Crowley aimed to pursue university study in London and Aziraphale committed himself to remaining in Tadfield, dedicating his life to the Church. After almost twenty years spent away from his hometown, renowned botanist Crowley decides to come and visit Tadfield again at a moment's notice; the purpose of his visit is to speak at a Careers Day for the school he and Aziraphale, now a beloved priest and a frequent helper at the school, attended. The twenty-four hours that follow will change both of their lives for ever.

Between Comfort And Chaos by anathxmadevice (45k, T)

“And how long have you two been a couple?” “Oh, I—” Aziraphale panics. “Ha, well, that’s a funny… We’re not actually—” “We’re just friends.” Crowley says, their voice clear and calm and lightly amused, either because of or in spite of Aziraphale’s flailing attempts to divert the conversation. “Ah, yes, quite.” Aziraphale says, then takes a sip of his drink just for something to do, instead of focussing on the way Crowley said just friends, and how it causes a painful throb in his chest that he has never fully got used to. His memory can only scrabble at the edge of a time where being just friends with Crowley didn’t feel like a particular form of torture. * Or, Aziraphale has been desperately in love with his best friend and housemate Crowley since they were students, but is too scared to do anything about it.

Loving You Slow by @tawnyontumblr (46k, E)

Crowley just wants to dance, but he's not prepared to sell his soul (and other things) at Mayfair's Hellfire Club to do it. Tending bar at The Bookshop in Soho is just the escape he needs, providing Crowley can convince the club’s owner he really belongs on the stage. Unfortunately Aziraphale Eastgate is not quite the generous guardian angel Crowley has been led to believe. Welcome to The Bookshop, where it always pays to look under the covers.

A Billion Points of Light by akitsuko (50k, E)

The firefighter lifts the visor on their helmet, and Crowley may not be able to see very well, but those are the most beautiful eyes he’s ever seen in his life. Crowley has never been one for the whole 'love at first sight' business, but he may need to reassess after Aziraphale - a gorgeous firefighter - saves his life.

More Than by @naromoreau (55k, E)

Crowley would like to spend another year without marrying, especially when thrust-forced to pick a husband. She refuses to cave in on a matter of principles. She refuses to cave in specifically on a matter of not wanting to be married to Lucien Morningstar. But she might need a hand to break free from such a burden. And who knows? She might even find something else along the way.

Lavender Apiary Of Your Honey Eyes by @snek-of-eden (66k, E)

The first thing Aziraphale registered was fiery red hair matted with sweat. The second thing was the man’s face, sharp and intelligent and a little guarded, sunlight dappling a spray of freckles. Upon seeing this, two contradictory thoughts crossed his mind: ‘Gosh, he’s pretty’, and ‘I don’t believe I’ve ever heard a man use that many expletives in the space of a minute’. “Oh,” he said, swallowing hard. “Hello, then.” __________ When Aziraphale inherits a small, cosy cottage in the countryside, he finds unexpected company in a gardener he didn't even know he had. Crowley is sweet, and strange, and about as foul-mouthed as you can get. Before he knows it, he's falling pretty goddamn hard for a man whose friendship he's terrified of risking. Ah, the foils of love.

Old Vines by @sevdrag (189k, E)

A.Z. Fell, one of the most respected names in wine and food blogging, has been sent on assignment with his assistant Warlock Dowling to spend six months in California Wine Country. Under direction (by his boss, Gabriel) to use this experience to double his blog followers and write a novel, Aziraphale is both excited and anxious about the opportunity. Anthony J. Crowley is the owner and viticulturalist of Ecdyses, a winery that unexpectedly fell into his lap eleven years ago when he hit rock bottom. He may be in debt, yeah, but he’s paying off his loans — and despite pressure from his lenders and their team of inspectors, Crowley has found a kind of contentment tending his little corner of terroir and producing extraordinary wine. Crowley’s old vines are the heart of his vineyard, and he’s never let anyone in. Crowley finds Aziraphale intriguing; Aziraphale finds Crowley enthralling. Turns out a famous wine expert and an experienced viticulturalist can still learn things from each other. The summer of 2019 unfolds. [Big recommendation for the podfic here too!!]

[jingyichickenwings]

This is less of a Deep Cut and more of a case of schadenfreude, but I love when various members of a creative team are messy in public about their high budget group project. Reality TV for nerds. It speaks to a profound lack of media training or fucks given. You guys realize that future employers can Google you, right? Unintentionally hilarious.

Linke and Yee were told in no uncertain terms that their season 1 storyboard was shit, so they hired Overton, who hired half a dozen actual writers, and they did basically a full overhaul. The script was objectively much better. But this was Linke's baby, and several years later you still see signs that he is Big Mad that he didn't get his way, and that he doesn't know or care about what actually became season 1 canon. I'm sorry that your Jewish stereotype villain didn't get to be a pedophile, I guess? Idk. Yes, yes, I am sure your version of Svengali is really innovative. Maybe someday, buddy.

Meanwhile they start writing season 2 in early 2020, while the season 1 air date isn't until November of 2021. So, they don't have public feedback on the script yet, just, yanno, actual writing professionals. Anyway, according to Overton, they needed to fire the non-management part of the writing team because of the pandemic?! Lmao babygirl you do your best and I respect commitment to the official PR excuse but nobody sensible believes this. Netflix writers average 110k/year, and you needed six or so from season 1. That is not a big part of the overall budget. Also, y'all could have saved money with Zoom meetings.

So the very thing that saved the season 1 script got line-itemed "because of the pandemic". That sounds like an extremely convenient excuse for Linke to be like, no, fuck you all, we are going back to Plan A, the rough draft of season 2 based on his shitty version of season 1. Honey. That ship has sailed. You already lost this argument.

So presumably some combination of Linke/Yee/Riot/Netflix was like, it's important that we have at least one actual grown adult writer on staff. So Overton gets to keep her job.

Now, I want to preface this by saying that season 2 would have been even worse without Overton. That being said, there is a reason they needed a deeper bench of writing staff. Overton and Linke over-connect with the characters Caitlyn and Jayce respectively, to a degree that they frequently forgot to evaluate how other characters would likely behave in certain situations. It led to contrivances, plot holes, etc. There is a lot I could add here but tbh go read any of the meta already out there.

In addition to the Mary Sue type behavior, Overton thought it would be Neat to make the writing more like Avengers, like multiverse time travel fuckery is a shiny beach pebble and not narrative napalm. What in the ADHD was she thinking? Even if they had the run time to world build enough for this, there was nothing in season 1 to even suggest this as an option. And let's be fucking honest, multiverse a lot of why Marvel is on a downward spiral. If Viktor can go to Build-A-Bear Workshop and 3-D print a million Jayces, why should I give a shit about his kill count? He can just be kind, rewind, and try again. Actions are decoupled from consequences.

Anyway, moving back to the topic at hand of the Arcane team. Apparently, Overton, Linke and Yee only half-wrote season 2?! Linke said something about how they "extensively collaborated with Fortiche on the story"? Which, it's not inherently a bad idea to get creative feedback from your art team, but ummm, maybe the writers and Fortiche should have worked to a point of agreement on basic story beats. Based on a lot of what Fortiche has said, the art for season 2 passive aggressively advances what they wanted the writing to be against Linke's wishes. They literally have just been straight up disagreeing with Linke and getting paid for it. Which, to be fair, I respect the sheer pettiness! Linke can't write his own damn show but wants to slow down the very expensive art team? When the actual writers that got fired "because of the pandemic" would have caught a lot of the season 2 issues?

