#they’re like disney adults but like. darker

[kyoshialone]

i actually live my life so intentionally to avoid military wives so how the fuck did one start controlling my schedule. questioning everything

[nachos-and-movies]

No, yanno what, I’m not done with this movie yet

Cus I’ve been wondering about the right questions to ask.

Context: I think ‘Peter Pan & Wendy’ the live action disney remake is fucking awful and no one should waste their time watching it; it’s ugly and boring.

And my question when watching a bad movie is always “who was this made for?” Cus even godawful movies have at least 1 person who absolutely loves it, yanno. And in the end it doesn’t matter as much if a movie sucks as long as that 1 person got exactly what they wanted.

And with this movie, I genuinely don’t know what the answer is. People who love the colour puke-green?

It’s clearly not made for Peter Pan fans. The movie lacks good flying scenes, a Peter that smiles for more than 10% of the scenes he’s in, a Captain Hook that doesn’t resemble your drunk Uncle on the 4th of July, or a Neverland that is lush, beautiful and a playground for kid adventures.

It’s not for Pan fans that like darker variations of the story, there’s not nearly enough dead children in this.

It’s also not for winning brownie points with marginalised groups, like, really? You add dope representation and you put it in a shit movie? Do you think we’re stupid?

Is it for Disney fans? It’s definitely not for kid Disney fans or they would’ve added colour to the movie. Maybe colour-blind kid Disney fans? Movie’s too boring for that, don’t insult kids by having your movie be the equivalent of homework. Adult Disney fans then? Recent live actions do show that movie-makers think adults like boring, ugly and hard to see, so maybe… but then again, the movie is made BY disney adults, you’d think they’d know what their own people like to watch.

Which is how I got to the question I’m actually supposed to ask: Who is this movie made BY?

Cus I made a half-assed joke in my original review post of this movie, where I’m like “Are the writers okay? Maybe they need a vacation” but Actually..? I’m genuinely worried.

Cus I know 1 thing for sure and that’s that almost none of these crap-ass-motherfucking-dumb-shit-awful live action remakes have been made by people that actually LIKE movies, disney, fairytales or storytelling. Whoever is in the writing room right now, I can tell they fucking hate their job.

I can’t think of another reason why one of the biggest companies on this planet, with the biggest reputation and legacy to uphold, would be okay releasing the literal vomit they’re producing right now. It’s embarrassing. This is the company that got a standing ovation for a WORK IN PROGRESS, reduced to not being able to think further than British cliffs and forests when they think of Neverland, the literal most fantastical, whimsical, childlike wondrous place in fiction.

And then you start wondering how this could happen and the obvious answer is money capitalism the hubris of men, we all know this shtick. At this point I’m mostly just worried for my fellow creatives who clearly need to gtfo and work in a nice peaceful bookstore or smthn, i dunno, I wanna give them a hot coco real bad.

[magnorious]

Review: The Last Airbender Episode 1 - “Aang”

“Long ago, the four nations lived in harm-”

Lol nope. What is it with writers these days fumbling exposition? You had a template, and you botched it.

I nitpicked the heck out of Disney’s Percy Jackson because if you say you’re going to adapt a book, it’s not a very far leap in logic to hope the script might follow said book. But aside from the likes of Twilight, following the source material as it was written never happens.

Netflix had an even easier job. Netflix already had the show they were adapting in a visual medium. Netflix could have gone two ways with this: Shot-for-shot remake just with live action actors, or with an “inspired by” vibe that takes familiar characters, story beats, and themes but tries to make something new with their shameless cash grab.

So, they wanted to take a beloved children’s cartoon and make it gritty and realistic… okay. Sure. No one asked for that and it shouldn’t be embarrassing for any adult to sit down and *gasp* watch a cartoon. For kids.

The original remains amazing, top-tier storytelling, so instead of these reviews stating the obvious “original did X better, why didn’t they do it that way?” we’ll look at the show as if the original didn’t exist… unless it just goes the route of Disney and Amazon and slaps a famous IP on the title screen without making any attempt to stay true to the original just to get butts in seats.

