#these people are insanely strong

[whatwouldsylwrite]

reader pole dance practice with everyone watching + slightly jealous abby? 👀

Oh god pole dancers my beloveds

Abby always admired what your body could do: you always looked so graceful when you'd climb the pole and spin around like it was nothing, like it didn't require any effort or strength. It was fucking hot and she'd be at your practice at all times, drooling so much that at this point she'd be dehydrated. She didn't even mind when other people watched you as long as they stayed respectful.

Until this time.

There were a few additions to the hockey team, and of course they wanted to explore the activity centre. And of course someone mentioned, from the pure kindness of their fucking heart, the dance studio.

On the time and day when you were practicing.

At first Abby was fine - it wasn't like you danced pure pornography every time, and she wasn't insane to think she was the only one who was allowed to watch you dance. Besides, if someone could admire you for your skill and strength she'd only feel proud - fuck yeah it took a lot to learn how to pole dance.

But no.

You was doing one of the choreos that required heels, and Abby watched you spin and hold yourself up so you could spread your legs in a split, your booty shorts covering just enough to not get a fine for public indecency. Abby knew you had to wear short shorts so you wouldn't slip on the pole, but right now as she glanced at her side where boys were sitting, Abby wasn't okay with it at all.

Her new teammates were watching you go into a wide squat with hungry eyes and Abby furrowed in silent anger. She knew what they were thinking about because she was thinking the same: how hot and seductive you were, how your moves looked like an invitation to sex.

Abby wanted to tell them that you were hers, that the only person who this show was meant for was her, and they should pick up their jaws and stop fantasizing about you, because their fantasies would never become reality.

But Abby wasn't going to make a scene, no. She'd just imagine 1000 and 1 way to kill her new teammates.

"God I wish I was there instead of that pole." One of the boys said with a smirk and the other one nodded.

"She so hot." He said dreamingly.

"Watch your tongue." Abby heard herself say in dangerous tone. Her mouth opened faster before she had time to think. "She's mine."

Boys turned to Abby, clearly wanting to start an argument - Abby heard those arguments a million times before - but you emerged from the dance studio, panting and sweaty, and their heads turned back to you. One of the boys opened his mouth to start a conversation, but you ignored his entire existence.

"Hi." You smiled, looking only at Abby.

She stood up and hugged you, putting her hands on the small of your back.

"Hi baby."

And if Abby looked straight at her new teammates with dark satisfaction over your shoulder as she hugged you possessively, showing who you belonged to, well. You didn't have to know about that.

[bbygirl-aemond]

it makes me so insane that rhaenyra is doing to jace exactly what viserys did to her. while obviously rhaenyra cannot acknowledge her children's parentage publicly, this episode makes it clear that she has refused to acknowledge it to said children, even in private, ever. even though said children have been forced to live through stares and bullying and derision their entire lives because of it. and she continues to do things that undermine jace's claim, such that he is set up to face a potential civil war of his own when he tries to ascend to the throne. she is content to leave the consequences of her actions in having bastards for jace to deal with once she is dead, just as viserys was content to leave the consequences of his actions in making rhaenyra heir for rhaenyra to deal with once he was dead.

[siltyriver]

ugh can’t stop thinking about how Danny is built like a fucking tank but looks like a biodegradable straw that’ll collapse with so much as a fine mist

like imagine Jason flinging himself at Danny at inopportune times just to watch as everyone tenses and gasps in horror, expecting the poor twig to be crushed, and then Danny just effortlessly catches him without budging an inch or blinking, still mid-conversation and confused by why the person he’s talking to seems suddenly so surprised and then when the person gestures to Jason (lounging smuggly in his boyfriends arms) Danny just blinks like ‘oh when did that happen? hi baby’ and tries to go back to the conversation while everyone is losing their minds

[sandeewithtwoe]

Yes

EDIT: I MADE A NEW DOC FOR FRESH LORE

(Warning small blood below cut (just a little bit))

I don’t take myself seriously anymore

[candygriff]

allison cameron is fascinating to me. her empathy. her savior complex. her innate and complex moral system. her comphet aromanticism. the way she has changed through house's influence, reflecting those around her but never stopping her from trying to change them as well. she has me in a death grip that I will not be released from.

