#the showrunner and actresses are supportive

[xxseason3xx]

I think one of my favourite things about warrior nun is that it’s brought the old Clexa fandom back together. Like I see all the same accounts who used to make candle jokes and invented a different metric system making gif sets and art about Avatrice now and it was ridiculous but it brought me so much joy and I thought I’d lost that forever. the energy right now feels like 2015 on tumblr but we’ve all grown up

(I think most of us were in the Supercorp fandom but after that everyone kind of split off into smaller fandoms and I haven’t felt the sapphic internet this united in a very long time)

[tevanbegins]

My beloved Bucktommies, hear me out for I have rambled about some important stuff ahead related to Tommy's comeback situation for S8:

Let's not forget that the Access Hollywood interview with Lou Ferrigno Jr. and Oliver Stark would never have been arranged if Buck and Tommy's love story wasn't meant to be long-term, or continue developing further into the next season. It was a small but still a very crucial piece of press.

Why? Because it's not like it was done right after 7x04 when the hype around bi-Buck was at its peak. Instead, it was done during the second-half of the season, that too when the Bobby-focused episodes were airing. Plus, it was a major TV network interview, not some random podcast/youtube interview!

Also, they could have only had Oliver out there if the showrunner or PR team thought Lou as Tommy was inconsequential to this storyline. They evidently wanted to create buzz not only around Buck's bisexual arc but around his romance with Tommy as well, with this press. Why do all of that if the character was going to disappear shortly?

I am not clear about how it all works but I am sure Tim and his team must have discussed Tommy's future when they decided to extend Lou's contract beyond the pre-decided 4 episode appearances last season. Because why even bother showing that tiny dinner scene with Tevan in the finale if they didn't want to show us where the relationship stood?

And don't let the naysayers get into your head and compare this with the happy Buck-Natalia scene from the season 6 finale and how she was written off after that. Remember that the writers supposedly wrote that episode as a possible series finale given the uncertainty around the show's future after Fox cancelled it. But then ABC picked it up and the writers had to resume the storylines from where they had left them off.

The actress playing Natalia refused to come back, probably because I am assuming she thought her part was done and the show was supposed to end and so she took up other work. Plus there was the whole strike thing too in between. She was just a supporting character and her contract extension may not have been under consideration while they were filming season 6, because they didn't know for sure at the time if another network would renew them for a new season. And because of her refusal they had to scrap that storyline later.

The situation is quite different with Lou. The season 8 renewal announcement came early when the first-half of season 7 was on air. Therefore, Tim and the writers have had the luxury to put some plans in place for the upcoming season in advance because the renewal was official. And this must include whether or not they wanted to keep Tommy around post season 7!

And if Lou agreed to do 2 more episodes last season, I believe he must have agreed to be there for season 8 too — because if the last two episodes of S7 have served any purpose, it has been to tell us that Buck and Tommy are going strong and even the firefam approves of their relationship, deliberately cementing their relationship status as they move forward into the upcoming season.

So this can't have been all for nothing. The only reason Tommy wouldn't be in S8 is if Lou himself declined or if the filming dates were clashing with his other projects, none of which seems to be likely given the points I have discussed above. Besides, we all know how deeply invested Lou is in playing Tommy and passionate about his storyline with Buck. He wouldn't quit a role that's clearly so important and dear to him just because of the BoBs' stupid vendetta against him; he has big dreams for his career to let this childish hate towards him get in the way of a good opportunity. And he knows and sees how much we as his fans love, support, and appreciate him!

So to conclude, I have faith Tommy will be back! He has to be!!! 💫

___

[tuttle-did-it]

Well. This explains a fuck of a lot, doesn't it?

A few highlights from the Rolling Stone link above:

"The sources and the HR complaint paint Blackman as a manipulative and chaotic showrunner who fostered a toxic workplace by pitting staffers against one another; creating an environment of fear and distrust; taking credit for other people’s work; and allegedly making lewd remarks that sources say they found to be sexist, homophobic, and transphobic. (Blackman’s behavior was also mentioned in two other complaints made by a writing-team member and an actress, Rolling Stone has learned.)"

“From the get-go, it was one of the worst jobs I’ve ever had in my life,” says a Season One source.

In text messages provided to HR, he wrote, “Elliot wants to come out as trans on the show. As Ivan. Oh my fucking God. Kill me now.” (Ivan is the formal name of Page’s character’s original name; the show ended up using the name Viktor instead.)

Throughout the show’s four seasons, sources claim to Rolling Stone, Blackman would make what they viewed as homophobic and transphobic comments, including juvenile and perverse commentary on individuals’ sexualities and wondering aloud about people’s anatomies. “He found it very funny, like the butt of a joke,” one says. Again, sources claim, Blackman was clever in the art of the spin, attempting to pass off inappropriate comments as harmless jokes and innocent questions.

“He could be very good at dropping something that starts to be transphobic or homophobic, like, ‘They’re a he/she,’” a second staffer says. “But then [he’ll say], ‘It’s all good, I support it. It’s awesome, live your best life.’ ��� He toes the line of seeing who will join in and laugh with him, and then if nobody does, really skillfully backpedals.”

Blackman would also make sexist, lewd, and disparaging comments, such as remarks about female staffers’ breast sizes and wondering aloud about their sexual proclivities, sources and the HR complaint claim.“She’s relentless,” Blackman allegedly texted one staffer about another, according to texts that were provided to HR in the complaint and reviewed by Rolling Stone. “I’m sure that’s good for certain things… but in the room it’s exhausting. But … the rack.” 

[9lives2mics]

What are your thoughts on how to support Melissa going forward?

The Book of Carol has been an absolute disaster for Carol and Melissa fans, and season 3 filming is already underway. Melissa wants to play Carol and she wants to work with Norman, so I want to support her. But I actively don't want to support everything else about what this show is doing to her.

It feels like most fans who are left vocalising their views are the ones who still feel positive about the spin-off. I really want to know more about the thoughts of those of us who are more critical of it, because I just don't know what the best thing is to do here.

Mental health wise, it's probably easier to withdraw from the future of TWDU entirely - to not watch season 3 and to not be invested in it anymore. But again, Melissa is still there, and she needs allies, and she needs people who genuinely respect her to see her for her work. It makes me so sad to think how hard she works and nobody is watching - all because her colleagues have pushed us away.

I just want to hear from more people who care about Melissa about how we're responding, and how we can support her.

Hello, dear Anon. I'm sorry this is affecting your mental health. You're right that Melissa deserves our support. I answered this question in the latest podcast episode.

The condensed version of what I said is that your voice matters. It's easy to feel discouraged sometimes, especially when you're speaking up about something important to you. But if you have the capacity to speak up, now is the time.

The teaser + David Zabel's latest comments continue to show us that he has no intention of giving Daryl and Carol a compelling story. Worse, his writing for Daryl and (especially) Carol is downright disrespectful to the characters.

When you're sharing feedback online, remember to be very specific about what changes need to happen for you to stick around. Center your posts around Melissa and Carol. Talk about why her character is important to you. Here are some pointers to keep in mind.

Please remember to take care of yourself too.

For us, it's important that the leadership changes. It's also important that Melissa McBride gets equal billing, an inclusive title, and a showrunner who respects her character and doesn't write her to be a piece in the male protagonist's story or, worse, doesn't make her pick up the pieces of the male protagonist's story.

Carol Peletier broke stereotypes and gender norms. She was the central focus of some of the highest-rated episodes of TWD. She can draw in audiences from different demographics. She's consistently proven to be one of the most resourceful female characters of the flagship show and beyond. And all of this is because Melissa McBride is an intuitive actress with a rare talent and ability to effortlessly tap into the depths of Carol's psyche. She's also a PR person's dream because she's an eloquent and charming speaker. She has a spotless reputation and the ability to garner audience loyalty that builds the audience base for the creative projects she is a part of.

She deserves respect on her own fucking show.

A showrunner who elevates her and writes compelling stories for Daryl and Carol is the only way to ensure the show's ROI and audience retention. We have no interest in investing in S3 otherwise.

— Shalaka

[renthony]

🏳️‍🌈

omg yes please

(Drop a 🏳️‍🌈 in my inbox and I’ll respond with a queer media recommendation!)

This recommendation is for something I keep thinking is more well-known than it is--the graphic novel series DeadEndia by Hamish Steele, which was adapted into the Netflix series Dead End: Paranormal Park!

The basic premise of both is that the main character, Barney, a gay Jewish teenage trans boy, gets a job at a theme park housing a magic elevator that can travel between the 13 planes of reality. There are angels, demons, magic, and a phenomenal cast of diverse characters that fill my heart with so much joy.

I got to the show first, not long after season one released. The show was cancelled after season two as part of Netflix's war against queer television, so after watching the show, I knew I needed to check out the source material.

There are differences between the two, but Hamish Steele was the showrunner, so the spirit is the same. I love them both and I think it's a goddamn tragedy that we were robbed of further seasons of the show. The third graphic novel released after the cancellation, and was dedicated to "everyone who has ever had their favorite TV show cancelled." I don't know what exactly the crew had planned for season 3--because Hamish Steele said on Twitter that they were already working on it iirc--but the third book concludes the story beautifully. If you got into the show and wanted to know what was coming next, do yourself a favor and read the comics.