—

We open 100 years ago in Caldera (renamed generic Capital City) with a pretty decent fight scene and special effects. The choreography is solid, the tone is way darker – and so is the lighting, I had to shut the blinds and turn my laptop brightness all the way up – and it establishes pretty quickly that this is Not Your Kids Cartoon Anymore, even if the fight is bloodless.

*Side note: That no one has a Japanese accent in the Fire Nation is… surprising? I know it’s not actual Japan, I know the original didn’t have any accents, but that they’re going for the whole “gritty realism” vibe and didn’t white-wash the cast, not giving them any accent feels like a bit of a missed opportunity. Just the adults, even. Iroh had an accent in the cartoon.

The costumes are also amazing. The original is still a feat of animation but being able to see all the ornate detail in the costumes, particularly in the Fire Nation, is fantastic. The Water Tribe costumes don’t feel quite so lived-in. The colors are still vibrant, there’s no stains, no wear. They don’t reflect the weariness of a remote village still suffering the effects of a hundred-year-long war. Zuko’s scar doesn’t feel quite as gnarly as it could be, more like a very bad bruise and not the remnants of a 3rd degree burn (but at least it’s not on the wrong side). He still has his entire eyebrow and full visibility.

Sozin is amazing, too. Right off the bat he’s shown as clever, cunning, and violent. The original was limited by Nickelodeon’s censorship, so even though it was a kids’ show and they did amazing still scaring kids without showing the violence (like a graphic depiction of Zuko getting his scar), these are firebenders, and fire burns.

… Though if you’re twelve and watching this expecting a fun adventure, watching a man get burned alive in the first 5 minutes wakes you up right quick. I heard a rumor that they wanted to fill the Game of Thrones vacuum and, yeah, they went for it.

Is there a reason they didn’t lift the original opening narration straight from the old script? It was fine! It’s iconic! This feels like a student cracked open a thesaurus for their essay just to sound smarter. Gran Gran gets to deliver it and that is an... interesting choice.

They did salvage some of the original music, and hearing Aang’s theme and the foreboding horns of the Fire Nation theme redone was ear candy, along with the Sun Warrior chant in the end credits. During Aang’s escape from Zuko’s ship, however, the score sounded uncannily like the battle music from The Lion, the Witch and the Wardrobe. 

*Side side note: One nitpick. One little nitpick, I think I’m allowed. Aang cannot fly without his staff. It’s a convenient and logical cap on his abilities and there was no reason to not keep it in.

On the one hand, opening the series with the Air Nomad genocide establishes immediately that the Fire Nation is led by an evil warmonger. On the other hand, slowly weaving in that exposition over the first few episodes, culminating with “The Storm” took what we thought was a lighthearted adventure and made it so much more. That reveal in “The Storm” still makes it one of the best episodes of the show.

Gyatso is perfect. The casting is perfect. “Gritty realism” or not, they did their homework on Gyatso. The only voice actor that left a hole not-quite filled is Iroh’s. He doesn’t quite sound like the wizened old sage, just… a guy. Through no fault of his actor’s, he’s solid, he’s just not quite Iroh.

—

While the worldbuilding is fine and all the extra additions in the beginning are entertaining… the original cartoon was limited to a cable-bound, 30-minute time slot, with commercials. They did their best to pack as much as they could within that time limit for every episode and you weren’t left wanting. It was also animated and every single frame cost money to draw. Creativity thrives in a box and not having endless Netflix money forced them to do the best with what they had.

With all this room and time to kill on Netflix it loses that tightly-woven polish. Scenes linger and add in dialogue that could have been concise and short. This show marinates, where the original was multitasking in every shot – developing the characters, the world, the story, the lore, the relationships.

In the time it took an entire animated episode, this show front-loaded all the exposition and mysteries to be slowly teased and solved through the first half of the season. We’re not left wondering how Aang survived the Air Nomad massacre. We’re not wondering why he wasn’t there, we’re not wondering who he is and slowly learning him with each episode. Curious now if the “The Storm” episode will even exist.