[v1r33n]

what. what if one day Kaveh is cooking dinner, the sun is slowly going down and. and while he's stirring the pot Alhaitham hugs him from behind in a delicate way?????? ok and what if that NEVER HAPPENED BEFORE and kaveh is confused and embarrassed and the scribe is not saying anything, just pressing his head on the architect shoulder???? and what if I tell you that's because Alhaitham heard about Kaveh almost getting hit by heavy construction materials and realized in a whim that his perfect peaceful life is fragile and needs care and. and that. and that this life is not perfect at all without Kaveh by his side?????????????????? yea.

[hanakihan]

listen I’ve been plagued by idea of Apothecary Diaries AU and Rook is MaoMao you need to see my vision—

[commsroom]

prefacing this by saying it's obviously just my opinion, but i've spent soo much time thinking about what makes an eiffel design look the Most Eiffel to me, personally, so here are some design notes:

dark, wavy/curly hair. unkempt. anywhere between just past his ears to about shoulder length. usually tied back in a low ponytail.

scruffy!! never, ever clean shaven. his facial hair is most prominent on his chin, and there's a visible break between the hair on his upper lip and the hair on his cheeks. stubble, short/patchy beard, or hair just on his chin all work well depending on style.

visible arm hair!! and any other body hair that's relevant. generally hairy guy. anything that makes him scruffier looking is important.

long features - long face, long limbs. lanky body type, but with a bit of weight in the gut. bad posture. talks with his hands. wide, open body language: tall-ish with fairly broad shoulders, but most of the space he takes up is in his limbs so he can kind of comically fold narrowly into himself when scared / being yelled at / etc.

(classic Doug Eiffel Arms Behind Head While Leaning Back and Floating pose is always a winner.)

expressive, to kind of an absurd degree. tired eyes. lopsided smile. his eyebrows do a lot of the work: i often see people instinctively draw eiffel with sheepish "─┘└─" shaped eyebrows and it's very real to me. constantly hamming it up even when he doesn't mean to. he has the presence of a class clown that never grew out of it.

prominent nose, kind of "square rounded" in shape with a wider tip <- same as zach valenti's. i wouldn't say he looks exactly like zach valenti to me, but definitely very close, with a difference more in style than features. italian-american by association...?

generic star wars logo tee as his default outfit, but other generic logo tees for things he likes, or "undershirt worn as shirt" also feel true. the key point is that it has to look like he bought it at walmart for less than ten dollars. will wear it until it disintegrates.

not really a guy who accessorizes either, unless wearing his headphones around his neck counts.

rarely wearing shoes. holes in every single one of his socks.

orange is my preferred flight suit color for how it visually suggests eiffel traded one prison for another. needless to say, maybe, he should never be wearing it properly. usually tied around his waist, but he pretty much never wears long sleeves - even if he has the sleeves on, they're always rolled way up.

[ddeck]

long lived sw races must be so extra about their hobbies. imagine you live for thousand years and a century of that time you decide to dedicate to making a single big af carpet

[columboposting]

I say this as a certified gwen cooper stan and defender and lover etc etc so if i see anyone in my replies coming for my girl its on sight. But it is honestly completely batshit insane to me the way seasons 1 and 2 of torchwood consistently do this thing where on-screen development or depiction of Jack and Ianto’s romantic relationship is directly preceded by a category five Gwen and Jack Unresolved Sexual Tension event. Like, Jack propositioning Ianto over Suzie’s corpse comes right after a scene where Jack and Gwen make moon eyes at each other from across the Hub; in Kiss Kiss Bang Bang Jack only asks Ianto out on a date after a failed attempt to woo Gwen; in Reset, Martha’s conversation with Ianto about getting him and Jack a red UNIT hat comes after her convo with Gwen where both of them are like “man we must be the only two people in the world who havent been with Jack.” The obviously most insane example is in Something Borrowed when Gwen and Jack dance together extremely intimately AT GWEN’S WEDDING and Ianto literally has to WALK OVER to take Jack off Gwen’s hands. (If I missed any more examples please tell me because i feel like I did. Also Fwiw not every Janto scene follows a Gwack UST event, though by the same turn not every Gwack UST event is followed by a Janto scene. But I think there’s enough here for it to be a pattern.). So there’s this consistent thing where we see Jack make moon eyes at Gwen and only going to Ianto after this fails to result in anything substantial. This creates the impression that Ianto is Jack’s second choice for a partner, and that Gwen is his first.