Here's the plot summary for Book 1 - The Watcher's Test:

Barney Guttman’s life has been turned upside down. His family is struggling to fully embrace his trans identity, but thanks to his best friend Norma, he’s just landed a job at Phoenix Parks, a Dollywood-esque amusement park inspired by the long life and career of mysteriously youthful actress and singer Pauline Phoenix. Soon, Barney and his dog, Pugsley, secretly move into the haunted house attraction. Little does Barney know, the house contains a portal to the demonic planes of Hell. When Courtney, Barney’s devilish new roommate, invites a demon king to Earth through the portal, they offer Barney and Norma as flesh vessels for the king, but in a strange twist, Pugsley is possessed instead! It’s a race through the park to save Pugsley—and the world—from the demon king’s reign of terror that leaves Pugsley with strange and magical side effects. With all of this chaos going on, Barney is also discovering he has crush on park employee, Logan, so he must face his biggest fear of all… talking to someone he likes.

And here's the trailer for the first season of the Netflix show:

I absolutely adore this story in both its forms, and I think more people should check it out. It makes me happy, and I find it hugely inspiring. It makes me want to go work on my own art, which is pretty much the highest praise I can give a piece of fiction.

Ask For a Rec | Other Media Recommendations | Support Links

[wixelt]

Lotta vitriol over the Miss Wednesday casting for Season 2 of One Piece going on in my feed right now...

Okay look, there's a not so cool precedent for Indian actors being used to stand in for Arabs, and maybe on some level with everything else going on in the world right now casting an Indian actress as a character with strong Arab influences in her home nation wasn't the ideal you were hoping for, and might even be a slight political misstep by the showrunners. From that standpoint an Arab actress might've been better, and there are reasons to be upset.

But maybe there's a point where you don't flood the Internet with anger (though yes, I get how silly of an ask that is).

More importantly, though, don't fucking make the blanket statement that everybody who actually likes this casting is supporting racism or genocide (this is an extreme example, I have thankfully only seen one person do this).

You're within your right to be discontent with the casting from a political perspective, as unfortunately that can never be fully disconnected from the creative side, as much as I wish it could be. Arabasta/Alabasta/whichever localised name you prefer is Arab coded, and on some level I think an Arab actress would've been a good pick for story and real world reasons (I want to believe that if there had been an Arab actress who fit better, she would've gotten the part).

On that creative side, though, some of us just saw Charitha and decided we could see this being Vivi. Ultimately if Oda - whose political beliefs we know nothing about - wasn't okay with the casting - if there was some critical creative problem with casting Charitha Chandran in the role - she would not have gotten it.

So maybe - real world politics aside - she is the best fit.

Whatever your reason for disliking this casting - and again, there's nothing wrong with being upset - please let Chandran play the part and be judged on her acting before you write her off completely because the politics and precedent are more than a little unfortunate.

(Also, apologies to my usual audience, for whom this is probably very out of left field.)

[denimbex1986]

'As David Tennant bursts back onto screens for Doctor Who‘s 60th anniversary, he’s also made his solidarity with the LGBTQ+ community clearer than ever.

The 52-year-old star features alongside former co-star Catherine Tate as Donna Noble in the trio of Doctor Who specials from returning showrunner Russell T Davies. The cast also includes trans Heartstopper actress Yasmin Finney as Donna’s daughter, Rose.

Finney’s prominent role in Saturday’s (25 November) episode “The Star Beast” sparked fierce reaction with LGBTQ+ fans praising the inclusion and bigots (as usual) sharing their fury.

Tennant’s three-episode run – which has already involved a heartfelt conversation around correct pronouns – kicks off a new era of Doctor Who which promises major LGBTQ+ talent as Ncuti Gatwa takes over as 15th Doctor this Christmas.

From Drag Race icon Jinkx Monsoon to musical theatre star Jonathan Groff, there’s plenty in store for queer fans.

Throughout it all Tennant has remained a steadfast ally, so here’s five times the acclaimed actor has showed up for the LGBTQ+ community throughout his career.

David Tennant making waves with trans Tardis pin

In the lead up to the Doctor Who 60th anniversary, Tennant appeared on The One Show and The Last Leg earlier this month where the Scottish actor was spotted wearing a trans flag themed TARDIS badge as a small act of solidarity with the trans community.

Naturally, fan praised the actor for his initiative, but the wholesome saga doesn’t end there. The badge creator, Dr Jamie Gallagher, soon announced on Twitter that over £18,000 had been raised in badge sales and all proceeds would be going towards LGBTQ+ homeless charity AKT.

Humbly reacting to the joyous news, Tennant later said while he couldn’t take “any credit”, the badge perfectly “suits what Doctor Who is all about”.

It’s not the first time Tennant has showed his support through the medium of pin badges. Earlier this year eagle-eyed fans spotted him wearing a non-binary Pride badge on shows such Saturday Night Takeaway, The Graham Norton Show and This Morning.

Unapologetically standing up for trans children

In July this year, Tennant took his pro-trans message one step further during the press run for Good Omens season two.

In a viral image, fans caught a glimpse of him sporting a black t-shirt with a crystal clear pink hued slogan emblazoned on top. “Leave trans kids alone, you absolute freaks”. We love to see it.

The top, which comes from online store Crooked, caused a stir online with many fans flocking to social media to share their joy. Around a similar time the TV star was spotted wearing (yet another) badge with the pride colours and the words: “You are safe with me.”

The pin badge managed to rile up anti-trans activists Posie Parker and Graham Linehan who launched separate attacks on Tennant, insinuating he is a pedophile and “groomer”.

But this hasn’t deterred Tennant, who continues to stand up for trans rights.

Delivering an emotional speech during Pride month

During Pride month this year, Tennant appeared on the Ed Miliband’s Reasons To Be Cheerful podcast where he praised the importance and joy of Pride month in modern day Britain.

“Do you know what’s making me cheerful at the moment? It’s Pride month,” he told the podcast.

“The fact that Pride Month is existing and is flourishing and is something that’s happening at a time when the world seems to be getting in some corners worryingly intolerant and weirdly backward.”

As usual his words impacted LGBTQ+ fans who shared that his powerful statement moved them to tears.

“We can’t take our foot off the gas,” the actor continued. “We can’t expect that we will always travel in the right direction towards acceptance. We’ve all got to be fighting that fight every day.”

It’s a message echoed by his wife Georgia, who shared her solidarity with the trans community in October after an attack by prime minister Rishi Sunak. “To the trans community, I stand with you now and always. I, like you, am going nowhere,” she said in a post on X.

Spreading the message of inclusivity in his TV series Good Omens

Doctor Who is not the only sci-fi, fantasy world Tennant has inhabited this year. After four years, Prime Video finally dropped the second season of Good Omens which sees Tennant playing demon Crowley opposite Michael Sheen’s angel Aziraphale.

In a wild turn of events, after huge fan speculation, Crowley and Azirphale made their romantic tension explicit after sharing a dramatic kiss at the end of the season.

Although fans will have to wait until the (still to be confirmed) third season to find out if the loved up couple will finally get their acts together, Tennant has no doubt about the importance of inclusivity in the series, which he spoke about during an interview with the RadioTimes podcast.

During the interview, he explained that the show delivers a message for “this fractious moment” in society that earth can be “quite a nice place to live”.

“That’s why this show connected with a certain group of people,” he continued. “There is an inclusivity to the world view of Good Omens, there’s a joy in celebrating whoever you happen to be.

“And that’s something [creator Neil Gaiman] is very keen to communicate: a message of kindness and openness. That is why the tone of Good Omens is positive, open, joyful and fun.”

Once an ally, always an ally

Tennant’s allyship hasn’t just started over the past year.

As far back as 2008, during his stint as the 10th Doctor, he hit back against the idea that dressing flamboyantly and being called “gay” is an insult during an interview with The Telegraph.

A few years later, in 2012, he showed his support for a Diversity Role Models campaign tackling homophobic bullying.

“It is essential that young people have the opportunity to meet role models from the LGBT community to help break down the stereotypes and prejudice that lead to bullying,” he said at the time.

A decade later, it’s no surprise David Tennant has consistently proven himself as an LGBTQ+ ally, through and through.'

[t1gerlilly]

I’ve seen a number of posts dismissing discussions of racism in the new storyline out of hand. To the point where I have no idea what the original criticisms were. And I think that’s really unfortunate. Partly because it feels like there’s a part of our community we’re not listening to and partly because I have some questions on the subject and would really like to hear what people are saying about it, but I’m clearly not following the right people.

I think folks forget how important Eddie is as Hispanic rep. Although 25% of the US population is Hispanic, only 3.3% of lead roles in TV are played by Hispanic actors (source) They’re also only 1.6% of showrunners and 1.9% of directors. And they are also under 5% of executive or management roles in media (source). So there is clearly a systemic problem.