When Aang takes Sokka and Katara to the Southern Air Temple, neither know exactly what happened beyond that it was bad, and Aang has no clue his people have been destroyed, that it’s been 100 years. This time, the trio and the audience already have that information so the oomph of seeing the aftermath, of seeing Gyatso, doesn’t hit as hard as it should.

The themes, the personalities, the motivations of the characters so far still feel like them, even with all the extra fluff. Aang remains a reluctant chosen one, a twelve-year old with too much responsibility on his shoulders – even if he explicitly ran away after eavesdropping on Gyato’s conversation about sending him away and didn’t just happen to be gone while his home was destroyed.

Everyone except Iroh, which is a shame. He reads less as a “concerned surrogate father figure trying to raise an angsty, bratty, entitled teenager” and more “old man who’s too old for his nephew’s BS so he patronizes instead of showing any genuine support.”

About the only major element that didn’t get the love it deserves is the humor. Aang’s abrupt “will you go penguin sledding with me?” right after he wakes up is just one of many missing lines. Game of Thrones had plenty of funny characters, a show can be gritty *and* funny and he’s still twelve, he’s allowed to be a little cringey and ridiculous.

For a shameless cash grab remake that lost the original writers and took forever to finally air, this is a lot better than I expected it to be. The script isn’t perfect and there’s some lines that aren’t well-executed, but no actor phoned in their performance and visually it looks amazing. The writers did their homework and, so far, even if they refuse to make it a kids’ show, they’re still making Avatar: The Last Airbender.

[royalrazz37]

Disclaimer: I love this film. These are just my critics. I know someone else has already pointed these issues out and better than I ever could. Just wanted to get my thoughts out. Feel free to link their analysis

Post Disclaimer Disclaimer: A lot of these may be petty and have no real solution so I apologize preemptively.

Without further ado here is an aging millennial’s concerns with: The Lion King (1994)

Small nitpicks first

Incest

Usually lion prides have a single adult male that mates with all the females but in this case there are two, Mufasa and Scar, meaning, that at best Simba and Nala are first cousins and at worst siblings, getting married and having children.

On the flip side there is nothing more royal than keeping it all in the family.

Say his name

What is Scar’s real name? I know it can probably be found somewhere but i think it’s pretty messed up it’s never said in the movie. Also making someone’s physical feature their name is rude. Its like calling someone Hairy, Big Nose, or Six-Fingered Man.

Sexiest Lion

From what I remember learning about lions, the males with darker manes are seen as more attractive. So why is my man Scar not getting hole? I know its a kids movie but could we at least see a couple dark furred cubs running about? (I know about Kovu)

Choice of voice actors

Why are all the good characters voiced by white people? (Exceptions for James and Madge) and all the bad guys are POC? And its some extra ish when only the lackeys are POC. The big bad is white. Colored folk can’t even be their own boss.

And i know the remake “fixed” this but we’re not talking about the new woke Disney.

Now the real gripes

Monarchy and leadership

While the idea of a hereditary monarchy is bad enough the main plot strongly implies divine right is just and desirable.

Mufasa is supposed to be king and this is reflected by the kingdom being pristine and in balance.

Scar, who is not ordained by the sky daddies, takes the throne and all falls to ruin.

Then the “rightful king” returns, restoring prosperity to the land.

It gives credence to the idea that a higher power has to approve of a leader for things to go right. That those in power are there because that is how it’s supposed to be.

Look, little one. See what happens when you try to break the status quo? Bad things happen. Be happy with your lot in life.

If you try to rise above your station like Scar, well. You saw what happened. (I know Scar murdered fools but you get my drift)

“But Razz” I hear you say. “The reason things went bad is because Scar had the hyenas live in the pride lands and they ate everything. Those slobbering mangy stupid poachers!”

Aha! I say. You activated my trap card.

US History as a Metaphor

I think its safe to say that the hyenas are coded as POC. As such the idea of their integration into the pride lands being the catalyst for its blight is troubling.

It harkens back to the fear of the negro moving into cities during white flight. Hyenas/blacks move in and everything goes to shit.