You could argue that this pattern constitutes Jack choosing Ianto over Gwen, but… I dunno. The obstacle that consistently stops Jack from pursuing Gwen further in the scenes I’m talking about is not his commitment to Ianto but Gwen’s commitment to Rhys. (If you want an example of TW S1/2 actually showing Jack choose Ianto over Gwen I’d point at End of Days: Gwen metaphorically awakens Jack by kissing his corpse (he doesn’t seem to object but Gwen is obviously the one initiating), and then Jack immediately runs off to make out with Ianto. Compare with, say, Kiss Kiss Bang Bang, where Jack tries to initiate with Gwen, gets cock-blocked by her engagement ring, and subsequently asks Ianto out. You see the difference?

To set my cards on the table I am obsessed with Jack and Gwen’s straightbait situationship, and I think it is completely fine and cool and entertaining, actually, for Jack and Gwen UST to coexist with canon Janto (Jack is from the Free Love century and has two hands; meanwhile it baffles me that people get on Gwen’s ass for the crime of (checks notes) being into Jack Fucking Harkness, as if being attracted to him is not completely normal and understandable), HOWEVER the show’s scene to scene editing CONSISTENTLY gives the impression that Jack would choose Gwen over Ianto if given the opportunity. So for all that I think a lot of Gwen hate is like, people being unfairly mad at Gwen for “getting in the way” of a gay ship that, per the show’s writing, she never actively interferes with or disapproves of and is generally shown to support, the way the show uses the language of editing does actually kind of value Jack’s hypothetical straight relationship with Gwen over his existing gay relationship with Ianto in a way that frankly fucking sucks. I have no idea whether or not this was intentional or whose fault it is (if I had to blame anyone I’d blame the writers involved and the editors involved, but tv production is complicated and this is a systemic problem that would be difficult to identify if you’re only looking at one episode at a time) but whatever happened its like. A lowkey homophobic element of an otherwise mostly queer-friendly show. Literally what were they thinking.

[kinos-fortress-2]

hey tf2 fans do you like dorohedoro

[miraculouslbcnreactions]

Sorry if this seems confrontational, but for the life of me I can’t get into your “Chloe has no growth” point when the show itself retracts growth from everyone and is inconsistent with everyone. You saying “The show just lays down basic character traits in Chloe” doesn’t make sense when her basic character traits are supposed to be her being selfish and spoiled.

S2 built off of that and despite what you say, had Chloe doing things that in S1 she wouldn’t have done. She apologized multiple times to the people she wronged, she willingly put herself in harm’s way to help the people she cares about and she was openly vulnerable to Ladybug in “Malidiktaor”. Something S1 Chloe wouldn’t have done. If there’s a distinct difference between a Chloe back in S1 and a Chloe in S2, then growth HAS taken place. But it doesn’t stay because of the formula (and the writers just don’t want her to keep that growth)

So what I’m asking is…what do you mean “Chloe doesn’t have growth”?

I can understand the “No arc” argument because an unfinished arc feels like there’s no arc at all (even though they are fundamentally not the same)

I wouldn't say that the show retracts growth from everyone. It's more that no one is ever supposed to grow. Every episode resets the cast. That's just how pure formula shows work and Miraculous is being sold as a pure formula show. The characters are meant to be static (one of the writers literally compared Miraculous to Dora the Explorer).

That static nature is why pure formula shows normally avoid giving their good-guy characters major flaws. It's the wrong medium for that type of thing specifically because the characters cannot change in meaningful ways throughout the show. They can learn little lessons that don't really change them and maybe have big change between seasons via a special or movie, but that's about it. Thus things like the season four conflict working so poorly. It's just a terrible choice for a formula show! The conflict is literally not allowed to develop properly because of the chosen format.

But sure, let's talk about Chloe and why I will die on the hill that she never demonstrated meaningful improvement even with the issue of the inconstant writing. In fact, seasons-one-to-three Chloe is one of the most consistent characters in the show. For this discussion to work, we need to start off by discussing character development and the two main forms it can take: character establishment and character growth.