So post airing of season 2, Overton is all about that girlboss copaganda, Linke is having multiple public meltdowns and getting fired by Riot(?), and multiple voice actors and artists at Fortiche are being like "yeah, we actually wanted something else so there are now multiple competing narratives for season 2". Which is hilarious. The way in which the show is messy is the same way in which the creators are messy. These bitches are a cautionary tale about hubris and the need to engage in team-building.

(EDIT MARCH 11: the fired rumors seem to be old/inaccurate, see comments for details)

[lizardsfromspace]

The thing about Ncuti Gatwa era Who's ratings being "bad" is that they aren't bad, it's just that they're not very different from Jodie's average ratings. And five-six million a episode is actually pretty decent in a country with a population as small as the UK's (unless it's seen as drastically bad to be #12 that week, idk how UK TV ratings are perceived). It's not that they've fallen drastically, they've just failed to grow.

Which, no matter how much they pushed that this was "series 1!" and a fresh new start (to the point of declaring it an entirely new series, Doctor Who [2023 -]), was going to happen. Because there isn't a large contingent of people out there just waiting to give Doctor Who a shot. There was in 2005, when a whole generation had never seen it, and many people had vague fond memories of it but hadn't thought of it in years, and when there were many countries where it had never been anything more than a niche curiosity or straight-up hadn't ever come out, but the un-Who-evangelized ranks are p. small in 2024. No one saw it as series 1 of a new reboot, everyone processed it as what it was, series 14 of a show that's been on for twenty years

(Also, holy shit, New Who is twenty years old this year. For reference Classic Who ran twenty-six years)

They wanted to attract old viewers back, and they did come back for the Tennant specials, but I think they were banking on casual viewers being just as excited for RTD's return and. Casual viewers don't know who the writer is or really care, though, so it didn't have the same cachet. They probably expected it to grow a bit instead of just not falling off but the whole "suddenly it's putting up 2005 numbers" scenario wasn't going to happen. Anyway it's that thing I said and not whatever internet shouty men are saying

I have no idea what Disney+ expected. For Doctor Who to be the new Star Wars? Unclear. Thanks for making Doctor Who ultra high budget for two seasons I guess

[kamehamehamlet]

The Tumblr reblog sensation is returning. But like the Sayians or Shakespeare’s folios, it has the potential to develop in many forms.

Visit kamehamehamlet.com to be notified when we have more details.

Follow this blog for a peak behind the curtain.

And read on to learn more about the show, how we got here, and where we’re going.

Thank you for waiting just a little bit longer.

Revival Project FAQ

Who are you?

Hi! I’m Daniel Cole Mauleón (@writepictures), the writer of Kamehamehamlet. In 2015 I co-founded the theatre company Play-Dot Productions with KHH’s director Shalee Mae Cole Mauleón.

What is Kamehamehamlet?

Kamehamehamlet: Good Night Saiyan Prince, was an hour-long one act play, performed during the 2015 Minnesota Fringe Festival. It’s a staged retelling of Vegeta and Freeza’s battle on the planet Namek. Marketed as a Dragon Ball Z and Hamlet mash-up, the parody quickly shuffled off its weighted gi, revealing it was actually a Waiting for Godot spoof. After five performances, Vegeta hung up his helmet of spiky hair. Seven years later, K (@amokslime) wrote this incredibly gracious post on Tumblr, which inspired two people to reach out to me via Reddit to ask if I had a script or a recording of the performance.

I want to pause the semi-marketing voice and say a heartfelt thanks to K. Kamehamehamlet was brought to life by an incredible team of artists during a summer I’ll never forget. We got laughs at jokes, gasps at fight choreography, and we broke even on the budget (a Fringe miracle TBH). K’s post gave me the chance to revisit that show through someone else’s eyes. The mix of pride and humility it stirs up is truly indescribable.

If there is art which has changed you, and especially if the artist is still alive I encourage you to non-intrusively share that with the artist.

Is there a copy of the script?

Yes, I’ll speak more about that at below.

Is there a recording of the performance?

There was, but I genuinely lost the files. And that’s for the best, honestly. It was a last-second attempt, filmed from two cheap cameras (with different qualities and resolutions!), both at bad angles and with truly awful audio. Trust me. It’s better this way.

That said, I do have other archival footage from rehearsal's, tech, etc. that I look forward to sharing for those curious.

What’s next?

This is the question I’ve been asking myself over the past year and the reason it took so long to post anything. Especially since one thing I want to do differently this time is make sure that any artists involved are meaningfully compensated for their time and skill. However, I can’t plan without a better estimate of what kind of support we would have, and I didn’t want to share our intentions without concrete details. Right now, the best way you can support this project is by signing up for the announcement on kamehamehamlet.com and following us on Tumblr and YouTube!

The second best thing you can do is to share with others about this project, if I’ve learned anything reading through the comments on K’s post, it is that there’s a much bigger audience for KHH than I could have ever imagined, and you likely know at least one more person who would be interested.

And while I don’t want to promise anything I can’t deliver on, I will share that I’m planning on making the script available this year and I’ll be writing a separate post about that in near future.

Update 5/21/24: We've announced a staged reading for later this year! (Click to learn more) Update 6/11/24: We're going live on YouTube every Saturday through June to rally fans and talk about the project. This link will always take you to the upcoming stream. And this link will take you past recordings.

If you’ve read this far thank you so much.

Photography by Ann B. Erickson. Vegeta is played by McKenzie Shappell. Freeza is played by Cayla Marie Wolpers. Costumes by Sarah Noel Simon.

[madonnamadeofasphalt]

EA & Bioware honestly did an incredible job at killing any enthusiasm I had for a new Dragon Age. Fucking hell, man, I've played the first two games so much I could probably go through them with closed eyes and still pick all the right dialogue options to get My Exact Personally Canonized Plot. And the only reason I didn't do the same thing with DA:I is because it was made after EA completely gave up on optimizing their shit so the fucking thing takes up like a billion terabytes of disc space and takes 10 hours to download and install. I honestly think it's the best-written cRPG franchise to ever have a budget that doesn't involve a list of Kickstarter backers or getting an eccentric Estonian billionaire fixated on the project. And the gameplay is also there, I don't really care about that part.

Then they proceeded to fire all the talent that made me love those first three games, and scratch and restart the production twice, and be suspiciously cagey with any details or gameplay footage for a fucking decade, so my hype consistently went down and down. And yet I still managed to hold out some hope that somehow, by some miracle, it wouldn't fucking suck.

I kept that hope until the trailer dropped. You know the one. The one where we see a bearded Varric. This, I think, was the exact moment when I lost any desire to play fucking Veilguard.