But how does that apply to 911? Well - Carlos on lone star is notorious for having the least screen time of any character, despite the fact that his character is the closest to Athena in terms of role. And Eddie? Well, the latest I could find was season five totals - and Eddie and Chim, the non-white or black men, were bottom of the barrel. To really establish a pattern, you’d want more than two shows, but at least across half a decade of shows, the pattern is pretty consistent. I’m not making an argument about the reasons for that, but those are just the numbers. If I were to speculate, I’d assume it was a combination of who the network exec, showrunner, and executive producer was, since they have the power to make decisions. Just coincidentally, their racial identities mirror the screen time of the characters? Hmmmm

So then let’s look at who does press for the show - making themselves more visible…yeah, that’s largely Oliver. And you can say that’s because he’s a POV character- but you might be surprised to learn that in many seasons either Hen or Athena had more screen time than Buck. Yeah. Really. But you NEVER see Aisha put out to do press the way that Oliver is.

Why is that? Is it because she’s a black woman? Because she plays a queer character? And who is making that decision and why? Because that lack of visibility impacts her personal career. Same thing with Ryan Guzman and Kenneth Choi, who both have less screen time AND less press.

But in particular- and this is the rub - Ryan has CLEARLY been making intentional acting choices FOR YEARS to shape his character and his dynamic with Buck as queer. Oliver played into them, thinking of them as natural chemistry- but it’s clear that other creators on the show - notably the directors and writers, picked up on Ryan’s choices and fan reactions to reframe the dynamics and the characters.

And it’s really clear that Tim originally intended to have Eddie come out, but the poor reaction to Natalia and the fact that the actress was unavailable led him to switch the storyline to Buck. All of which is perfectly understandable.

But if there’s one person most responsible for the reason we ultimately got bi!Buck, it’s Ryan Guzman - for the bravery and perseverance of his choices as an artist. It’s amazing to me that in all the praise for Oliver saying that he “would have” leaned into Buck as queer even without the go ahead…no one has thought to praise the actor who actually DID THAT - for YEARS- when he was in a much more precarious position as a character and an actor. Like really take a minute to look at what that took…he was risking his livelihood with that choice.

And then, when the show DOES finally make it canon…who gets the praise? The buzz? The support? The white guy who was mostly oblivious for the past five years. Like…how is THAT fair?

And OK, the original plan was for the helicopter pilot to be Lucy, and that fell through so they reached out to Lou, because Tommy was a former character- but also quite likely because he looks a good deal like Buck - and the SL was supposed to have that character be a stand-in for the other half of Buddie. When they switched to Buck, they had to make Tommy have similar hobbies to Eddie to establish the similarities, since they couldn’t rely on looks.

But that meant they totally whitewashed the story line. And if you want to talk about firsts - when has a Hispanic lead come out as gay or bi? And how many of them were men? And how many were over 21? And on a mainstream show?

And no, it wasn’t intentional (just a function of having so many more white characters than Hispanic characters), but it was unfortunate. Not to mention the intersectionality of it all.

So…I honestly think there’s a decent basis for critique there. Not a “these people are terrible” critique, but a “not paying attention to diversity systemically” in a way that lets unconscious bias have the same impact as deliberate bias.

And I really wonder at the people who just dismissed the entire discussion - how hard did you listen? How willing were you to hear what people were saying? Because this is an issue that has to do with real people, their careers, their hopes, dreams, and identities. And you should be willing to listen.

[wasted-women]

ROUND 1C, MATCH 1 OUT OF 8!

Cause of Death & Propaganda Under the Cut:

Allison Argent

Cause of Death: Stabbed by a demon

Propaganda:

She's so cool! She fights with a bow and arrow, she has complicated feelings on her werewolf boyfriend and is allowed to work through that, she's best friends with another girl who's also a banshee (should've dated her) and one of her first scenes is her hitting a dog with her car and bringing it to a vet(she's a mess! She's caring)

she was the protag's girlfriend and only died because the actress had to leave the show. it left a hole in the show that they never really managed to fill, and she is only really brought up to say "let's do this, it's what allison would tell us to do" or "I wish she was here." her father stays on the show and helps them in her memory but he and the protag suffer and learn from it the way most male characters in this trope do. she is brought back to life in the movie but it was mostly an excuse to get the cast back together again and took place years after the show finished. I don't really feel that it counts since she died in season 3 and the show had 6 seasons.

Jenny Calendar

Cause of Death: Neck snapped

Propaganda:

Jenny is so beloved to me. She was sent to Sunnydale, California to watch over the vampire that killed her family (Angel), told that he was supposed to suffer for all eternity, but after he saved her life + after she spent some time with him and the people who cared about him, she realized that she'd changed her mind and didn't want anything to do with continuing a mission of vengeance -- especially since Angel's girlfriend Buffy was also the mentee/surrogate daughter of Jenny's boyfriend Giles! Messy! Despite this, when Angel lost his soul and it came out that Jenny had been sent there to watch him, Jenny was immediately blamed, even though she'd had no idea that Angel would turn evil and TOLD everyone as much! She decided to try and find a way to resurrect old magic and give Angel his soul back, and Angel killed her in retaliation. Parts of the fandom talk about Jenny's death like it was necessary/a good thing/a good writing choice, but I don't think it was. Jenny's death is talked about by the showrunners as "proving that anyone could die," and her dead body was placed in Giles's bed, surrounded by red roses, subsequently inspiring him to try to go on a suicide mission and kill Angel. When the kids are looking at a drawing of her dead body, one of them says, "Wow. Poor Giles." Her death is very clearly engineered to raise the stakes by emphasizing how sad it is for Giles to lose her, and before her death, nearly all of her scenes centered around being Giles's girlfriend/love interest. She was never given a chance to develop as a character, and the only backstory they gave her was designed to push her towards death.

Amber Volakis

Cause of Death: Organ failure after bus crash

Propaganda:

This show likes to introduce new casts of supporting characters and cycle through old ones (some of them leave, some of them stay in reduced roles, and sometimes they come back into a main role later, but sometimes they don't) and I do like that. Amber was probably one of the best ones introduced in the row of new characters in Season 4 and even stayed interesting after being fired. I wasn't a big fan of her dating Wilson but it wasn't the worst thing. And then she was killed off. And her death basically only existed to make Wilson sad, or House sad and "crazy", and just. I don't know. It sucked that her death even happened when she had so much more potential as a living character!

[coal15]

My opinions on the whole multi-shipping Buddie and Tevan situation. But first, [steps up on soapbox and yells into bullhorn] HAVE NO BEEF WITH ANYONE WHO FEELS DIFFERENTLY THAN ME SO I'D REALLY APPRECIATE NOT GETTING ANY "YOUR OPINIONS ARE STUPID AND PROBABLY SO ARE YOU" COMMENTS IN MY REPLIES. **If any such comments do appear in my replies I would ask the rest of you to please simply ignore them. You won't change their minds so confrontation will do nothing but further poison the waters.

Ahem. Carrying on. Warning, this post is LONG. Like, practically a novella.

I'm still a multi-shipper at heart in the sense that I will always love my memories in the Buddie fandom and how vocally we showed our support over the last six years--yes there was a SUPER PROMINENT contingent among us who directly engaged with and verbally disemboweled every actress who played a li on a regular basis, (and who harassed Oliver to the point of him quitting twitter) but most of us had the sense to direct our ranting at the fictional character or writers/showrunner/network with varying degrees of anger or indignation. Now speaking just for myself, in my time as a Buddie fan I never commented on the physical appearance of any li, so seeing a lot of buddie-or-bust folks now referring to Lou as "ugly" "rectangle-faced" "gross looking," etc has been disappointing. I hope they represent the minority. So far it looks like they do.

On to my reasons for and/or role in shutting down non-Buddie romances: While I never took to engaging her personally, I voiced harsh criticism of GW over her "honorary latina" comment, likewise EG for her transphobia and non-apology apology ("I'm sorry if you felt offended). And while I wish bucktaylor had stayed besties (preferably bi besties since there was no reason Buck couldn't have his bi awakening with a woman), my issue with them dating was at first just a lack of romantic chemistry and the fact that Taylor never apologized for what she did to Bobby or even admitted it was wrong. But as the relationship dragged on I watched the life drain out of Buck. They were stagnant as a couple and the look on Buck's face when he said ily back to her was . . . laughably unromantic. The only growth his character got from that relationship was him being the one to end it. As for eddieana, on top of lacking chemistry they were just plain dull. The end.

Moving on to Buck's kiss w/Lucy: I actually like AK and was excited to hear about her coming to 9-1-1. She was fun af as Lexi on VD so I was looking forward to seeing her play a different character. Aaaaannnnnnd then KR immediately ruined her by making it abundantly clear that she was created for one sole purpose: to complicate a man's storyline and spark off a love triangle--and she did so in the most offensive way possible. It was appalling, negatively affected Buck's character, and thankfully KR's response to the intense backlash was to pivot so the love triangle never manifested. But the damage was already done. No one had any interest in watching them poke/flirt for the rest of the season. I was deeply offended by such a misogynistic use of a female character and it still boggles my mind that a woman created her.

Anyhow, all this was a long winded way of saying that my reasons for wanting those li gone went well beyond my investment in Buddie. Though I did strongly believe no romantic narrative for either of them could ever compete w/the Buckley-Diaz Family, at the end of the day those romantic arcs were ruined for me by writing mistakes, problematic actresses, and lack of chemistry (which is admittedly subjective and something we all approach with shipper goggles to some degree--if you think you 100% absolutely don't you're lying to yourself). I stand by a lot of the reasons Buddies were so opposed to those li being endgame. Yes, plenty of us took things waaaaaaay over the line re: direct personal attacks against actresses and/or non-buddie fans, but I think far more of us than not did argue in good faith and toward the right people. We just didn't stand out as much or get as much engagement because . . . well, toxic behavior is rewarded on sm with more clicks, shares, likes, quotes, etc. Attention seekers gonna seek.