Character Establishment

When the audience meets a character, they know nothing about said character. It's up to the writer to guide the introduction process. To choose when to reveal already existing elements of the character's personality, skills, and backstory. This is called character establishment. It is the writing telling you who the character is on a baseline level. Those reveals don't need to happen at the start of the story, though. They can be - and often are - held back for when the time is right.

When these reveals are delayed, it's important to remember that these elements were always part of the character. The reveal isn't changing who the character actually is. It's just changing how the audience views the character.

For example, we spend a good chunk of season one uncertain why Gabriel is doing what he does. Then, in Origins, we learn that it's all for Emilie. This is new information that adds depth to Gabriel's character, but it doesn't change him in any way. This is who he always was. We just know him better now and can recontextualize past events with our new understanding of his motivation.

Character Growth

Character growth is when writers take a character's personality or world view or even just their skills from point A to point B, allowing the audience to watch the character change and become a new better - or lesser - version of themself. This is usually part of a larger character arc where all the moments of growth add up, but it can take the form of small moments of growth that don't fit into a bigger picture, too. I'd probably still call that an arc, but we'll use the word "growth" a lot in this post, so let's just call it growth to be consistent.

Miraculous doesn't really have either arcs or growth because - once again - formula shows don't allow characters to meaningfully change, so I'm going to have to make up an example here. I'll use one that illustrates how character establishment and character growth can and do intertwine as that's an important thing to acknowledge to help guide this discussion.

Let's say that we have a character who lost their family at a young age. We'll call this character Mary. Mary's loss guides her character throughout the entire story, but the other characters and the audience are never told that this is what's going on. We just know that Mary acts in seemingly illogical ways at times and that she trusts no one.

Throughout the story, Mary learns to trust her costars, leading to a big, dramatic scene where she finally tells them - and the audience - about her past. This big dramatic scene is both the culmination of a character arc and a piece of baseline character establishment that allows us to understand Mary's character better no matter what part of the story we're reading.

Because these combo growth and establishment moments are so common in stories, it can feel like character growth when we learn new things about a character in a dramatic moment, but that's not always what's happening. Sometimes dramatic moments are just there to reveal what was always there by forcing a character to act differently than they usually do through the power of extenuating circumstances. These extenuating-circumstances moments are not character growth because, once the moment is over, the character resets to their normal self. The moment wasn't there to let them grow. It was there for the sake of the plot.

This is actually a really important thing that writers need to know how to do. Figuring out what circumstances will make a character say or do a thing they generally wouldn't say or do is part of how stories work. I have started stories with characters acting wildly "out of character" because I put them in the a situation where the behavior suddenly was in character!

Oh, you don't want to talk to this total stranger because you're an introvert with social anxiety who has yet to learn how to love yourself and open up to others? That's nice. Your leg is broken now and you're stuck in the middle of nowhere. What you gonna do sucker? Lie there in the dirt or talk to the nice lady who wants to help you? Your choice! (Spoiler: he talked to the nice lady. He even let her physically support him when he'd usually never let a stranger touch him!)

As soon as that scene was over, the character reverted because it wasn't growth. He didn't become a more open person. He just did something he normally wouldn't do because the situation demanded it. It was extenuating circumstances so that the freaking plot could start.

This is what happened with Chloe in season two. Everything that people call growth is really just extenuating circumstances that reset by the end of the episode or even by the end of the scene.

Let's Talk About Chloe

Chloe does not have a character arc, aborted or otherwise. She is never taken on a journey where we watch her change. All we get is delayed character establishment via extenuating circumstances, but it's given in ways that make some people feel like she was being given an arc. Let's talk about why that is.

Season one Chloe is a one dimensional mean girl. She has almost no depth. She's just here to be petty and cause akumas. She is not a fully realized character.

Season two takes those traits and keeps them, but also gives Chloe a lot more depth to round her out and make her feel like a real character. She's just as petty and mean as she always was, but we're finally allowed to see her in some moments that make her feel like a well of potential to become something more, which the writers basically had to do if they wanted to let her be a hero. The audience needed to feel like Chloe could be good in the right situation.