Thats why we keep them in their elephant graveyards and shadow lands (the ghettos) so the blight doesn’t spread.

And if one of the hyenas do come into the pride lands we send our strong alpha Mufasa to beat and brutalize them.

Also the hyenas are painted as gluttons for wanting to eat. THEY WERE IN A LITERAL GRAVEYARD.

Of course they’re hungry. Of course they’d want to eat everything they could. They were forced to live that way.

Now lets draw a line.

Hyenas are always hungry because they live in a food desert and actual desert.

They live there because of enforced segregation by the lions.

Lions who then blame the the hyenas for being hungry and use that as justification to continue segregation and harsh policing of the hyenas movements.

Sounds familiar.

And the film’s solution to all this is a return to the status quo. Yuck.

Not to mention the sequel where there’s a reconciliation between the lionesses who supported Scar and the pridelanders because Kiara says “We’re the same”. I know I’m probably grasping a straws here but that moment felt like the Irish and Italians gaining whiteness.

Ok rant over.

[corellianhounds]

Go on. Be free. Give us the commentary ⭐️

So I decided to go with a self-contained one-shot and chose Nightfall

(Summary for the story is a revised look at how Grogu was rescued during Order 66, and those events being what spurred him to heal somebody for the first time)

Spoilers below!

To begin with, the title Nightfall is a play on Operation Knightfall, the attack on the Jedi Temple during Order 66, giving the audience the setting. Order 66 happens in the evening, and one of the things I look for when writing any character (but here especially children) is what they’re afraid of; kids aren’t just afraid of the dark, but the danger they believe is lurking in the dark.

So the idea for the story came from the question “What would have compelled the child to display a rarely-found Force power like healing for the first time?” Healing another person’s injury is already a step beyond the child’s typical developmental years; children his age don’t typically know how to successfully help an injured person because they wouldn’t have the means, life experience, or awareness to do so. Children are meant to be taken care of. The fact the child is fifty in The Mandalorian means he would have been about twenty during Order 66; if we estimate by Yoda being 900 when he dies to mean he’s the equivalent of about ninety in human years, it would mean their species ages one-tenth of the rate we do— The child is about toddler-aged in the show but even if we round his fifty years up to about five years old, it still puts him at about two years old at the Temple. We know Force-sensitive children were found at very young ages and brought to the temple for training, but those formative years were going to be largely spent simply raising them. The child would have been taken care of and unlikely to be subjected to any rigorous training or even beginner’s combat

Which means it’s incredibly unlikely he would have been around anybody who sustained significant injuries of their own. Taking care of somebody else is a developmental stage that only comes after we’ve grown to the point of being able to take care of ourselves, and then developed the understanding that there are other people younger/less able than us who could use our help. The most he would have seen would have been initiates and padawans scuffed from training, or adults in passing who were already on their way to the infirmaries or healing halls. Neither of those are dire enough scenarios to prompt that level of effort from him

So naturally, what significant event could have happened in Grogu’s young life that would have not only exposed him to gravely injured people, but compelled him to help them?

One of the reasons for changing the child’s escape from what’s seen in TBoBF and Mando Season 3 is that I’ve always thought the depictions of the attack on the temple don’t really get into the viciousness of the attack, especially regarding the children. Obvs Lucas didn’t want RotS to have an R-rating and Disney+ isn’t going to focus on a bunch of kids getting gunned down, but I was dissatisfied in how the attack was shot in the Kenobi show especially since its depiction there was focused on the kids. Between Kenobi, RotS, and S3 of Mando I think the scenes of the Temple could have done a better job showing the urgency, chaos, and danger of what was happening on ground level. The Jedi are completely caught off guard and it’s utter chaos as they try and fail to escape. Part of writing Nightfall was to make the danger less of a bird’s eye view and more of a first person POV so the danger is a lot closer and more visceral. I toned down the initial scene of Grogu being carried by the older boy as the children try to flee because I do try to keep within the tone of whatever source material I’m writing from, but it could have honestly been a lot darker. I may go back and add to it at some point.