As for why it's so hard to ship happily on sm: in my experience a handful of problematic or outright unhinged fans (on both sides) will go around stirring shit, provoking arguments, and soon the dog pile effect kicks in because everyone wants to defend their tribe. Arguments go in circles, spin off, get more and more petty, until most of "us" end up discussing amongst ourselves about how "they" are a bunch of [insert string of negative attributes here], which then in itself provokes a reaction from "them." Lather, rinse, repeat. Eventually way too many of "us" are hissing and snarling at "them" more often than theorizing about or celebrating our ship . . . the thing we enjoy . . . and it's really hard to detach from that cycle, especially when things get personal. I recommend total non-acknowledgement, but even I struggle to hold that line when I read something I think is terrible. I'm making an effort these days to just keep scrolling thru my feed until I hit something happy, and if there's a negative comment somewhere in the thread to give it ZERO engagement of any kind. Not. Easy.

Which brings me to where I am today. During my time in the Buddie fandom I assumed that for most of us the actual queer rep mattered more than any one ship. Hell, if Taylor had been the one to wake Buck up to his bisexuality--and admitted what she did to Bobby was wrong--they might have grown on me as an endgame couple. I've accepted "meh" endgame couples before as long as everything else on a show stayed solid. I also thought that Buck could never, ever look at anyone with bigger hearteyes than the way he looked at Eddie, but . . .

. . . Enter Tommy. As soon as they kissed, and in their albeit limited screentime afterward (thanks a lot shortened season!) I learned a lesson: there are different kinds of hearteyes. In my opinion Buck looks at Eddie with complete adoration and love, yes. Total hearteyes. But the way he looks at Tommy is . . . "Oh, that's what Buck looks like when he's absolutely smitten, that's how he acts, that's what a romantic crush looks like on Buck. Wow." It wasn't better or worse than his hearteyes or vibe with Eddie, just conspicuously different. It re-framed the way I see the Buckley-Diaz Family as well, and the way I read their chemistry. As I mentioned earlier chemistry is subjective, and once I actually had something queer to compare with Buddie's chemistry, I stopped rooting for romantic Buddie. I wouldn't exactly be furious if they went canon since I did spend all those years rooting for them and it would still be a high profile queer storyline, but I would rather see the Buckley-Diaz Family and Tevan coexist. I think they can, and I think it would be beautiful.

So here's where I stand with my preference and opinions today:

Falling in love doesn't mean everyone else in your life gets demoted. Feelings aren't like pie. Maddie doesn't love Buck any less since she fell in love with Chimney. Athena didn't love her daughter any less when her son came along. There's not a finite amount of love and you're serving out pieces of it. You can love more than one person with all your heart. And that's how I feel about Buck and the Buckley-Diaz Family. He and Eddie are more than friends, different than brothers, they just . . . have their own dynamic. It's unique, special, and vital to both of their identities. And those facts will not be altered by either of them falling in love w/another person. If anything, the Buckley-Diaz Fam has become more special to me since I started rooting for a Tevan endgame.

Queer rep matters more to me than Buddie. Buck coming out as bi wasn't and shouldn't be seen as a step on the road to "winning" the ship I wanted for years. It is completely awesome progress for us whether they're endgame or not. Ditto for Tevan. Also, at the end of the day I ship Buck+Happiness and Eddie+Happiness, and right now Buck seems to be falling for Tommy. What happens with Eddie remains to be seen.

Looking at the whole picture, I will always love Buddie and kinda wish they'd gone canon in s4 or 5, but I think that moment has passed and I'm not mad or bitter about it. I adore the Buckley-Diaz Family, I adore Tevan, and I want to see them both thrive in s8. Now if you'll excuse me, my fingers have begun to bleed from all this typing.

[jadelotusflower]

So I finally watched Andor...

...and naturally I have thoughts (hey, it’s me). Maybe they're belated, seeing as this show was released almost two years ago, but I've been on the outskirts of the Star Wars fandom for a while now. This in and of itself isn't usual - I tend to drift between my core fandoms in phases, but since TLJ the GFFA hasn't really been a pleasant place to be so I haven't really had a reason to drift back to it for any length of time.

Which isn't to say I've avoided Star Wars altogether, dipping in when something piques my interest like Obi-Wan Kenobi (which I liked aspects of but ultimately felt like just a setup to the show I actually wanted to watch), and have absorbed some of the rest through cultural osmosis. Andor is a show I've been meaning to get to for a while, although it has been praised to the point of being overhyped (and there was a whiff of Not Like Other Star Wars to the critical reception) so I was concerned it would not meet expectations.

But I was pleasantly surprised as how much this show felt spiritually and aesthetically in tune with the original trilogy, and especially A New Hope, as opposed to Disney!Star Wars. Even if the tone and content of Andor is very different, it feels in conversation with the OT in a way the rest of Disney’s output has not - building on the story we already know, rather than trying replace or rewrite it as something else.

Aesthetically, we have the 70's vibe of the set design and costuming in middle-class Coruscant, the stark white jumpsuits and surrounds of Narkina 5 evoking Lucas's early film THX-1138, even the way we are plopped right into the middle of the story with very little exposition, but still eased into the narrative is very reminiscent of the first act of A New Hope. Thematically, of course we’re seeing the Rebellion in its earlier stages - small disparate cells of seditious activity directly acting against Imperial interests that will become the somewhat ragtag but nonetheless organised and unified Alliance.

While Star Wars was a cinema pastiche throwback to Flash Gordan serials and Campbell’s hero’s journey as an antidote to the grimdark antiheroes of the 70’s, in many ways Andor brings things back full circle to the grit of neo-noir. It holds a mirror up to the OT and lets us see the other side of the coin - and the full cost of victory. So many people have to die for Cassian to make it to the Rebellion - just like Cassian himself will die for the Death Star plans to make it to Leia, like Obi-Wan will die to ensure those plans make it to the Rebellion, and squadrons of rebel pilots will die so Luke can ultimately destroy the Death Star.

A stone is dropped in a pond, and we see the ripples but the stone itself sinks.

Overall thoughts

Tony Gilroy is the showrunner here, a veteran screenwriter notable for the Bourne films, and we can certainly see this influence at work. He also wrote The Devil’s Advocate, which is by no means good but I do enjoy in all its ott mythological monologues-and-accents glory, and seminal romcom (of my childhood at least) The Cutting Edge. He also wrote and directed Michael Clayton, which I have not seen but was nominated for several Oscars, including Original Screenplay, Director, and Best Picture (Tilda Swinton won for Supporting Actress).

Of course he's also a credited screenwriter on Rogue One, and I understand his contribution was mostly to the infamous rewrites/reshoots. I desperately want to read a full breakdown/bts of what went down with that film (well all of Disney-led Lucasfilm really) and see the deleted/original material, because I am fascinated. It's also interesting to note that Gilroy took over showrunning duties from Stephen Schiff pre-production. The show does very much feel like Gilroy wanted to make his own stamp on the Andor character and use him as a vehicle in his spy-thriller/political intrigue wheelhouse.

Reading some of Gilroy’s comments around the series had made me wonder how much of Andor being reflective/referential to the OT was intentional (on his part at least), and arguably Gilroy did overwrite the character of Cassian Andor so…there’s nuance. But as a story, to me it felt in tune with what I love about Star Wars rather than at odds with it, and that's what I appreciated most.

But first things first. B2EMO made it to the end! Finally, my expectations are subverted in a good way, because I love this little droid with all my heart. There are several key elements of Star Wars to me that separate it from other sci-fi/space fantasy and that is Jedi, distinctive aliens, and sentient droids. Obviously there's no Jedi here (nor does there need to be), my issues with the lack of aliens I'll address below, but when it comes to droids B2EMO fits right in, and we can assume is a precursor to Cassian's relationship with K-2SO.

Overall I thought the show was excellent (with a few caveats). What's impressive is the sheer number of characters and plots interwoven together, every conversation servicing character, the overall theme or setting something up that will pay off later, playing with coincidence and fate (the will of the Force), the interlocking domino effect. Arvel Skeen recognising the tattoo on Cassian's arm leads to a conversation of his history, but also sets up Skeen later offering to take and split the haul with Cassian (and getting killed for it). The raid on Aldhani triggers the Empire’s harsh new measures that gets Cassian sentenced to six years in prison, but also inspires the rebellion on Ferrix (via Maarva). The Aldhani heist is a triumph for Vel, but traps Mon’s financial contributions to the Rebellion by the Empire’s crackdown on banking, leading her and her daughter into an unwanted family alliance.

I'm a big proponent of Star Wars Dialogue is Good, Actually - not saying there's not clunkers or stilted scenes (the PT moreso than the OT) but there seems to be this weird consensus that Lucas-era dialogue sucks despite being some of the most quoted/referenced movies of all time. Lucas was creating a modern myth, of course a lot of it is arch and operatic. I love the dialogue in Andor too - which rightly gets high praise, and while it's arguably tighter, in many ways it's no more naturalistic than that of the Saga with everyone constantly speaking in metaphor, it's just pitched differently because this is a different genre (and the acting is uniformly excellent because they are actually interacting with each other and being competently directed).