The feelings evoked by her newly discovered depth are why people go "oh, she had a character arc! My feelings about her changed in a big way!" But she didn't have an arc. You just got to know her better by seeing her in moments where she was forced to be vulnerable. That's not growth. Growth is meaningful, lasting change, not situational change. Everyone changes based on the situation! It's why the "True Selves" stuff is such nonsense. It implies that there's one set way that we're supposed to act in order to be authentic and anything else is some kind of lie which just isn't how the world works.

Let's look at some examples to drive home what I mean.

Season one established that Chloe idolized Ladybug. It's why we get things like this moment from Evil Illustrator:

Ladybug: Fine! You stay! Later! Cat Noir: What do you mean later? Ladybug: I mean, you're the one who wants to protect her, so you don't need me. So, later! (swings away) Chloé:(looks over balcony) Ahhh! Ladybug! Text me! OK!

And this confession from Antibug:

Ladybug: [Chloe] pretended she was me?! How often does that happen? Armand: She idolizes you.

So Chloe adores Ladybug and wants to impress her/be her best friend. Cool. Got it. That never goes anywhere in season one because season one doesn't see Chloe and Ladybug interact much. The most we get is Ladybug saving Chloe from akumas, which doesn't allow for deep conversations. I don't think that they're ever alone in a moment where they can actually talk.

That changes in season two. In season two, they get to interact a lot and it's often in moments where there's a big threat and no one else is around, letting us see a new side to Chloe. But that's not Chloe changing. It's just the writers revealing that Chloe has more to her than the mean girl stuff because of course she does! Pure mean girls don't exist. Everyone has depth. We simply never saw that depth before because Chloe was never put in a situation where she needed to be open. We can't say that season one Chloe wouldn't confess things to Ladybug or chose to sacrifice herself to let Ladybug win because she never had the chance to do those things!

In fact, I'd go so far as to argue that season one Chloe probably would have done the same things as season two Chloe because season two Chloe doesn't really contradict season one Chloe. Antibug showed us that Chloe was pretty desperate to be loved and welcomed the way that Ladybug is loved and welcomed:

Chloé: Jagged Stone! Jagged: (thinking she's the actual Ladybug) Ladybug! What are you doing here? Chloé: Um… when I find out you were here, I knew you'd wanna see me! I had to come say hello. (Sabrina waves at Jagged)

and Chloe has always been a stubborn girl who stands up for what she wants even if what she wants is something bad. Antibug also showed us that Chloe can be genuinely nice to the people she cares about. Her and Sabrina's relationship is shown to be complex with them often having a lot of fun together.

Similarly, Origins sees Chloe showing her father genuine affection after she's saved from Stoneheart:

[Image description: Chloe and Andre hugging and looking very happy to be together]

Origins is the baseline episode that tells us who the characters are on day one, so I never once doubted that Chloe loved Andre, but Andre didn't get akumatized because of Chloe's actions in season one. He didn't even get akumatized for something that Chloe had nothing to do with! His first akumatization is in season two, so it's not shocking that we don't get a Malidiktaor type scene until Malidiktaor.

Chloe was vulnerable with her personal hero when her beloved parent was in danger, but not before? Shocking! Who would have guessed?

Me. I would have guessed. I didn't even realize that people were reading it as some sort of character growth because it clearly wasn't. Malidiktaor didn't feel like something new for Chloe's character. It just felt like the writers were leaning into things that we'd always known about Chloe and using them to better establish her character as someone who genuinely cares about select people. She just doesn't show most of the time.

The same thing goes for Chloe's sacrifice and apology in Zombizou. Chloe only sacrifices herself when there's no one left but her and Ladybug. When the choice is to let the terrorist win or take the hit and let you personal hero save the day. Brave? Sure, but also not growth. Chloe is team Ladybug for all of seasons one, two, and three! She wants Ladybug to like her! Plus even a petty brat can have moments of goodness where they pick a hero over a literal terrorist.

This honestly would have been a damming moment if Chloe didn't sacrifice herself. She functionally had no other choice here. The entire episode builds itself to the self-sacrifice moment so that Chloe is forced to make that choice even though she's been her petty bratty self throughout the whole attack. It's genuinely solid writing.