Like, first of all, Varric being there at all is already an issue. Leave the man alone. His presence was already kinda forced in DA:I. And after DA:I and Tresspasser, his story couldn't be more finished if he got killed, eaten, shitted out, condemned to hell, redeemed by divine sacrifice, bathed for eternity in the everlasting light. There is no point to Varric anymore. Whatever arc they've given him in Veilguard, and I don't even give a shit enough to read the spoilers before writing this post, it has no business existing. Fuck you. The only reason he's there is because he's a recognizable IP, and when you're a certain kind of soulless corporate moron, you think there's nothing more important than putting a recognizable IP in whatever new bullshit you're trying to peddle. Maybe if you didn't fire every decent writer in your trash fucking company, you'd have someone to tell you about the importance of Ending The Fucking Story When The Story Fucking Ends.

But that's not even the core of the problem. Beard? they gave Varric a Beard? Varric I fucking hate everything that's even tangentially connected to dwarven culture with a passion which is why I've made a point to shave my beard all my life to spite anyone who gives a fuck about it Tethras? beard? you gave him a beard? He changed so much offscreen in the goddamn timeskip between these two games that he got a motherfucking berd? fucshhfdbeard? feadsgfsvarricafgfdh BEARD? yyousftoiuslyhhabevarricasgsfucningbeardandthivkimgosabedineditit?beard????

PS. (edit after finding out spoilers) I've gone to TV Tropes to read up on Varric's role in DATV after writing this (just in case I'm wrong and dumb, and there's actually a deeply compelling narrative reason for his presence), and, well, this shit is cheaper than I thought. And more importantly, just as I thought, there appears to be no justification for the beard beyond "adding a beard is a cliche way to show that a bunch of time has passed, and we didn't care enough to think this shit through". I'm fucking tired, man.

PPS. (edit after reading the rest of big spoilers) This is so much worse than I could even begin to suspect. This is worse than the final season of Game of Thrones. This is the final season of Game of Thrones if they straight-up fired GRRM, burned his notes and hired a showrunner who's only read a one-page summary of the first six seasons. This is fucking depressing, man. I'm genuinely fucking sad. So many subplots that were started over the course of these three games, that were clearly going somewhere, scrapped in favour of a simplistic good vs. evil story that would get rejected by fucking CD-Projekt in 2007 for being too basic. All because the artists who poured their hearts and souls into this bullshit franchise got thrown out like trash by its "owners". Morrigan's kid, the Well of Sorrows, all the implied complexities of Tevinter politics, the Crows, the Old Gods, Andraste. All went to shit. Death to capitalism.

[lemonhemlock]

the thing is i don't care about how hard it must be for the hotd writers to adapt from book to screen with budget and time limitations (even though i am historically sympathetic enough to these difficulties and i do understand the need to make changes to fit the story in a different medium)

but what i see as understandable excuses would be shoddy cgi or costumes and less impactful action scenes or even fewer action scenes/battles. which we already got anyway, the only battle (rook's rest) is humdrum and rather spiritless. to a certain extent, i can even excuse cutting out characters or merging them or simplifying storylines.

be that as it may, the fact of the matter is that, even the scenes which should have cost the least amount of money in this whole production, i.e. the sitting-around-in-rooms-talking genre of scenes for which GoT became famous, SUCK. the politics in this show are non-existent. the characters' motivations are so wishy-washy to the point of parody. the character arcs look like they were settled via a game of russian roulette. the S2 version of characters doesn't make sense as a progression of their own S1 canon.

and this has nothing to do with money OR time constraints. it plainly only has to do with bad writing. a talented writer can absolutely have a canon-divergent vision and an understandable desire to adapt their own vision. but they have to recognise if they have the TIME or the BUDGET to bring that canon-divergent vision to life, if they can sufficiently commit to integrating those changes in a way that feels organic to the characters. IF NOT, THEN DON'T DO IT.

i get it if they're big rhaenicent stans or if they really, really like this version of alicent that lives in their heards, the one that would ditch her kids in favour of rhaenyra or if they're so enamoured by the idea of heroic rhaenyra (and that's just scratching the surface when it comes to all the points the show fumbled). but if they don't and can't fit those changes in a way that doesn't destroy the logic of the narrative, in a way that doesn't leave other characters hanging dry with no motivation left to carry out the plot points they have to hit, they should have had the maturity to drop those ideas and settle on something else that could have been easier to film with the resources available.

i said it before and i'll say it again: 1) whether fans are satisfied with the changes made to the source material and 2) whether those changes make sense in the context of the show are two separate issues that apologists sometimes try to merge in other to muddle what the actual problem is. "oh you're just mad because it's not book canon" or "you're mad because your headcanons diverge" or "we had logistics limitations" are not pertinent responses to critiquing the integrity of the show's storyline!

so i hope the writers and executives see all these criticisms and choke because they did a piss-poor job of everything and turned S2 into a goddamn hack operation

[eldar-of-zemlya]

To Boldly Sew: The Creation of Star Trek's Iconic Wardrobe

Gene Roddenberry’s arguments with NASA, costumes crafted from shower curtains, male characters in miniskirts, and why the gold command uniforms were actually green—this is the story of Star Trek’s groundbreaking wardrobe and the visionary work of the man behind it, Bill Theiss.

If you’d like to read the formatted article with easily accessible references, you can also find it on AO3.

During the production of the original Star Trek, the creative team faced numerous challenges, the most persistent being, unsurprisingly, the show’s limited budget. These restrictions had a significant impact on many aspects of the series, including one of its most crucial visual elements: the wardrobe.

Each week, the costume department was tasked with creating original outfits for the show’s characters. Alien civilizations had to look distinct and believable without distracting from the storyline—all while staying within a tight budget. To achieve this, the team employed clever tricks, such as repurposing and dyeing old uniforms, turning garments inside out, and even fashioning costumes from unconventional materials like vinyl shower curtains.

"Sometimes a show will call for 30 or 40 costumes," explained Star Trek’s costume designer William "Bill" Theiss. "And since we film back to back, that means I have to design, get approval from the producers and director, and construct the costumes in six to eight days." [Source]

Commander Spock and Lieutenant Tormohlen don "protective suits" fashioned from shower curtains as they investigate the mysterious death of a mannequin crew member. (Season 1, Episode 4, "The Naked Time.")

Theiss was a key figure in shaping the visual identity of Star Trek’s universe. Over the course of the show’s three seasons, he designed costumes for a wide range of characters, from blue-skinned Andorians to the infamous Orion slave girls, and even the Nazi-inspired inhabitants of the planet Ekos. (Interestingly, the episode Patterns of Force, featuring Ekos, was banned from German television until 1995 due to its controversial themes.) [Source]

Theiss first met Star Trek creator Gene Roddenberry while Roddenberry was developing the show’s pilot. At the time, Theiss had gained attention for his innovative work on the science fiction play The Veldt, based on Ray Bradbury’s short story of the same name. This caught the eye of Star Trek writer Dorothy Catherine Fontana, who introduced Theiss to Roddenberry. By then, Roddenberry had already interviewed over a dozen costume designers but had yet to find someone who could bring his vision to life. Theiss’s creative approach, which often involved crafting unique costumes from unconventional materials, immediately resonated with Roddenberry. Their collaboration would continue for decades, even though, amusingly, Theiss never learned how to sew. [Source]

After the original Star Trek series was canceled, Theiss and Roddenberry remained close collaborators, working together on various projects until Roddenberry’s passing in 1991.