There’s layers of meaning in almost every scene and subtle moments of foreshadowing that I really enjoy - Karis Nemik muses on the role of mercenaries in a rebellion that must use every tool and weapon at its disposal, and obviously Cassian starts out as that mercenary who will be pulled into the wider struggle, but this also foreshadows the importance of Han Solo - at first only out for the promise of a reward but ultimately instrumental in bringing the Empire down. But it’s not because he’s treated as a tool - as the Empire treats its workforce as tools - but because he’s treated as worthwhile, he’s valued as a person. The Empire casts people out while the Rebellion draws them in.

We also see this in the arc on Narkina 5, and the Empire’s tightening grip backfiring against them. In order to force the prisoners to speedily produce parts for the Death Star they work in close-knit teams, creating a close camaraderie ultimately allowing them to escape - because when you turn people into cogs of a machine, the machine can be turned back against you. Contrast this to the jockeying over position and territory and power in the ISB - they serve the Empire, but never at personal cost.

We see the Republic of affiliated systems from the PT turn into an Empire of conquered planets, where local cultures are subsumed into homogeneous Imperial rule. Even Corpsec is replaced by Imperial oversight, and we know that the Senate on Coruscant will be dissolved completely in ANH. But ultimately this ferments rebellion and unites the outcast and oppressed - the Keredians on Narkina 5 hate the Empire for their prison polluting the waterways, and so let Cassian and Melchi go. Cinta’s whole family was killed by stormtroopers turning her single minded focus to destroying them. The people of Ferrix respond to Maarva’s call and riot against the Imperial forces even though it will mean violent reprisal.

The Empire forges the weapons that will be used against them. As Nemik’s manifesto states: “The Imperial need for control is so desperate because it is so unnatural. Tyranny requires constant effort. It breaks, it leaks. Authority is brittle. Oppression is the mask of fear.”

And yet we're not there yet - it's important that this is still a Rebellion and not an Alliance, a disparate collection of segmented sedition with a myriad of agendas we see run by Saw Gerrara, Anton Kreegyr, Luthen Rael. They won't be a genuine threat to the Empire until they join forces, share resources and intelligence, and unite behind a collective goal. Although there may be sacrifices in this as well - Separatists, Partisan Front, Sectorists etc mentioned by Saw will either coalesce under the Alliance to Restore the Republic or be driven further to the fringes.

The thrust of Nemik's manifesto is that freedom is a natural state of being, while oppression is unnatural, and even though Andor has nothing to do with the Jedi it nonetheless echoes their philosophy: that the Force is in a natural state of balance, while the existence of the Sith who tap into the Dark Side upset this balance. As we see in Return of the Jedi, the balance is ultimately restored by the return to that natural state buffeted by the most powerful forces - friendship, love, sacrifice - forces that ultimately drive Cassian as well. While much has been said of the moral ambiguity and nuance of Andor, it's not incongruent with the OT, if anything it reinforces its power and message.

HOWEVER, I have my nits to pick - the lack of aliens is a serious flaw (and in particular, the lack of familiar aliens). In some cases they can get away with it and make subtle commentary - Coruscant is stark and grey as the centre of bureaucracy in stark contrast to the vibrant metropolis of the PT. Seeing the streets populated almost exclusively by humans where once it was a melting pot underscores the Empire’s segregationist policies. However the dearth of non-humans elsewhere - Ferrix, Aldhani, even the prison labour camp Narkina 5 - is disconcerting. These are places meant to depict the oppressive rule of the Empire and this undermines the strength of the rebellion as a group of diverse species fighting against the Imperial monoculture. It's odd, for example, that we see all the characters from Ferrix return except Vetch, the muscle employed "just to stand there" by Nurchi (a nice moment with Cassian!), and that Maarva's funeral procession seems entirely human.

Ultimately, I think the setup is much stronger than the payoff, and while I appreciate the slow burn, the show does have sometimes have difficulty juggling the plots. Once set up, characters are parked waiting to be incorporated into the narrative (it feels like we watch Syril stare at his cereal forever) and looking back not much actually happens to a lot of them- there are a lot of threads left hanging and not much resolution. Which is of course because this was only intended to be season 1 of 5, with each arc a year of Cassian’s life leading up to Rogue One. But sadly Andor has been given a second season only, leaving 12 episodes to wrap everything up, so ultimately I fear the show will feel like a slow setup and rushed conclusion, which is a real shame.

Cassian Andor

I’m went into this as someone who doesn’t really have a strong connection to Cassian as a character - I certainly liked him in Rogue One! But let’s just say he’s not my blorbo. And this not the backstory I would have expected for the character five years before Rogue One as someone who has “been in this fight since [he] was six years old.”

Diego Luna has such a charismatic presence and it is nice to have a more internal, insular character, but it’s kind of sad that Cassian is really the least developed character in a show ostensibly about him. It’s not really his story, but he’s the fulcrum (pun intended) around which most of the other characters pivot; this is a story of the rebellion of which he is just one part. So, I can see if Cassian fans may have been upset by his lack of focus, and I personally would have wanted to delve a bit deeper into Cassian Andor on a show called Andor, you know? And it does feel a little bit skeevy that the actual Axis (pun intended) of the show is Luthen in his middle age white man glory, with a whiff of Gilroy’s self-insert about him.

I do wish LFL would abandon simply naming their shows after the main character - presumably it’s for general audience recognition and algorithmic reasons, but my god how boring. If the show had been marketed as the ensemble it actually is I would take less issue with the lack of Cassian focus. But sadly I’m not sure we know that much more about Cassian at the end of the show than we did at the end of the first three episodes - or really, what it adds to his character and arc we see in Rogue One.

Yes he’s further radicalised by his experiences and is now presumably "all in" on the rebellion, but the events of the show are kicked off by Cassian searching for his sister which is a motivation that is all but dropped thereafter - although at one point I was half-expecting (dreading) it to be revealed that Luthen's assistant Kleya Marki was Kerri (and sidebar, Kleya - what a stone cold bitch! I love a stone cold bitch).

This plot will likely continue in season 2, but it felt a bit undercooked and too deep in the subtext given the prominence it had in kicking off the narrative. We get a flashback to Cassian’s childhood, but ultimately it feels like lipservice to his Indigenous heritage rather than true engagement since we don't see him reflect on it in any way, nor does it seem to have any impact on his choices throughout the series that seem primarily motivated by his life and relationships on Ferrix.

We get a strong start to Cassian and Luthen that peters out - he's intent on recruiting Cassian, but then writes him off when Cassian flees after Aldhani and wants him killed, then goes all the way to Ferrix for him, but is about to leave without actually doing anything? I know Luthen's meant to be ambiguous, but this is one area where plot is obviously driving things not character. I get that it was important for Cassian to be the one to go to Luthen at the end and choose the Rebellion unfetted, but the relationship is undercooked. I almost feel like the series is a procession of things that happen to Cassian rather than a journey I was on with him. There's external forces, but very little internal focus.

However, what I did love about the show was the thematic resonance that was happening on a macro and micro level - while the show as a whole is a mirror/reflection of the OT, we also see dichotomy in the character pairings that are mirrors and/or foils of each other in various ways - we have the two sides of the conflict being Empire and Rebellion (with Cassian stuck in the middle), and we are also shown conflict within those two sides.

Cassian is without a reflective character pairing because his true mirror is Jyn Erso, and seeing Cassian’s struggles here does give real weight to his “you’re not the only one who lost everything” speech - in many ways the show is his journey from being Jyn, to being the man who says to her “we don't all have the luxury of deciding when and where we want to care about something.”

Mon Mothma and Luthen Rael

The most obvious mirror/foil pair as the two sides of the Rebellion, although arguably we have a third prong in Saw Gerrara, and kind of a mirror in Luthen as Cassian’s mentor as Saw was Jyn’s - and I do wonder about the show that was a two-handed prequel with Cassian and Jyn growing up in different factions of the Rebellion, but alas.

The artifact Luthen gives Mon represents “a sun goddess and a serpent sharing the same mouth” representing their differing philosophical approach to fighting the Empire. As mirror characters they are alike in many ways - both of the privileged class and living double lives on Coruscant, but while Mon makes political efforts to move the needle on the Empire's activities in the Senate while also funneling money to direct but small rebel efforts, Luthen outright pokes the bear, sacrifices allies, and knowingly making things worse to swell the ranks of the rebellion on the hope it will speed up progress. There's more than a hint of the incrementalism/revolutionary dichotomy here.

It also raises a lot of interesting questions without (rightly) providing many answers - the struggle of the oppressed, the moral weight of insurgency and revolution. Is it right to intentionally provoke an oppressive power into reacting with violence in order to fuel a greater pushback against them? Is short term suffering justified if it achieves eventual victory, and is it right for the few to decide what is a justifiable sacrifice? What are our responsibilities to each other under the threat of/struggle against authoritarianism? As social commentary it's more timely than ever.