Grogu noticing and recognizing Anakin comes from a longer criticism I have of the flashback being used in TBoBF and how it was done with Luke: there doesn’t seem like there’s a reason to make the kid relive that memory if Luke wasn’t also going to see it. It has no bearing on the rest of Grogu’s training or Luke making him choose between two parts of his life, identity, and who he considers to be his family.

What would it have been like if Luke “Famously Not Attached to His Own Father” Skywalker had seen Knightfall, led by his own father, from the perspective of a child that night? How would Luke have been affected seeing Anakin himself killing dozens of children? What conflict does that introduce in Luke? How does it affect his relationship with Ahsoka and what she says about Anakin? What story elements could have been explored if the writers had actually thought about the implications of what they included in the show?

That story couldn’t be told in The Book of Boba Fett not only because there wasn’t time, but because Luke shouldn’t have been included in the first place because he draws too much attention away from the main characters of the shows he shows up in. I already don’t think Luke should have been included at all, and I think the way he was was done poorly. At that point just cut him out and streamline your story without tying it to a pillar of the original source material because you’re not even including him in a meaningful way when you do

I had Grogu seeing Anakin as more wraith-like and less like a man, alluding to the descriptions I’ve seen of Sith being more like creatures once they’ve lost that humanity, and when I initially wrote the first draft of it I had written Anakin with a red saber. The exact wording I had was “a bloodshine blade,” which I really like the sound of, and for a moment I considered keeping it red anyway since it was already an AU of canon, completely forgetting the entire part of the original trilogy where Luke was given Anakin’s lightsaber 😆😅 My compromise to keeping it blue was that I was able to describe it as “a sky-blue blade,” instead, the description a nod to Anakin’s last name, which I still find narratively satisfying in a different way

(It also left room for me to note the color of Grogu’s blanket being red like it is in the show, something I think ties him to the flashbacks Din has of his childhood where he and his people are wearing red robes)

I really did and do love Kelleran Beq’s character. His entrance and actions were so strong and heroic and I knew I was going to keep him as the one who rescued Grogu from the temple, and I wanted to focus more on him as a person and cut out the speeder chase to the rendezvous because I didn’t feel like those were necessary. I wanted to strike the balance between somebody lethally efficient with a blade and still careful and capable enough he could fight one-handed while cradling a child. He and Din are mirrors of each other in that way, and I wanted Beq’s steadiness and resolve under incredible duress to be the haven Grogu clung to in the storm. It’s a dichotomy I really admire in the warrior hero types and I enjoyed getting the chance to write it

(This may seem like a crass thing to note, but I found as I was writing that “Master Beq” didn’t… sound right 😅 I changed it to Master Kelleran and used Beq or his title on its own in other areas to keep it from being repetitive. Pro tip for writers: See what your writing sounds like when read out loud and you’ll find the edits to make your story read and sound smoother as a result.)

I also wanted to change the first thing Kelleran says to the boy because the line “Everything’s gonna be alright, kid,” is… patently false, given the circumstances. Even if he and Grogu escape unharmed, Grogu knows objectively that everything is not okay and will never be the same again. Having Kelleran say “I’ve got you, child. We’re going to get out of here.” is confident, truthful, reassuring, and gives Grogu an understanding of their objective. Kelleran isn’t staying to continue fighting the clones— He’s there to get Grogu to safety.

Following that with the brief moment he has mourning the fallen padawan who’d carried Grogu that far was important to show that dichotomy again, the sorrow and tenderness of a master seeing another life cut short but still owed the acknowledgement of their death paired with the understanding and clear mind of someone who keeps their cool in the heat of battle and unforeseen betrayal. I wanted to be sure to capture how adaptable and adept Kelleran was; Grogu needed a sense of hope in the most chaotic and heartbreaking time of his young life

I’d had the visual of a Jedi master or student choosing to leap from the temple towers out and down to the Coruscant cityscape below for a while, and I figured there was no time like the present. It stands out to me for a number of reasons, and I like the contrast of Grogu being held to his protector’s shoulder as they escape in a controlled fall, versus Din as a child being held to his protector’s shoulder as they fly upward to safety. I specifically had Beq tell Grogu “Hold onto me,” because I also imagine that to be the second thing Din’s rescuer said to him as he picked him up and they flew away.