Then, in the heightened emotions directly after the Zombizou win, we get this:

Miss Bustier: But I hurt a lot of people... Chloé: No... I did... I forgot your birthday, once again. And when I saw everyone had prepared a gift for you, I totally lost it. Because I, too, would've liked to offer you something. I'm sorry, Miss Bustier. Miss Bustier: Thank you, Chloé. Those words are the best possible gift you could ever give me. (hugs Chloé) (Chloé hugs her back, forgetting herself for a moment.) Chloé: Huh?... Uh, yeah. Okay then, we're all good.

A brief moment of vulnerability that quickly ends and does not stick around because Chloe's change was situational, not true growth. The next scene of that episode starts with Chloe being her usual self:

Chloé: Me? You want me to apologize to the entire class? Ridiculous! They should be thanking me for saving everybody.

And ends with the reveal of Chloe's gift to Miss Bustier, which was given in private via a note.

Once again, nothing new for Chloe's character. She acts as she always has, being mean to everyone while having moments of vulnerability when things get tense. Remember that hug between her and her father that we talked about earlier? Same concept. She had just almost died from an akuma attack and so she needed some emotional support, leading her to act more openly loving than she usually does when he's around. Once the moment is over, she reverts to the petty mean girl default.

Giving gifts to placate people is also something that we've seen before. A pretty similar thing happens at the end of Evil Illustrator, it's just played less sympathetic towards Chloe because the writers weren't giving her depth back then:

Sabrina: Too late. Chloé and I are doing the project together. Marinette: You mean, you're doing the project? Sabrina: Well, of course! After all she's been through... Marinette: Ughhh.... Nice new beret, by the way. Sabrina: I know, right! Chloé lent it to me. She really is my BFF! Chloé! Your geography homework's ready!

For any of this to be character growth, we need to see Chloe act differently over time. For her to be put in similar situations and get different outcomes, but we don't see that in part because Chloe didn't change and in part because season one didn't do much to develop Chloe's deeper side. We rarely see her alone or in moments of extreme vulnerability, but you need those moments to show her depth. That's why Despair Bear had Chloe crying alone after Adrien threatened to end her friendship and not before. Chloe is very reluctant to openly show depth. You have to force it out of her, which perfectly fits the character we met in season one.

Even her standing up to Hawkmoth and rejecting the akuma isn't character growth in my opinion. Chloe has always stood up to authority and demanded whatever she wants. She has wanted to be Ladybug's friend and be seen as a hero since season one, so it's not shocking that her extremely strong will would allow her to defy a terrorist. If there is anyone in this show who can stand up to a terrorist on shear "no!" power alone, it's little miss I-always-get-what-I-want. I could see a variation of this happening at any point in the show, just change Chloe's reason for defying Gabriel to match the situation. Rework these lines to be about a party that she wanted to go to and I'd still totally buy it:

Chloé: No, Hawk Moth! I am a superheroine! I am Queen Bee! Ladybug will come and get me when she needs me! I WILL NEVER JOIN YOU! (throws her photo onto the ground as the akuma exits it... and pants)

Chloe acted like a hero here because she wants all the perks of being a hero and can't believe that Ladybug would actually bench her. That's impossible! Ladybug wouldn't do that!

As soon as Chloe accepts that she won't be a hero again, Chloe stops acting heroic because acting heroic wasn't growth. It was her playing a part the same way she played a part in Despair Bear. She was doing what she needed to do to be Queen Bee again and not because it's the right thing to do. This would only be real growth if she rejected the akuma after accepting that she wouldn't be Queen Bee again, but that's not what happens. As soon as she accepts that she's out, she no longer has any reason to play nice. She never grew into a character who did what's right for the sake of doing the right thing. It's always been about getting what she wants or being seen how she wants to be seen. Until that changes, she hasn't changed.

So no, Chloe didn't have an aborted arc. They didn't start to redeem her and then change their minds. All they did was make Chloe one of the most complex characters in the show only to then not do anything with the character they wasted our time establishing, ignoring the complexity they gave her while also cranking her mean dial up to the point of absurdity where she's not even fun in her original role anymore.