Whether Mon or Luthen is right for the viewer to decide, although as Leia tells Tarkin in ANH: "the more you tighten your grip, the more star systems will slip through your fingers." On the other hand, we know Mon survives to the end of the Empire while Luthen (I assume) will not. She will become a leading figure in the Alliance, and eventual Chancellor of the New Republic, while he will be another stone at the bottom of the pond.

This is foreshadowed in the dialogue (with a direct mirror reference):

“I’m condemned to use the tools of my enemy to defeat them. I burn my decency for someone else’s future. I burn my life, to make a sunrise that I know I’ll never see. No, the ego that started this fight will never have a mirror, or an audience, or the light of gratitude."

Arguably however, the mirror is the show - we are the audience.

We know Cassian joins Luthen at the end of season 1, and will meet Mon in season 2, so it will be interesting to see him struggle between these two philosophies, although we can infer from Rogue One that he aligns himself (out of necessity) with Luthen's veiwpoint:

"We've all done terrible things on behalf of the Rebellion. Spies, saboteurs, assassins....And every time I walked away from something I wanted to forget, I told myself it was for a cause that I believed in. A cause that was worth it. Without that, we're lost."

Ultimately, the Rebellion needs people like Luthen and Cassian to make not only the physical sacrifice, but the moral one as well (noting our first introduction to Cassian is him killing an informant so he can escape) - people who play the Empire's game so Luke can ultimately reject the Emperor's.

But I had mixed feelings on the Mon Mothma storyline. It feels a bit off for Luthen to be her entrée into the Rebellion, when we know she’s been on the ground from the very beginning with the Petition of the 2000 (cut from ROTS, but still canon I assume). She just felt very isolated and fragile which is at odds with her quiet steel that we see in Return of the Jedi and Rogue One. I could maybe see this Mon in the early dark days, but only 5 years before ANH? A scene with Bail Organa would not have gone amiss just to give breadth to her rebellious activities.

We get to see Luthen visit Saw Gerrara on Segra Milo, why not give Mon a scene with Bail to show she has other irons in the fire rather than relying on Luthen? In Saw we see the rough and tumble of disparate rebel factions, I would have liked to see the political machinations of Mon and Bail to serve the metaphor even further.

She is more than just a bank for the rebellion, and I think in the effort to contrast Luthen and Mon there was a bit of disservice done to the latter.

And Mon’s loser husband - ugh. Okay they’re in some kind of arranged marriage but there’s very little substance, nothing us particularly revealed about Mon by including him. Other than her cleverly using his gambling debts to deflect her rebellion spending at the end, the story wouldn’t really have changed by him not existing, and in fact would have been improved by focusing more on Mon’s difficult relationship with her daughter.

But on a purely shallow note, I want her wardrobe!

Dedra Meero and Syril Karn

In some ways Cassian and Syril are the narrative foils and there are parallels between them - their conflict instigated in the first episodes, their maternal relationships, both essentially exiles for the middle section before both end up back on Ferrix where Cassian saves Bix and Syril saves Dedra. But I feel Syril and Dedra work better as mirrors, and their arcs also parallel and intersect.

In the Empire, Dedra and Syril are two sides of the other coin (there's quite a few coins in this metaphor). Regimes need bureaucracy, and you have the true believers, the status-climbers, and those just going along to get along. In Dedra we have the talented star of the prestigious Imperial Security Bureau, and in Syril the over eager Corporate Security officer, two arms of the Empire’s control, although the latter we see becoming obsolete as the former gains more control.

But they're both middlemen who chafe against the inaction of their superiors, both desperate to rise above their station (although those stations are quite far apart). Throughout the series their plots are mostly in parallel; they are reflections of each other without even having met.

It's uncomfortable to watch both of them on screen - all unblinking stares, sucked in cheeks, and pursed lips - fittingly repellent. I’m surprised Gilroy has said he wrote Dedra to be relatable - she skeeved me out from the first, someone clearly ready to step over anyone and everyone if it served her purposes rather than someone gradually drawn further into an authoritarian regime. There's the slight subtext of sexism - there's only one other women in the ISB briefing and Pendergast alludes to it, but that certainly didn't engender any sympathy or admiration from me.

In episode 7 Syril’s mother Eedy says “Everything says something, Syril” and chastises him about tailoring his uniform (just as he did in the first episode, a neat little character tell), and immediately after we see Dedra donning her uniform perfectly in sync with the rest of the ISB. He’s trying to stand out from the crowd, she’s trying to fit in - or, from a different perspective, Syril adjusts his collar to resemble the Imperial style as a signifier of where he wants to be, while Dedra is already there and still looking higher.

But both are thinking outside the rigid Imperial lines and command structures, both on the hunt for Cassian - although for Syril it's personal and Dedra it's about climbing the ranks. Both take it upon themselves to investigate against orders, but Syril’s attempts are clumsy and random while Dedra’s are clinical and targeted.

She identifies that “systems either change or die” to push the ISB’s fragmented and bureaucratic inefficiencies into a cohesive power structure, but while it wins her approval it doesn’t earn her any loyalty; her troops abandon her to the mob on Ferrix. Inexplicably though, Syril does manage to gain the loyalty of Sergeant Mosk, who was also punished for the initial blunder on Ferrix, but ultimately draws Syril back there to in search of Cassian.

The point at which they first intersect in episode 8, Dedra is on an upswing, she holds the power and sends Syril further down, but when they meet again in episode 11, the roles are reversed as he is the one to save her from the mob.

I just hope they’re going somewhere more interesting than his creepy crush.

Vel Sartha and Cinta Kaz

One of the major faults of Rogue One was its Smurfette Syndrome, where Jyn is a great female character surrounded by men, but Andor has pleasingly course corrected from this. See what happens when you don’t have one woman having to embody everything and bear the weight of her entire gender in the narrative (and therefore, also bear the criticism)? Andor happily treats its women as characters, not faux-empowering meme-fodder. Although there is perhaps some valid commentary that it’s still white women on the whole - Dedra, Mon, Vel, Maarva - who get the meatier roles, and I have my issues with Mon’s characterisation, but one thing I will give Disney LFL credit for is it’s ongoing efforts towards gender parity.

In Vel and Cinta we have two more sides of insurgency - from wealth and privilege in Vel, the cousin of Mon Mothma struggling with the weight of it all, to Cinta with her cold fire and unwavering drive, her family killed by stormtroopers and for whom the struggle will always come first.

Cinta’s cool reserve is a contrast to Vel’s nerves (as seen in the Aldhani raid); they’re coming from very different places even if their cause is the same. There may even be a bit of classism in the subtext - Vel leads the mission on Aldhani after asking for the mission from Luthen, when really Cinta is the one who is most committed, and she has to push Vel though several times when she falters.

Vel still has one foot in the Imperial world and the complications of rebellious machinations - worried for Mon and her family, wanting to prove herself to Luthen, jockeying with Kleya - but for Cinta none of that matters, she loves Vel but there's often a sense she's disappointed in her. There's a dichotomy within Cinta - she's not unfeeling, showing kindness to Cassian when he joins their group, yet accepting the mission to kill him later without hesitation.

It seems to me that Cinta is the revolutionary Vel wants to be but can't quite divest herself of enough to become - the metaphor is made explicit with these two - Cinta tells Vel: “I’m a mirror. You love me because I show you what you need to see.”

Which is a pretty interesting dynamic, especially as a romantic one, and I’m interested to see where it will go (and hope that Cinta will get more focus, even though I do love Vel a lot too).

Their storyline did run out of steam by the end through, was there any point to either of these characters being on Ferrix at the end? It very much felt like all the plot lines were being forced to intersect at the climax without all of them necessarily needing to. Although Cinta stabbing that guy in the heart was pretty cathartic.

Bix Callen, Maarva Andor, and Ferrix

I loved Ferrix as a location, with its own distinct aesthetic, culture, and populace - the work gloves all hung on the wall, the metal tapping warning system, the daily hammer and anvil (the Time Grappler, according to Wookieepedia), funerary practices. etc. The first few episodes set up Cassian’s community on Ferrix which we come full circle on in the final two, but I did have some trouble keeping track of who was who at that point.

It is interesting that the trope of “just another brick in the wall” is turned on its head here - rather than representing a cog in the machine, in Ferrix ashes of the deceased are mixed with brick and added to a wall in remembrance - a literal touchstone for Cassian as he remembers his adoptive father Clem. A wall is strong, a bulwark against outside forces, and every brick added makes it stronger. Stones dropped in a pond, bricks built into a wall - reminders of the dead that spur the will to fight.

I do love the relationship between Maarva and Cassian, especially in a franchise that has never really had an interest in mothers and sons. And we have another mirror in the overcritical and cold relationship between Syril and Eedy as the inverse of Cassian’s complicated but loving one with Maarva - contrast the reception Syril gets when he returns home to the one Cassian gets from Maarva, as ultimately Eedy's pointed disappointment is sharp where Maarva's is borne from love and concern for Cassian.

But again there’s a disconnect with the history we’re shown - Maarva and Clem kidnap/save Kassa from Kenari but we don’t really get any sense of how Cassian feels about it or the connection he has to his heritage/childhood. I’m not saying I need everything spelled out, but sometimes I feel the show does err too much on the side of subtext, and as a result we don’t delve as deep into some of the relationships as we could have. Even her final message to Cassian - that she loves him more than anything he could ever do wrong - is a beautiful sentiment, but is it earned? He hasn't really done anything wrong, arguably she did wrong by him by taking him from Kenari but it's never even mentioned, it doesn’t even seem to be a factor in their relationship as adults.