Left: William Theiss adjusts Susan Oliver's costume on the set of the 1965 pilot episode, "The Cage."

Right: William Theiss and Leonard Nimoy on the set of Season 2, Episode 26, "Assignment: Earth" (1968).

When designing Star Trek’s now-iconic multi-colored uniforms, Roddenberry drew inspiration from the color-coded uniforms used on American naval vessels, where quick role recognition was essential in low-visibility environments. As a former military pilot during World War II and later a police officer, Roddenberry had firsthand experience with structured, hierarchical organizations. These influences shaped not only Star Trek’s command structure but also its visual design. [Source]

Each division was assigned a distinct color: engineers, communications officers, and security personnel wore red; medical staff and scientists were dressed in blue; and command officers wore—believe it or not—green. (But more on that later.) All uniforms were paired with dark ash-colored trousers and high boots.

Star Trek is not typically associated with realism, which makes it surprising to learn that NASA was involved in the show’s production, offering advice to ensure it was "scientifically believable." Among their suggestions was the idea that 23rd-century astronauts might wear form-fitting jumpsuits. However, Gene Roddenberry dismissed the concept, humorously referring to the design as “long underwear.”

NBC, on the other hand, had entirely different priorities. The network insisted that female Starfleet officers wear more revealing attire, a demand that clashed with Roddenberry’s vision of a future where women were treated as equals to men. In the first pilot episode, The Cage (1965), Roddenberry boldly dressed female characters in pants—an unconventional choice for 1960s television. However, after much debate with the network, a compromise was reached: miniskirts. Highly fashionable at the time, they were paired with shorts and dark tights, blending contemporary trends with Star Trek’s futuristic aesthetic. [Source]

Captain Pike and a group of serious women in pants protect the heroine from an ass-headed very wise alien. The first pilot of Star Trek, "The Cage" (1965).

Years later, when NBC faced accusations of sexism and objectifying women, Nichelle Nichols, who played Uhura, defended the wardrobe choice in a BBC interview. She explained that the miniskirts weren’t unusual or inappropriate for the era:

“I was wearing them on the street. What's wrong with wearing them in the air? I wore 'em on airplanes. It was the era of the miniskirt. Everybody wore miniskirts.” [Source]

Grace Lee Whitney, who portrayed Janice Rand, echoed Nichols’s sentiment, adding that she “didn't think the women should be in pants” and that she wanted to “look like Flash Gordon” on screen. [Source]

Meanwhile, costume designer Bill Theiss had his own, more subtle approach to creating “revealing” costumes.

“He felt that revealing non-sexual flesh (the outside of the leg, off one shoulder, the back) promised that the viewer would see more — but they never did,” explained screenwriter D.C. Fontana, citing the gown worn by Lt. Palamas in Who Mourns for Adonais? as a prime example. [Source]

Lieutenant Palamas's "ancient Greek" dress from the episode "Who Mourns for Adonais?" alongside William Theiss's original sketch for the design.

When designing the original Star Trek uniforms, Theiss was tasked with creating something that reflected military influences while also looking futuristic and remaining inexpensive to produce. His approach was practical:

“As for where I get my ideas from… well, I don’t get them from my dreams or anything. Mainly, I get them from fabric that I see that’s available; I look for interesting patterns in the material itself,” Theiss once explained. [Source]

For the first two seasons, the Star Trek uniforms were made from velour, a newly invented fabric that was cheap, easy to maintain, and had an appealing sheen under studio lights. However, velour had its drawbacks: it tore easily (as evidenced by Captain Kirk’s frequent shirt-ripping battle scenes...) and shrank significantly after dry cleaning. Since the costumes had to be cleaned after every episode, viewers may notice that the uniforms became progressively tighter throughout the first two seasons. By the third season, velour was replaced with double-knit nylon, a more durable fabric used in professional baseball uniforms.

Left: Kirk's velour shirt from Season 1, Episode 10, "The Corbomite Maneuver." Right: The same shirt in Season 2, Episode 22, "By Any Other Name." Shatner is diligently sucking in his stomach.

This brings us to another interesting aspect of the original velour uniforms—their appearance on screen.

“It was one of those film stock things,” Theiss explained. “It photographed one way—burnt orange or gold. But in reality, it was another; the command shirts were definitely green.” [Source]

So, what color was Captain Kirk's uniform really? In truth, Kirk's uniform—like the rest of the command crew's—was olive green. However, under the bright studio lighting and the quirks of 1960s film stock, it appeared gold on screen. The greener hue becomes more noticeable in scenes filmed on location with natural light. The difference is also evident in photos of the original uniforms on display, such as those taken at an exhibit in Detroit, USA. In one image, taken under dimmer lighting without flash, the fabric looks closer to its true green color; in another, taken with flash, it appears more golden.

Left: Kirk's velour shirt photographed without flash—olive green. Right: Kirk's velour shirt photographed with flash—yellow gold.

This might come as a surprise to Star Trek fans, but it makes sense when you consider that Kirk's alternate uniforms—the wrap-around tunic and dress uniform—were distinctly green. This wasn’t an intentional design difference; those variations were simply made from a different fabric that didn’t react to light the way velour did.

“The problem is that a lot of my work is seen on screen for only two to three seconds, and even then, it might be in bad light or at a bad angle,” Theiss noted. “But then, you can't really justify taking two hours to light and block a scene just to showcase a costume.” The play's the thing, according to Theiss. "That's what it's really all about. It's not about the costumes." [Source]

The color discrepancy of the uniforms became an interesting challenge when animators began working on Star Trek: The Animated Series in 1973. They had to decide whether to depict the uniforms in their originally intended green or the gold shade that had become iconic to audiences.

At the time of Star Trek's release, many viewers were watching on black-and-white televisions, making it impossible for them to discern the true colors of the uniforms. At the Kirk/Spock convention, @kiscon, I spoke to a longtime Trek fan who told me she had no idea what color the uniforms were when she first watched the show as a teen. For those fortunate enough to see the series in color, however, the command uniforms became strongly associated with yellow. As a result, changing the uniforms to their intended green in Star Trek: The Animated Series would likely have confused audiences who had grown accustomed to the gold appearance on screen.

Ultimately, the gold uniform was canonized in The Animated Series and used in all fan materials until the release of the Star Trek feature films. Meanwhile, the trousers—whose color had also been slightly distorted on film—remained their original dark ash shade.

Because of these discrepancies, fans often debate which version of the uniform to follow when cosplaying or creating visual content. Many cosplayers choose to replicate the original olive-colored velour, trusting that proper lighting will naturally recreate the golden appearance seen on screen. Others opt for the now-iconic gold shade, reflecting the way the uniform has been depicted in official materials for decades.

Star Trek: The Animated Series (1973).

Ironically, NASA was right in its assumption that jumpsuits would become the norm for astronauts, and Roddenberry was forced to use them in the first feature-length Star Trek film, 1979's Star Trek: The Motion Picture. The multi-colored shirts were rejected by the studio as too garish, and the miniskirts worn by Uhura and most of the female crew members were already considered a relic of the sexist 1960s by 1979.