I get why it feels like she had an aborted arc. The fact that the character establishment was delayed makes it feel like something shiny and new about Chloe. There's also the fact that the character establishment we get in season two is the kind of character establishment that you'd do if you were setting up for a redemption arc, but that doesn't change the fact that it was all establishment work. None of it was a true arc where we watched Chloe grow. We just saw her put in situations that revealed hidden depths.

Her showing depth is not her growing because when in the world does she show off this supposed growth? She only acts differently in the type of scenes that we've never seen her in before or around characters that we've never seen her truly interact with before. When she's around the established teen characters or in her usual scenes, then she acts the same way that she always has. We never see her be genuinely nice to Marinette or something like that. She's only nice to Ladybug and she's still rude to Chat Noir. That's not character growth! That's character establishment that can then be used to guide character growth!

Same thing goes for the stuff in Despair Bear. We learn that Adrien can push Chloe to be better, but he never does it again and she reverts as soon as he lets her off the hook, so it wasn't character growth! It was just Chloe establishing that she can play nice when she needs to. This means that she could grow if the story chose to take her down that path because we've established that she knows what being nice looks like. Fake it til you make it plot go, go, go! But the plot never went, went, went so meh?

Add in the fact that season one was a bit of a test season with lots of elements that got dropped and the fact that characterization in this show has always been wildly inconsistent from episode to episode and I'm really not seeing a strong argument for Chloe having an intentional arc that somehow got aborted. People just saw the potential for her to have one and argue that potential is the same as an aborted arc when it really, really isn't.

To give an analogy, Chloe's story is like walking into the kitchen and seeing grandma laying out the ingredients for her famous chocolate chip cookies. We get excited because, hey, cookies! Then we come back an hour later and there are no cookies. Nor is there some other sweet that uses the same ingredients. There's just ingredients, sitting unused in their original packaging, making us wonder what the heck grandma was up to. At the same time, she never really started making cookies. She just set out ingredients. They're still there, totally unused, waiting to be made into something, so we can't call them a failed cookie attempt. That implies a level of commitment that was never there. She didn't even say that she was making cookies! We just assumed she was because we, understandably, wanted cookies and wanted to believe that grandma had a purpose to her actions.

[philtatosbuck]

not to descendants post but it's crazy to me people are still looking at the core four like "you should have saved and liberated the entire isle within a month of being in auradon" girl what. how much power do people realistically think they had over auradon for them to do this without being evil about it (which y'all also hate)

[aye-jaye-2005]

guys if i see one more person drawing könig skinny i'll loose my fucking mind.

this man is HUGE, he's FAT, he's OLD, he has a DAD-FUCKING-BOD.

or if you really hate that, he's MUSCULAR. muscles RELAX. when MUSCLES are RELAXED, they LOOK BIGGER.

STOP DRAWING KÖNIG SKINNY OR I'LL BE COMING FOR YOUR HANDS. THEN YOU CAN'T DRAW HIM LIKE A TOOTHPICK ANYMORE.

[bowenoke]

we talk a lot about how current kids, teenagers, and parents never learned internet safety in this age of social media, but i think we also gotta be honest with ourselves that most of us, adults on the internet who participate in fandom, never really learned how to engage with young people without setting them up for disaster.

might be weird to say it like this, but it's important to leave people how you met them or better. like hiking or going to a nature reserve. if you are regularly talking to people on the internet, especially teenagers, you need to consider whether your behavior with them is how another, shittier person would take advantage of them, because you have no real way of protecting them if that happens. like if you're going into discords and saying 'hey i'm mom! let me help you with your homework and irl issues. also please feel free to vent to me if you have any mental health issues or problems at home" you have to understand that the next person who says that to them may be leaving out the end of their plan; "that would make you easier to abuse."

sometimes you have to say "you seem fun and have a lot of great ideas but you are also 15, so if you wanna talk fandom, here are the boundaries we're going to follow, because these are the boundaries other adults should be following with you." or just refuse to talk to kids.

you decide what your responsibility, is but what you can't do is build an illegal fire pit on the hiking trail, if you catch my drift.

[sometimeswritingsometimesdying]

i've had a vision of aiden and black magic by little mix and now i'm knee deep in a modern magic au where aiden sells cheesy love potions by being hot (it's a scam)