On the other hand, I didn’t mind the treatment of the post-romantic relationship between Cassian and Bix - there’s a sense of history there but it didn’t need to be explored further. Bix's involvement in the Rebellion is interesting though, it's implied she was recruited by Kleya through the black market but are her motives purely profit or does she have rebellious fervor? Luthen knows of Cassian through Bix - did she see him as a candidate for the Rebellion or just another person from whom Luthen could obtain tech? What piqued Luthen's interest from what Bix said about him?

I don't think all these questions need answers, but it is unfortunate that she does get a bit Damseled, spending most of the runtime threatened, captured, and then tortured. On the other hand, there's less to criticise in employing that trope when it's not the only one at work and the breadth of female characters on the show.

I do wonder if we will see Bix, Brasso, and B2EMO again though, or if they’re a part of Cassian’s past he had to leave behind to fully commit himself to the Rebellion.

On nostalgia, fanservice, and the state of the Star Wars universe

A tangent into my frustrations with the sequel trilogy, skip if you’re allergic to salt.

Andor has been lauded for its lack of fanservice, although I’d actually argue it’s a show that (perhaps despite Gilroy's intention) is rooted in nostalgia. Well, perhaps not nostalgia per se, but it’s a show that relies on the audience’s knowledge and affection of Rogue One and the Original Trilogy, and it’s successful because it manages to feel authentic and fulfilling rather than ham-fisted and overly meta - a story set in the Star Wars universe, not about the Star Wars universe.

I know Gilroy intended this to be able to stand alone, but would the story have the same resonance if we weren't aware where Cassian's path leads, that the efforts and actions of Mon and Luthern, Vel and Cinta, Nemik, Bix and Kleya, are ultimately justified? Perhaps it would work in a generic sci-fi setting rather than the GFFA, but would we feel as much watching it? Personally, I think not.

Because nostalgia isn’t inherently bad. It’s a vital part of how we consume media - the stories that resonate with us in childhood will continue to resonate in adulthood because they are foundational, it's a shortcut to that incredible feeling of discovering something new that's nonetheless something very old. It's partly why Star Wars was such a success in the first place - a mix of myth and fairy tale, matinee serial and Kurosawa - a familiar story told in a new way. And like in Hadestown, "we're gonna sing it again and again."

The problem with nostalgia is when it’s empty; window dressing intended to evoke that feeling but without any substance behind it, so it feels cheap and unsatisfying. Andor doesn’t completely escape from this (blue milk, mouse droid), but most inclusions feel organic.

Sometimes I think we go to far decrying fanservice, and of course it's subjective - as I like to say, everyone hates it until they’re the fan being serviced. But there is criticism, and then there's dismissing any references to existing material as mere "fanservice" and therefore contemptible. For example, I’ve seen the treatment of Luke, Han, and Leia in the sequel trilogy defended because to actually have them interact at all would be “silly fanservice” rather than natural because, you know, they’re family.

The difference, for me, is does inclusion of a known character/object/trope/line of dialogue serve the character and/or story, or is it Leo DiCaprio pointing meme, designed for “hey it’s the thing” nostalgia and YouTube compilations with no substance behind it? Ultimately, is the inclusion Watsonian or Doylist - and if the latter, what of the former justifies it.

Mon Mothma or Saw Gerrara in Andor doesn’t feel like fanservice even though they’re existing characters, because it makes sense to include them in a story about the Rebellion’s beginning and they had a part to play in Rogue One, to which Andor is ostensibly a prequel. Conversely Leia and Vader’s inclusion in Obi-Wan Kenobi (even if I did enjoy them both) tip over in the side of fanservice because they really have no place in Obi-Wan’s story at that point and require fanwanking around their dialogue in ANH (and to be fair, Lucas was guilty of this as well). I don’t need to see random object or minor character no 6 from the PT/OT/Clone Wars, iconic catch phrase shoved where it doesn’t make sense, or obscure Legends reference divorced from context, just tell me a good story! Give me characters to care about! Make me feel something! Andor did that, where much of the other Disney Star Wars content has not.

This is my fundamental, and possibly at this point, irreconcilable, issue. Disney wanted to get away from Lucas-associated Star Wars as quickly as possible, replacing every character, planet, and theme with their own wholly Disney counterpart, killing off Han, Luke, and Leia so the old and classic couldn’t distract from the shiny and new, tearing down the conclusion of the original trilogy only to try and tell the exact same story (just not as well). They did it so quickly and so shoddily that many were understandably unsatisfied, leaving Disney to frantically course correct, going back to the well and shoving nostalgia bait into every conceivable project even (especially) if it had no place.

If they’d actually had any sort of plan for the sequel trilogy, if they’d made their focus to conclude the Skywalker Saga in a way that even approached emotional resonance, imo the vast majority of the audience would be happy to move on and embrace the next chapter - new characters, new stories. But people can’t move on from the characters they love because the treatment of those characters and the post-ROTJ timeline was so unsatisfying. Luke wouldn’t have needed to show up in The Mandolorian to try and placate the fans if treatment of the character in the ST hasn’t been so abysmal.

So LFL have been stuck in this weird ancillary storytelling space, where every project seemingly needs to be adjacent to the Skywalker Saga but not actually engaging with the Saga direct - Han has a prequel film no one asked for, Rey is a Skywalker for name recognition only, Luke pops up in pointless cameos but isn’t there when he arguably should be (just recast the damn role already!), we get young Leia in a story where she has no place rather than in one she does, who knows what’s going on with the whole Ashoka/Thrawn/Heir to the Empire stuff, Boba Fett is There with a parade of Hey it’s that character/ship/thing with no contribution to the actual storytelling.

What does this have to do with Andor? Well, Andor is perhaps the only quality tv product of the Disney era, which is fitting since Rogue One is imo the only quality film of the Disney era (TFA being retroactively diminished by what came after). Andor is the type of story Star Wars should be telling - expanding the universe, using known elements and characters where it makes sense to do so, not a collection of ideas on a whiteboard thrown in front of an LED screenstage and a bunch of meaningless easter eggs.

To be fair, this does seem what they are attempting to do with The Acolyte (which I am actually enjoying!) but the planned Rey-focused post-ST film…eh. Admittedly I never bothered to watch Rise of Skywalker, but where can the story possibly go? Is there any investment at all after the mess that was the sequel trilogy? I can’t see how the narrative can possibly be redeemed at this point, which is a shame because I do believe it started with a lot of promise in The Force Awakens that was squandered by a lack of vision, planning, and oversight, and the bizarre need to brutalise and kill off the legacy characters, marginalise the genuinely original and interesting new characters, and waste the immense acting talent they had at their disposal.

They’ve made no meaningful in-universe progress after the ST, the New Republic and Jedi have to be rebuilt again, except Rey is going to do it this time somehow, so what what the point of the last 30 years in the timeline? It’s different with Andor - we know where his story ends, but the series only makes Cassian’s sacrifice stronger, there’s emotional resonance in seeing his journey to Rogue One in knowing that it’s in service of the overall victory of the Rebellion (however undermined that victory is made by the ST).

But I digress. This rant really ended up being kind of off topic - apologies.

Anyway. Andor is good! I liked it! Looking forward to season 2!

[kalinara]

Here’s a thought, maybe rather than post vitriolic comments on how an actor or actress should STFU if they say something negative about our ships, we could just not involve them in the fandom side of things anyway?

I mean, why ARE we talking about ships with actors anyway? Unless they’ve got a showrunner or “executive producer” credit, these actors are probably not making the decisions as to who their character fucks!

And isn’t it a little creepy to go up to someone and say “hey, a large portion of the audience likes to imagine someone with your face fucking someone with your co-worker’s face!  What do you think about that?”

What are they supposed to say, anyway?  If they support the ship and the ship doesn’t happen, then they’re accused of queerbaiting (if it’s a slash ship) or just plain lying (if it’s a het ship).  If they don’t support the ship, then they’re attacked for being “homophobic” (again if it’s a slash ship) or “misogynist” (if it’s either.)

It’d be great if actors were allowed to interact with fandom as members of the fandom, but they can’t.  We won’t let them.  We trumpet everything positive that they say about a ship on high, as though it’s gospel truth from the Lord.  Even though common sense would tell us that they’re not going to reveal the ending one way or another.

So maybe we could just not ask them?

[my-mt-heart]

TBOC Showrunner

I wanted to wait to address the showrunner issue until I got confirmation either way. I still don't have that. I'm fearful of getting anyone's hopes up only to be disappointed for the millionth time in the last two years and I'm dreading the bullying I'll invite without attaching "proof" again (last time, a few people provoked someone to send me multiple threats demanding my personal information). But I'll deal with it if it happens again. Seeing the comments on another fan's post earlier, I thought maybe a brief update would help clarify a few things.