When referencing the Force I tend to use terms that refer to the ocean because I write it as a force of nature. No one can command the depth and breadth of the ocean no matter how hard they try; staying near land and near others on the shore is the light side of the Force since you are in a place where your ventures into the sea are still able to remain under your control, provided you have the right understanding and techniques, and it means you are capable of seeing the bottom and reaching those who are drowning or lost at sea. To me the dark side of the Force is the temptation of more power the farther out you go. The dark side promises immense power, but it’s easy to be swept up in the current and pulled out far beyond your reach and understanding. By the time you realize you’ve succumbed to temptation by taking small steps further and further out into the water, it may be too late to escape (Unless somebody is able to reach you with a lifeline and pull you back in). The phrases “a tidal wave of force,” “waves of sorrow and grief ebbing like the tide,” a hurricane, “a harbor in the storm,” and describing Grogu’s instinct to heal like “a fish knowing how to swim” were all done purposefully in the scenes where Beq and Grogu use the Force (even in the background).

Beq having a laceration on his arm is meant to parallel the one Din has in Season 1, episode 2 when the child tries to heal him for the first time.

The phrasing “fate’s design changed just enough” is a nod to the song Rapunzel sings in Tangled when she heals somebody:

“Heal what has been hurt;

Change the Fates’ design;

Save what has been lost;

Bring back what once was mine.”

And I think that’s all the big points! Thanks for letting me ramble! 💕

Director’s Cut Ask Game

[an-leomhann]

Independent & Private roleplay blog for Cullen Rutherford of Dragon Age. This blog will contain themes both in darker, controversial, and of adult nature. Please see the rules beneath the cut.

Laws:

18+ only, no minors, no exceptions. Mun is a dinosaur by Tumblr standards. This means that I also expect you to act like a mature adult, as well. I’m not here for your drama, your politics, or anything else that doesn’t involve writing, plotting, and friendly conversation. I'm not saying those topics aren't of great importance. This just isn't where I want to find them.

I attempt to tag content as thoroughly as I feel is needed, but if there’s something you directly would like tagged, just let me know. There will be mentions of sensitive matters, such as fantasy-based racial discriminations, drug usage, and other touchy matters. Reminder that mun does not equal muse on these topics.

I primarily write multi-para and novella style. Quick shot/short roleplays aren’t really my thing, unless it’s dashcrack or something small with an already well established writing partner.

Please type correctly. Weirdly spaced words, excessively colored italic fonts, and all lowercase/uppercase whatnots are extremely difficult for those of us to read who have any sort of dyslexia or bad vision. Accessibility is not one size fits all.

I’m not here to compete with duplicates, nor am I attempting to steal anyone’s writing partners. I am not exclusive.

No threads are connected unless previously discussed. Each one is it’s own stand-alone setting, which includes plotted events and ships, unless previously discussed.

I don’t follow multi-muse blogs unless I know the mun or they’ve been strongly recommended to me. I know they’re very convenient for some people, but… (a.) I have ADHD and they scatter my headspace a lot. (b.) I don’t really care to have an array of muses I have little or no interest in on my dash. (c.) I prefer stand-alone blogs where the mun has put so much time and devotion into that one muse. (I’ve literally seen multis where the mun didn’t even know their most active character’s canon birthday.)

I won’t hesitate to make this space my own. If you make me uncomfortable with passive-aggressiveness, gaslighting, or anything of that nature, I will block you.

I use icons (sometimes) and standard small font, but I don’t mind it others don’t. However, entire lowercase replies, fancy fonts, tiny fonts, and wide spacing are difficult for my old lady vision and dyslexia.

This blog is panfandom. The only exceptions are blogs related to/containing Disney, Hazbin, or MCU content. I won’t follow these. I won’t explain why. That business is mine.