William Theiss, who designed the costumes for the original series, was too busy with other projects to work on the film, so Gene Roddenberry brought in a new costume designer, Robert Fletcher, who created the Starfleet uniforms now remembered as the worst in the franchise's history. In an effort to avoid comparisons to military uniforms, the studio opted for muted tones ranging from pale blue to dirty beige and nude shades. The result? The Enterprise crew looked more like spa staff than starship officers, and some background extras in nude-tone bodysuits appeared practically naked on screen. Not only did these uniforms make it impossible to distinguish the characters' ranks and departments, but they were also surprisingly impractical. The suits were sewn onto the actors' shoes, meaning they needed an assistant every time they went to the bathroom.

Star Trek: The Motion Picture (1979).

Luckily for us all, in the next film, Star Trek II: The Wrath of Khan (1982), it wasn’t just Khan who was filled with rage—the cast themselves rebelled and outright refused to wear the dreadful jumpsuits again.

Despite the failure of his design, Robert Fletcher remained as costume designer for the next three films, promising changes. In Star Trek II: The Wrath of Khan, the uniforms returned to a more military style, with the lead actors wearing maroon jackets with overlapping lapels that they could dramatically unbutton if their character was meant to look tired or stressed. If you look closely, you’ll notice that these maroon uniforms were actually redyed and slightly modified versions of the jumpsuits from The Motion Picture. The reason for the maroon color? It was the best shade that worked with the existing fabric from the first film. [Source]

William Theiss, reflecting on Fletcher’s designs, commented:

“Bob Fletcher is a very fine designer, and I mean that very sincerely. We don’t design the same way, and there’s no reason we should—or could. It’s apples and oranges. But my personal feeling is, if you go to a structured, woven fabric and do the kind of tailoring and structuring he’s done, it puts those costumes back, historically, 500 years, with shoulder seams and shoulder pads of that type.” [Source]

Star Trek II: The Wrath of Khan (1982). Everyone turned red with anger.

In Star Trek: The Next Generation, Roddenberry reunited with Bill Theiss, and together they decided to bring back the iconic miniskirts as part of the uniform, but with a twist—they wanted to make them inclusive. In The Next Generation, male crew members were occasionally seen wearing the same miniskirts or “scants” (a hybrid of skirts and pants), reflecting Roddenberry and Theiss’s vision of a future where gender norms no longer dictated clothing choices.

However, the social climate of the 1980s and 1990s wasn’t as receptive to this progressive idea.

“Having both actresses and actors in skirts was meant to diffuse any sexist accusations that might have been associated with designs from the old show,” Theiss explained. “It’s also fashionably probable that, 400 years from now, men would wear skants. Even so, there was usually a problem on the set,” he admits, “because some wisecracks were always made.” Theiss emphasized that he wanted his actors to feel at ease in the designs. “I won’t force an actor or actress to wear something they’re not at least 80 percent comfortable with.” [Source]

While Theiss’s designs were undeniably groundbreaking, he was known to be a challenging person to work with. Constantly preoccupied with time and budget constraints, Theiss had little patience for anyone—whether they were directors, producers, or even Gene Roddenberry himself. He was even less tolerant of people who approached him simply to praise or critique his work, or even just to say hello. His philosophy was simple: “Better to be rude than to delay filming.”

Actors, extras, and costume assistants often recalled how Theiss would dart around the set, frantically hemming, tucking, and adjusting costumes between takes. Many of the alien outfits seen on the show weren’t actually "costumes" in the traditional sense. Instead, they were often assembled from patches, ribbons, scarves, curtains, and wire, with actors being "stitched into" them directly on set. [Source]

For example, Janice Rand's iconic beehive hairstyle was crafted from several wigs braided together over a cone. Grace Lee Whitney, who played Rand, recalls running back and forth between the dressing room and Roddenberry’s office with Theiss, constantly piling on more hair. Each time, Roddenberry would stare at her intensely, then declare, “Higher!” Whitney and Theiss would rush back to add more wigs until the hairstyle reached its iconic height. [Source]

One Smithsonian Institute employee, who worked with Theiss in 1992 while preparing for a Star Trek costume exhibit, recalls combing through the Paramount warehouse filled with racks and boxes of costumes. She was amazed to discover that most of the "costumes" were actually scraps of fabric neatly hung on a single hanger. Yet, when these scraps were sewn, tied, and pinned together, they became the iconic designs we now associate with Star Trek.

Andrea Weaver, one of Theiss’s fellow costume designers on the original series, remembers:

“Bill Theiss was a creative designer. His designs for Star Trek were original, rather than distilled from other sources or redefinitions of previous works. This is what I appreciated about Bill Theiss. I thought he was a truly unique and rare costume creator.” [Source]

William Ware Theiss’s contributions to Star Trek are legendary. His uniforms for both Star Trek: The Original Series and Star Trek: The Next Generation remain iconic, instantly recognizable even by those who aren’t fans of the franchise. His innovative, DIY approach to creating futuristic costumes brought a distinctive charm to the original series and left an enduring legacy.

Here are some of his most memorable designs:

Left: Season 2, Episode 11: "Friday's Child" Right: Season 3, Episode 13: "Elaan of Troyius"

Left: Season 1, Episode 15: "Shore Leave" Right: Season 3, Episode 20: "The Way to Eden"

Left: Season 2, Episode 1: "Amok Time" Right: Season 1, Episode 23: "A Taste of Armageddon"

Left: Season 2, Episode 9: "Metamorphosis" Right: Season 1, Episode 6: "Mudd's Women"

Left: Season 3, Episode 5: "Is There in Truth No Beauty?" Right: Season 1, Episode 15: "Shore Leave"

Left: Season 1, Episode 23: "A Taste of Armageddon"Right: Season 2, Episode 16: "The Gamesters of Triskelion"

Left: Season 3, Episode 11: "Wink of an Eye" Right: Season 3, Episode 8: "For the World Is Hollow and I Have Touched the Sky"

[mal3nko]

Cut Content from Double Exposure

So I mentioned a few days ago that my friend on Discord had dug through the files of DE and found quite a bit of interesting cut content from the game, so I decided to share some of it here since I feel like a lot of it is too interesting to not reveal to a wider demographic.

It’s pretty clear that Double Exposure had a very troubled development due to the fact that Deck Nine had to suffer through three rounds of layoffs (where it ended up losing both its lead writer AND narrative director almost a year and a half before the game actually released) which led to a lot of things being cut for time/budget. The game went through an absurd amount of directional changes in regard to its story, which is why the final game is…the way that it is, unfortunately.

So here I’ll be trying my best today to breakdown a lot of the interesting cut content me and my friend have managed to find, which also includes some pages from the official artbook that my friend managed to gather as well!

Max has a fully modeled bathroom…that we never see!