Zabel is showrunning the version of S3 that's in pre-production right now. Hence, what you see on the WGA. That's been true this whole time. However. What's also true is that AMC reopened negotiations with a female showrunner a few weeks ago for S3. I was told she is very experienced, pro Caryl, and has Melissa's stamp of approval. So basically, we'd be hitting the showrunner jackpot. They're still negotiating. I have no idea where it will land or when. If that deal closes, she'll replace Zabel and write her own Spain edition of S3, which IMO will be worth the wait. I think I'd be the most excited I've ever been for TWD/Caryl content and I think every Daryl and Carol fan would be too. Good content beats fast content by miles and miles.

That's the hope I'm hanging onto by a thread. If the deal doesn't happen for S3, I have to walk away and I will do so knowing I'm not hurting Melissa or Carol. I can't support David Zabel. His writing is appalling. The imagery he uses is inappropriate and tone deaf. He does not understand who Daryl and Carol are. I will not watch him ruin them (further?) in S3. I don't know how AMC can claim to celebrate strong female characters like Carol when the title leaves her out and the showrunner doesn't respect the incredible actress who plays her.

Melissa didn't get to weigh in when Zabel became showrunner. She deserves to have someone she trusts to write Carol's story in ways that honor her. Someone who will lift her up, not try to keep her "in her place." Fans never get to weigh in on these decisions. I shared the info about the female showrunner several months ago because I thought, why not give them a chance? Your voices have more power than a lot of you realize.

We were able to bring Carol/Melissa back to the spinoff because we were passionate about how we felt about her. It brought us a step closer to giving ourselves and Melissa the spinoff we were all promised. Genuinely, that's been my only angle all along. Again, there's no guarantee of anything, but for now there's at least a glimmer of hope. That hope gets stronger when we speak up about how Zabel makes us feel, how the marketing makes us feel, and how the possibility of a good showrunner, good writing, and good marketing strategies makes us feel differently i.e. more eager to watch the next part of Caryl's story, plus however many "next parts" come afterward.

[bohemian-nights]

i hate what they did to laena on the show. not only has her importance to daemon been reduced to "second best" but also her death was unnecessarily brutal and i hated it from the first time i saw it. after all, at least in the book, laena tried to do what she loved one last time: fly and daemon really seemed to care about her and grieve for her death.

I have a feeling they wanted to make laena su*cide look like "death of a dragonrider" and her agenda, for rhaenyra to look badass when sunfyre burn and eat her. the small part she had seems to exist only to enhance rhaenyra. Hotd isn't even in season 2 yet and it already makes me angry, Got at least took 6 seasons for me to realize the mistakes..

👆🏽The last paragraph is why they really did it. No one in their right mind thinks committing suicide by dragon fire(how many suicides do you see where someone is lighting themselves on fire) is empowering. It’s something a desperate woman who’s out of her mind would do. Even the actress who played older Laena (Nanna Blondell) originally questioned why Sara Hess put that in there(there’s an hour-long podcast on YouTube where she talks about her role as Laena).

They reworked Laena’s story just to make Queenie’s death look better in the end. And the thing about it is it’s still a wasted effort because Rhaenyra doesn’t voluntarily kill herself.

She literally is on the run with no money(she has to sell her jewels/crown), no powerful friends who will come to her aid(cause she locked Corlys up and went after Nettles so Daemon left her a**), and no dragon(cause the small folk she didn’t think were a threat where actually a threat).

She’s going back to Dragonstone thinking it’s a safe place and she can regroup there, but her home has been overtaken by the enemy. She’s lost everything and then she loses her life at the hands of her crippled brother and his crippled dragon🤣

I’m only laughing cause her stans really think she’s a bad b*tch when she’s not. She’s a broke b*tch(in spirit and in “reality”).

This isn’t dying like a “dragon rider”(the concept doesn’t exist in book canon since her dumba** fans love pointing to the books which never support their delusional arguments by the way) this is dying like the flop she:

(I do feel sorry that little Aegon had to witness that, but even her last boy did nothing to immortalize his mother’s memory. Queenie flopped hard🤷🏽‍♀️)

At this point, I’ve been counting the first season as a trial run. I’ve seen some shows that had a meh first season(only the second half of HOTD was really terrible to me) but turned around to have decent other seasons. However, the fact that they cut the number of episodes plus the striking situation and the fact that they didn’t fully clean house with the showrunner shake up 😬

Laena was unfortunately a victim of sh*tty biased writing, but there’s always hope that her girls get the storylines they deserve.

[ofsmokenandgold]

The good, the bad and the (not so) ugly.

So, just watched the finale of Land of Women and man did they leave it on a cliffhanger, poor Kevin.

So we have dead Kevin, Fred (hopefully) off to Argentina, Montse pregnant (Amat looking like someone dropped a building on him) and Amat and Gala got their kiss (or several) and can I just say, damn, that man kisses convincingly.

Anyway, some thoughts.

The good - obviously Gala convinces Edna to buy 100,000 bottles of the wine and thereby gets the Co-op out of the financial hole that it is in.

Julia and Mariona make up and Julia decides to stay in La Muga.

Kate tells her dad to fuck off and also decides to stay.

Fred goes off to South America (presumably the ship sailed before he realized that Gala and Amat had jacked his safe).

And, as I had guessed from last week's "we need to talk" moment between Montse and Amat, Montse is pregnant. I definitely have mixed feelings about taking their story in this direction. What I did like was that Montse was the one who got to lay out the terms of their relationship - they were just having fun, they were careful (obviously not careful enough) and they had talked about their relationship a lot. So she seems to be expecting support from him - "there's a third person involved now" - but not necessarily expecting their relationship to change. I don't think there's any question about whether she's going to keep the baby - they keep showing pictures of Amat with a child that's no longer in his life, so he's going to be enthusiastic about that part, after he gets over the shock. So having a pregnant FWB relationship complicates his life but doesn't necessarily preclude him having a relationship with Gala.

And that's clearly the direction they are headed after that kiss. And yes, this has always been the end game - their chemistry is fantastic and the goal all along has clearly been to get them into a relationship - that's always the goal when you put two attractive people in a show and have them strike sparks off each other for six episodes.

What I have an issue with is the unnecessary element of competition that the show runners introduced into the show.

And I still don't get it. This show was touted as women uplifting each other and yet, the show runners felt the need to introduce a character who is not in the book just so that Gala has someone to compete with for Amat (and win).

Why? I don't get it.

Worse yet, they took a frankly gorgeous actress and created hair, makeup, wardrobe and behavior choices to make her plain, masculine and practical, just to set her against the gorgeous, glamorous Gala.

It feels very, very self-indulgent of Eva Longoria (as one of the show runners) to make her own character shine by deliberately down-playing the attractiveness of another female character that is set up as her rival - all so she can win the man.

And they are walking a very fine line here between enhancing the drama and making Amat an absolute shite for pursuing Gala within days of his marathon sex session with Montse (does anyone else think that Gala might have been exaggerating just a little about her disturbed night - seriously, he's in his 40's - most men that age can't go all night). Hopefully, he was at least going to talk to Montse before going any further with Gala - but that wasn't clear.

I think I'm just going to be perpetually confused as to the intentions of the show runners here. And it's a good reminder that showrunners are not often good at critical analysis and don't necessarily think through the consequences of their decisions . Even when they have a vision for a show, they don't necessarily see how other decisions can undermine that message once you apply a critical perspective.

I still loved the show and I'll watch it over and over again - despite his tendency to think with his dick, Amat is a very, very attractive character.

And the show clearly needs another season - although it's not clear that Apple+ is going to give them one, and even if they do, getting everyone back together in Spain might be a little tricky.

As for anything, else, well that's why we have fanfiction. Watch this space.

ETA: And to bear out Rule 34 - there is now porn of it (well at least a little smut) .

[denimbex1986]

'Russell T. Davies recently spoke up about why he believes Andrew Scott was overlooked by the BAFTAs this year, reminding us about an important component to the ongoing conversation about queer actors playing queer roles.

When the BAFTA nominees were announced this year, All of Us Strangers received a well-deserved six nominations, although it ultimately did not win any of its categories. But the number of nominations it received — for Outstanding British Film, Director, Adapted Screenplay, Supporting Actor, Supporting Actress, and Casting — made a lack of nod for Scott’s leading role feel like a pointedly glaring omission.

“What I think happened there was, when a gay man plays a gay man, he’s not considered to be acting," Davies said during a recent queer representation in media panel, according to Attitude. “I genuinely think that happened there, that people thought, ‘Oh, it’s very good, but he’s not acting there. He’s not reaching; he was just being himself.”

The Doctor Who showrunner went on to explain that that’s part of why he finds it so important to make sure queer actors are being considered for and cast in queer roles — a controversial topic, as it’s often interpreted as suggesting straight actors (or actors presumed to be straight) shouldn’t be allowed to play queer characters, but the reality is a lot more nuanced than that.

“If a queer person plays a queer role, people are like, ‘Oh yeah, very well done, lovely,’” actor Nathaniel Curtis said during the same panel. “But if a straight actor plays a queer role, a lot of the time, they’re like, ‘Give them an Oscar.’”

And the BAFTAs snub makes it even more frustrating that Scott was subjected to being asked about another actor’s nudity in a movie he wasn’t even in on the red carpet for the event, when the time could have been spent talking more about the role for which he deserved more recognition.

According to Davies, Scott gave “a world-class performance [that] was massively underrated because he’s gay and very publicly and visibly gay.” And unfortunately, he might not be wrong.'