I am slow as hell. Please don’t be an asshole about it.

I like cat pictures.

(I'll include a proper bio and verse page soon, but for the time being, just ask. The complex man has verses in several major franchises.)

[thedisneychef]

Kitchen Blooper! Jack Skellington Sugar Cookies

Kitchen blooper! Jack Skellington sugar cookies is a fun and lighthearted take on a classic sugar cookie recipe. Inspired by the beloved character from Tim Burton's "The Nightmare Before Christmas," these cookies are decorated with a whimsical and spooky design that is sure to delight both children and adults alike. The recipe is easy to follow and uses simple ingredients, making it a great option for home cooks of any skill level. While the process of decorating the cookies can be tricky, it is a fun and creative activity that can be enjoyed with friends and family. Whether you're hosting a Halloween party or simply looking for a fun baking project, Jack Skellington sugar cookies are sure to bring a smile to your face. In this context, we can explore the cultural significance of "The Nightmare Before Christmas" and how it has become a beloved holiday classic. We can also discuss the importance of embracing kitchen mishaps and mistakes as a part of the learning and creative process in baking. Finally, we can highlight the joy and fun that can be found in creating unique and playful desserts that bring a sense of whimsy to the kitchen. More Delicious Recipes You Will Love: - Chef Mickey Key Lime Pie Recipe: A Refreshing and Tangy Dessert - Mastering Jamaican Buns: Avoiding Kitchen Mishaps - Avoiding Kitchen Bloopers: Perfecting Kona Sweet Bread Halloween… One of my favorite holidays. You have an excuse to dress up, eat tons of candy, and celebrate the darker, spookier side of life. Being a lifelong fan of “Haunted Mansion” and lover of the weird and spooky, Halloween is my time of year. When I got the recipe for the Jack Skellington Sugar Cookies, I was over the moon. I love, love, love “The Nightmare Before Christmas.”  I love cookies. What a perfect match… It was like Tim Burton and Johnny Depp, like Madame Leota and Tarot Cards, like pumpkins and the headless horseman… It just seemed to belong so perfectly.  Add to that my recent trip to Disney and seeing these cookies absolutely everywhere, I figured this couldn’t be a cooler recipe. And then I made them. Yikes. The recipe I had?  Not good. They were bland, they were dry, they just weren’t that tasty. And the sugar frosting? It was really practically inedible. Even my son, who I think is in some way related to the Cookie Monster, took one bite and wanted no more. I can imagine no bigger sin in my son’s world then to refuse a cookie, and if this one was worth refusing… That says something. Now, to be fair, a lot of the recipes I get are authentic, but they’re done in such huge batches that they have to be scaled down by the chefs that give them to me. After all, I have no real need to do batches of 100 cookies.  Sometimes, when those conversions are made, while technically accurate by proportion, they don’t taste quite right. This recipe was an obvious victim of that phenomenon as, when I made them the second time, I had the very exact same issues: a bland, dry cookie with icing that was gross. Very un-Disney. But at least they looked great. That all being said, it’s not like this recipe is a total loss. The idea behind it still works… Just your favorite, trusted sugar cookie recipe (or buy some premade cookies, or premade cookie dough), ice it with white frosting or icing or chocolate, and using a small tipped bag of black decorator gel, and you have your own, edible, Jack Skellington cookies. But of course, I also made another discovery in this process… That I don’t have the patience to decorate that many cookies.  But that’s a problem for a different day. In addition to the delicious food and recipes, Disney World is also known for its unique dining experiences, such as character dining and themed restaurants. Whether you want to have breakfast with Mickey Mouse, dine in a replica of a sci-fi drive-in theater at Hollywood Studios, or enjoy a meal with an ocean view at the Coral Reef Restaurant in Epcot, there's something for everyone. And with the help of Recipes Today and the How to Make category, you can even recreate some of these magical dining experiences in your own home. So why not start planning your next Disney-inspired meal or dining experience today? Read the full article

[sepublic]

I dunno if there’s a name for this type of genre/setting, but. I’m really digging how S3 seems to be going for that type of story, often coming-of-age, involving a ragtag group of tweens investigating their suburban neighborhood, performing historical research and unraveling a mystery, in response to supernatural happenings. There’s a monster lurking out there, and they have not much beyond your typical, everyday household objects to defend themselves; And of course, the beloved flashlight!