Fully modeled work/hobby room in Max’s house that we also never see (this was apparently suppose to show up in Chapter 4, as the screens are turned on)

There were originally two variations of the post-credit scene, endings A and B. Ending B is the one we have in the final game where Safi finds Diamond, but ending A would have depicted Reggie finding an unconscious Diamond who had collapsed while her nose bleeds, before she eventually gets up and runs off. Here is the dialogue from the files transcribed:

The chase scene with Safi at the end of Chapter 3 was heavily nerfed in the final game, as you would have originally chased her through the now cut hedge maze section, and it would have eventually led you to the abandoned Hellerton mansion (which also got cut, but more on that later)

Speaking of the scene with Safi at the end of chapter 3, we also found out that instead of her being shapeshifted as Max like she is in the final game, she would have instead been shapeshifted as whoever you didn’t romance in chapter 3. Basically, if you romanced Amanda, you would find Safi had broken into Max’s home shapeshifted as Vinh, and if you romanced Vinh, Safi would be found shapeshifted as Amanda. If you didn’t romance anyone (and I’m assuming if you romanced both?) then it would default to Safi being shapeshifted as Max like in the final game.

Scott Wilthe (free lance concept artist who works for Deck Nine) even posted the concept art of Safi shapeshifted as Amanda falling through the ice lake on his Twitter/X account a little while ago! https://x.com/swillhite100/status/1866881491277582518?s=61

(Looks like this Max romanced Vinh 🤭)

Me and my friend believe this was cut due to budget restraints as they wanted Amanda and Vinh’s actors to play their shapeshifted roles, but ended up just settling on Safi showing up as Max in the final game when that fell through.

My friend managed to find a lot of interesting discoveries from the official artbook, which showcase even more interesting changes to the story.

Max being confronted by a man wearing the Krampus mask.

Yeah, apparently there was going to be some sort of “Krampus killer” storyline at some point, and my friend personally believes that the killer was originally Vinh (😭). This is because there is concept art somewhere out there of the Krampus mask and its various designs labeled "vinhkrampusmasks”. I haven’t personally seen this concept art yet (my friend has seen more of the artbook than I have) so take this with a grain of salt I guess.

Now time for some of the different variations of the Caledon layout that constantly changed during development!

This is from the artbook, and note how there is no observatory in this version (it’s very hard to see so I apologize). The final game would never even work out on this map.

Caledon v9. Closer to final, but still with differences. See the old mansion on the left? That would have been the abandoned Hellerton mansion I mentioned previously. Remember the bridge you see at the end of Chapter 3 when you’re chasing Safi? That was where the mansion would have originally been.

Oh hey, it’s the cut hedge maze! (it was added relatively late, and removed just as quickly, most likely due to the constant changes in the development team).

There’s actually a lot more cut content to go over, but unfortunately tumblr has an image limit and I’m getting kinda tired writing all of this out so I think I’ll make a follow up post eventually going over the rest.

Hope whoever read all this found some of it interesting!

[3liza]

the twisted metal show is just getting progressively goofier and funnier and I can't emphasize enough how refreshing that is, even though it's missing a lot of the same stuff I was complaining about missing with fallout. a good attitude can excuse a litany of sins tbh!!! it's correctly on tone with the source material (which is dumb as hell) and not stuck up its own ass and not trying to adopt any more elevated message than "Orange County is full of psychopaths" which is something we can all get behind tbh

they are clearly aiming for a thunderdome or escape from LA tone and getting, generously, almost as close as they can without thunderdome production budget. once again the wardrobe is really lacking, which always bugs me when wardrobe is so easy to do on no budget if you just hire the right creatives. i don't want to watch serious or irony poisoned post apocalyptic shit anymore, I'm fed up. whanging that horseshoe as close as you can get to "mad max" and falling short is preferable to whatever smug tech conference bullshit was going on in fallout.

I'm not saying it's good but it is fun. I'm especially enjoying how the stupid action movie dialog is getting progressively more self aware, but not in an annoyingly ironic way. they are getting comfortable with letting their writers and actors softshoe a little bit and we're starting to get Simpsons-style crowd bits like the protagonists encountering some poor bastard strung up by one of the wasteland gangs and remarking that "maybe he deserved it" and the extra groans and raspily retorts "I didn't!", which got a genuine laugh out of me because they didn't linger on it and let it get stale.

i wish they had pushed this a lot father in terms of making it more late 90s grimdark gargoyle shit like the games, but that stuff is expensive and I think they spent all their money on actual vehicles (which I respect) and didn't have a lot left over for costumes and set dressing

what's most surprising about this entire production is how laser targeted it is at people born between 1980 and 1988, which cannot be a significant television viewership in the larger picture. there is almost zero effort to make this relatable to anyone outside 40 year old Oregon Trail millennials. the soundtrack is so fucking funny

special mention to casting a bunch of actual 40 year old women and letting them look haggard and dirty and wrinkled for once

really Sweet Tooth is the biggest disappointment. i understand he's the franchise figurehead but they fumbled it imo. i don't think will arnett is the right casting. idk if sweet tooth should even talk or be human tbh, I kind of always saw him more as a sort of ogre or avatar than just a normal human psycho killer, and having him onscreen so much from the beginning was probably network mandated but really spoiled the biggest narrative tension for franchise fans they could have saved up to cash in on a good reveal later. oh well. alternately I think leaning into it being JUST will arnett in a clown mask would have been funnier than trying to split the difference with dubbing arnett over a more physically powerful Joe Samoa playing the body

[azaharinflames]

Well, hello my fellow and beloved BuckTommies. I come here with a new theory - not quite or what will happen, but on what did.

Let me put my tin hat firmly on my head for a second, alright? Because we have been talking about all kinds of possibilities, and have theorized about BTS, and even budget cuts, but.

We are all missing one thing.

What happened during the summer that has repercussions in the series right now? Or that will have in the immediate future, but we’re only seeing the start of...?

An ‘I Know What You Did Last Summer’ reboot was officially announced.

It is set to be filmed in Australia come the New Year. And JLH, famously having been in the first one, is going to Australia to film for this one as well. 

This means that, just like they did in Season 5, they will have to take JLH’s absence and other compromises into consideration. In Season 5 she was on maternity leave, this time around she has a movie to shoot. And it just hit me that it might be the reason why things got moved around, and why perhaps they did what they did with BuckTommy.

(Disclaimer: I am not putting this on JLH, and I don’t want anyone to do it either. If this is something that clashed with the initial plan, what the writers and Tim came up with it’s on them, never Jennifer)

We know Tim is not someone who writes his stuff in advance. He’s flying by the seat of his pants; he writes as he goes, and this is something he has said before. So now he has to write and plan in advance because Jennifer will be somewhat absent. The direct result of this is, in my opinion, Madney.

The storyline of them having a second child at home, having her go back to her family, having Jee notice her absence, and then starting to debate on whether to have a second kid… had the potential to be more than one episode. Or, at the very least, to end the episode with them deciding that, yeah, they want to try, they want to expand their family. Maddie’s mentality on PPD could’ve been an episode in itself (Lord knows we don’t get enough Maddie episodes, especially lately), instead of a throwaway line on how she doesn’t want PPD to define her. I do think it’s amazing she’s at that point in her life and on her journey, but I can’t help but think this could’ve also been a really nice episode arc to have. Chimney’s doubts were also gone pretty quickly, with not even needing to talk to anyone about it. All in all - the storyline felt rushed and a bit anticlimactic. And at this point, I can only imagine they will somehow try to create some drama surrounding the pregnancy in 808 (807 perhaps, but it feels like it’s busy enough) so that Jennifer’s absence is justified. We don’t know if, just like in Season 5, Kenny will also be absent (Chim going with Maddie wherever she goes, I don’t know). People weren’t happy with him having to be off the show in Season 5, so I hope he stays, but we don’t know just yet. 

A side result of this could’ve also been BuckTommy. If there is something I’ve gathered from Oliver and Lou’s interviews is that both were a bit surprised it happened this soon. Now, we don’t know if this means they were breaking up for good later on in the season, if this was supposed to be a longer arc, or if they knew there were talks of break-up-make-up, once they were more established. As it is, this happened now.

And in my mind there are two possible theories. Let me present first why I have them:

-They need some substantial drama to go on for 8b. Bathena went through it in S7 and now are rebuilding their life, so it would be a bit of an overkill to have them go through it in S8 as well. Eddie is going through his own stuff and is going on a journey of discovering and enjoying himself (that, personally, I hope deals with actually dealing with it and having deep conversations with Chris). Hen and Karen have just gone over the drama of the adoption and, to be honest, they need a breather. Give them SLs that don’t involve them somewhat losing their kids (be it adoption, or an accident). 

-So… that leaves Buck. Buck, whom we all joked was the only one doing fine in Season 7. Whom we all said was going to go through it in Season 8 to compensate for his happiness in 7. Well. The joke’s on us. He’s had such a drama-free period of his life (yes, affected by what was happening around him, but not directly involved in it) that I think we forgot they enjoy making him suffer. We barely saw a thing with Gerard, and nothing to last the whole season, so… now this. 

So. From this, I see two options:

-They always knew they wanted to have BT have issues, that they didn’t want them to be easy or smooth-sailing, because has a couple in this show been that? No, right? So why would they? So they wanted a break-up arc, potentially ending in making up. Perhaps things moved around a little bit, we don’t know. But maybe they want 8b to deal with Buck trying to see what Tommy meant, yet realizing he still wants Tommy, thus starting the make-up arc. Meaning, they decided to have BT bear the weight of the heavy drama of this second half. People are already invested, clearly, and with JLH gone for a bit, they need people interested in what will happen next.

-Sort of the same, but different results - they just want Buck dating around and having drama with that. Admittedly weaker than the other option, but it is one I don’t necessarily eliminate just yet. Mostly because I’ve learned to be skeptical of 911’s intentions. 

Previous to 806, I fully expected 8b to have more Buck/BT, Madney stories as A plot, as they haven’t had one in 8A. But now that I think about it all, I can’t help but wonder if those last minutes decisions were to accomodate what will happen, just like it happened in Season 5 (which, I will remind you, dealt with her absence by having a lot more of Taylor than we were expecting. Her appearances went down quite a bit once JLH and Kenny were back, and shortly after, she was gone).

Again, I am aware I might be delulu right now. But for the first time in days, something has fully made sense to me. In conclusion:

[a0random0gal]

Yeah so Remember when Ryan Condal said Aegon and Sunfyre's bond was "Green propaganda" and everyone got understandably mad at him??

Take a look at what he said regarding b&c:

https://www.reddit.com/r/HOTDGreens/s/NabfGkmeWs

Bro...what the actual fuck did you just say?

Apparently blood and cheese was all green propaganda that Alicent spread to make saint Rhaenyra look bad. It was all a misunderstanding, there was no choice between Jaehaerys and Maelor, it was all made up.

Alicent just invented the most evil lie she could muster up to villainize the amazing blacks. What was shown onscreen is the real representation of what transpired.

Jesus Christ Condal i get that you hate book! Alicent (and Alicent in general) for some reason but can you stop blaming that poor woman, who had to watch her grandchild get beheaded, and not say she was lying out of her ass? Is that so hard?

"You were supposed to be rooting for blood and cheese and hope they didn't get caught!"

For the love of the Seven, if you don't want all the money you spent marketing this show to go down the drain Hbo please keep this man away from any interviews, I can't listen to him anymore without wanting to turn my phone off.

I genuinely can't fault many greens for deciding to stop watching because of this bs.

It's so embarrassing that a writer who is supposed to portray a civil war and keep both sides on equal ground pulls this type of shit. For me the next episode is coming out tomorrow and honestly I have no motivation to watch, absolutely no excitement.

I tried to deny it in the past, but now the writer's bias has become so blatant that my love for the show has taken a hit. Hotd truly is a high budget team black fanfic.

And here I thought without D&D in the picture we would be fine.

[jackoshadows]

It's weird how a TV show's fanbase are these days attacking the actual authors of the books or people connected to the source material for daring to criticize the TV adaptation of story/themes/characters they are intimately familiar with.

I mean, when we as an audience can criticize a TV show for doing so and so and not making sense or mutilating characters and their arcs, surely authors who know the source material better than anyone also have a right to do so?

This happened with Brandon Sanderson when he criticized the Wheel of Time adaptation on Amazon Prime and show fanatics then went on to attack him and his writing of the WOT books. And it's now happening with GRRM calling out the HOTD adaptation on HBO.

And a lot of the times the changes in story and character are not even because of budget or time constraints and all that. It's because the showrunners/writers simply thinking they know better than the actual author of the books or that their version is better or that their favorite characters need more screentime and plot while sidelining the main characters of the books. It's their fanfiction which they get networks to finance by using the IP of popular fantasy works out there.

The reason we got only mild criticism from GRRM after GOT ended was because the books were not finished and D&D had no source material to adapt. That is not the case with HOTD and F&B.

Anyways, I don't watch HOTD after the way HBO/D&D massacred the ASoIaF books with GOT and don't intend to. The nihilism of HBO's version of this world - especially after what HBO/D&D did to the character of Daenerys Targaryen - is not for me. The world is already shitty enough for women, I don't need it in my fiction as well.

In fact I hope HBO is angry enough with GRRM that they stop consulting with him for future prequels etc. - which leaves GRRM time for finishing THE WINDS OF EFFING WINTER!! Like come on GRRM. Jon Snow has been lying dead in the snow for 13 years! Dany is still in Essos! Arya is still in Braavos! Bran has had 3 chapters in 19 years! Finish the book. That's all ASoIaF fans want at this point, IMO.

[copperbadge]

I like my job; I like my boss and the work that I do, which is socially meaningful. But I also would really like to make more money than it's realistically possible for someone of my skills and experience to make in nonprofits, so I've been considering transitioning to the for-profit world.

The problem is my job doesn't really exist in the for-profit world. So I've been going through my resume and reworking it to demonstrate general skills (administration, budgeting, cat-herding, etc) and trying to figure out what kind of job those could support.

I also googled around for some kind of way to like, input my skills and get a list of jobs I could do with those skills. I found one site that had you rate 20-30 common job skills on a scale from "no knowledge" to "expert" and rated all my skills, then breathlessly hit the submit button to get the job suggestions back...

Well, I guess they aren't wrong.

[ID: My match results showing the top three jobs for someone with my particular skillset; number one is "Poets, lyricists, and creative writers" while number two is "Music directors and composers" and number three is "Art, drama, and music teachers, postsecondary."]

What extremely lucrative and easy-to-attain careers. ($73k a year my ass.)

I do actually have a ton of white-collar office-worker skills, but clearly my dislike of hard work and my passion for bullshitting shone through...

[miraculouslbcnreactions]

hooo boy, i watched miraculous when five or six episodes of first season aired (i was aware of it when it was only two)! it was really cool to see magical girl superhero in Paris, who has a (semi-related) crush to his classmate, who's also a superhero and partner to her superhero persona - who said crush HAS A CRUSH ON SUPERHERO SELF! i remember when theories flew on identity of Hawkmoth and who could possibly be (wiki was also ambiguous on that, based on the factor of the same va, which - i mean, one va can do multiple voices, that was earlier practise for budgeting reasons)! it was nice to see heroes thru everyday lives (well, how much normal is up to debate), everyday strugles, akuma of the episodes, ways how the main heroine solves it, and (some debatable) lessons of the day - girl magical show, y'all! (even tho it was called Tales of Miraculous Ladybug and Chat Noir)

and then the lore at the end got complicated at the end of seasons! and we got a little more of lore building, and different vibes and dynamics according to that! we got more lore on some episodes, but still not rocking the main status quo story of the season!

and then S4 and S5 happened.

to me, the problem was there undefined, until, in your previous posts, you put the name on it: the writers are incapable of juggling and merging stand-alone episodes and overarching story. they started with stand-alones, but saw that the continuous plot had more success with older audiences (c'mon, scrambled episodes were partialy their tactic, whether the actual s1 scrambling was their intention or truly an accident of tv broadcasts).

and since most of the audience are online, they think that providing additional and vague explanations and lore can - let's be frank, cover their asses. (which, hello, one show with overarching plot did almost the same with their actual lore, and only the hardcores picked up on it - bad idea if you want to make deeper sense to the story)

they tried marrying the storytelling formulas (stand-alones and overarched) in S2 and S3, but it wasn't noticeable, remarkable, and didn't raise the fandom's ire too much - still not rocking the actual important boat, which is offline view on the actual show (kids stand-alone, just turn your brain off and enjoy!) (which, in fairness, Thomas worked on Totally Spies, and that show had some success). it was egregious when it became obvious and contradicting (bc tying all the episodes's lore details is REALLY the true detective work), WHILE STILL WORKING WITH STAND-ALONE FORMULA! (some speculation on my part: some leaks didn't help with the writing process; different writers for different episodes (good idea for brainstorming, bad idea for the core characterisation and story); and... well, they certainly aren't good, or at all, detectives, or long-time planners - i mean, you plan several seasons, but not the finer details? the devils are in them, not in investors whims and wishes in order to get money).

but the desperate hope, masochistic curiosity and the endless possibilities of lore and story are already deep in our brains and hearts that we have to see thru the actual chaotic dumpster mess of the show and how it ends - some love it, some hate the ride, some cope with fanfics, some with rants, and some left the train and are somewhere else. the rest who remain... well hello there! make sure you get enough rests, snacks, beverages of your choice and some meditations (any kind) to witness all!

anyway, that's my pov.

The writers apparently always wanted to tell a more complex story, they just couldn't early on because they'd sold the show as not having one:

So Sebastien sold the Miraculous series to broadcasters as a formula show. A person gets angry, is akumatized, then marinette transforms into Ladybug then frees the person from the akumatization and… The End. It's also for this reason that Marinette tries to confess her love for Adrien in every episode, but is unable to do so. But he tried to go against what he had planned with TF1, by slipping little extra stories into certain episodes. Audiences were receptive to these slightly hidden stories. The TV channel even asked Sébastien if there really were hidden things in the series, but he denied everything. Thanks to the positive reception from the public, TF1 agreed to develop the characters of Marinette and Adrien and flesh out the universe a little more.

My tin foil hat theory is that this conflict is at the heart of Miraculous' problems. The writers keep trying to make the show they want to make instead of the show they can make within the limits set by the higher ups and so you end up with the worst of both worlds. A show that's too serious to just turn off your brain and have fun with, but a show that's also too underdeveloped to tell a serialized story well. (Supporting evidence for this theory: the script for Chat Blanc getting rejected for being "too dark" leading it to be in season three instead of season two.)

I get the frustration of being held back from telling the story you want to tell, I really do, but I'm of the opinion that you should tell the best story you can within the limits you set instead of trying and failing to tell the darker grittier story that you really want to tell, but can't because no one will pay for it.

Context for that last bit;

So Sébastien started working with Thomas Astruc (the man who wrote and created the "Ladybug" project). At first, he didn't want to work on this project because he found it complicated. Thomas wanted to make a series for adults, but at the time, it was very complicated to make a cartoon for adults. What's more, they didn't have enough money to take on such a project. Sébastien finally agreed, but there were some changes to be made, which Thomas accepted.

(Note this is from the same interview linked above.)

[iapetusneume]

So, a friend was venting about this in the Discord Server, and the result was an interesting discussion about disability in 40k. And I don't know how much it might have been originally purposeful, but I do know that later authors have definitely explored how characters interact with the world and with disability.

To ignore disability in 40k is to miss a huge aspect of the setting and it's characters.

In the grimdarkness of the future, you'll probably lose a body part.

There is a post somewhere on Tumblr that talks about how, if you need glasses/contacts/surgery to see properly, you have a disability. And there were a lot of people who were upset by this, saying that it was so common, how could it be a disability? But they're right - glasses or contacts are disability aids. A simple one to use, sure, but it's still an aid.

I bring this up because in our current day and age, needing glasses/contacts is not considered unusual. You don't see someone with glasses at the grocery store and be like "omg what is even going on."

And I feel like this attitude is to any sort of prosthetic/augment in 40k. There's definitely a discussion to be had about the quality of the prosthetic/augment, and how that can show class differences (which is very much a common theme in 40k), but their existence and seeing people with them is not unusual.

There are also many parts of the narrative that does deal with the issues that arise from this. Maintenance, malfunctioning, replacement, sometimes phantom pain. There are a few people whose bodies reject the prosthetic/augment, and so their disability becomes more severe.

It is also brought up that, in more idyllic sci-fi, this is less visible. There can be many reasons for that. I think it was part budgeting reasons that in The Empire Strikes Back Luke's hand looks so surprisingly like skin. I'm sure part of that inspiration came from the desire to not want to have to deal with an extra costume issue for the future.

I wonder how often in live-action sci-fi that this was done. Or throwing a glove on a hand like Luke does in Return of the Jedi to hide that his fake skin on his hand was damaged.

But Warhammer started out with written descriptions and drawn illustrations, which gave a huge amount of freedom to imagining how the world would look. They were only limited by a writer's ability to describe a scene, or an artist's ability to draw it. There wasn't the restrictions of what practical effects could do for live action, or budgeting, or Actual Physics. Prosthetics/augments could be wild and crazy and common.

Time has gone on. We now have animated episodes and so many video games, and characters having prosthetics/augments are a part of the setting. At this point, it would honestly feel weird to look at a group of people (and this includes space marines out of armor) and not see at least a few people who have something.

It's as common to us as wearing glasses, and it sure as hell ain't virtue signalling.