Obviously three of our protagonists DO have actual magic, but I have to wonder if prolonged separation from the Demon Realm will cause a witch’s magic bile to run out... Thus forcing the kids into a time limit and making them struggle even further against the odds, esp since even their original strength wasn’t enough to defeat Belos’ monster form. This might be why Amity has her Palisman; Willow and Gus have more innate talent and thus ‘bile’ to run off of, but Amity isn’t as gifted and so runs out a lot more quickly, and has to rely on her staff as a backup.

Which, I guess is not unlike Belos, perhaps; I can definitely see him focusing on the kids’ palismen, as he deals with his own dwindling time and energy... Anyhow, I dig this type of horror story where the kids are forced to confront the hidden sins of their town’s past, as a literal ghost comes back from the dead to haunt them.

It’s a mystery and of course you have the occasional kind adult or parent struggling to make things right; Struggling against the danger that threatens the idyllic life kids are meant to have, because these types of stories I imagine are meant to shatter the illusion of a perfect suburban neighborhood, show there’s shadows lying beneath the picturesque surface and nostalgia. A critique of that nuclear family image, because of the skeletons in the closet... Typically the ones who don’t fit in, the outcasts from whom the protagonists are, and find acceptance in fighting the idyllic facade. They too relate to being unacceptable and hidden away, hence their connection to the hidden darkness they unravel. I guess that’s what’s at root behind the fundamental appeal of these stories, what makes them resonate with audiences so much, that and the rad aesthetic of course.

It’s all really a metaphor in a way for a protagonist’s struggle with their parents and their need to be accepted, even as the parent adjusts to a shaken-up status quo they’re totally unprepared for and how they can somehow maintain their duties as an adult amidst all this, accepting that this status quo isn’t so perfect after all. Like Paranorman, Stranger Things, Deltarune. I don’t know WHAT the name is for these type of stories is, but I’m delighted to see The Owl House naturally develop our protagonists’ circumstances into this kind of familiar, recognizable story. The perfect neighborhood isn’t so perfect actually, it’s all a social critique by the end of the day.

And of course, the beta AU aspects are noticeable, especially the baseball bat that is a common trope of these kinds of stories; Which just gets back to what Dana said about her original intentions for the show to be darker, even as it literally becomes so! She DID clarify that Luz and the kids were made younger and more cheerful, precisely as her own creative choice; To paraphrase, if everybody is edgy then nobody is edgy, the brightness of someone like Luz was chosen by Dana herself, not Disney, as a way to contrast with the surroundings.

BUT... That’s how it starts for the story! But as things develop and Luz’s character grows and is hurt, experiences the loss of innocence in coming of age stories... Yeah, I can see the vibes of the Beta AU always having been the intention for the crew, they just opted to have the cast evolve into that, instead of starting off that way! Which of course, creates the nice contrast between then and now that makes the darkness of recent events all the more apparent. I dig it.

It truly feels like such a natural and perfect way to portray Luz’s arc to evolve in her return to the human world, confronting what she’s learned of it since then, and coming to terms with how she doesn’t fit the mold that Gravesfield wants, recognizing its cruelty towards those outcasts, and unveiling the truth. All while finding her acceptance from her mother and peers... Because that’s what it’s really about at the heart of the story, what it’s a metaphor for. It’s the ideal and classic genre to explore and settle her issues back home, in a home that isn’t as normal as some might claim it is away from the Demon Realm.

This could easily be its own isolated, more mundane AU and I love the range this show offers; I’m almost surprised the show didn’t go for this setting earlier, but that’s only because there’s a time and place for it and the time is now after carefully building up to it. Luz is truly disillusioned with the human world after living in a different place and seeing how it easily could and should be better, which just allows her to really make a stand against it this time. Now she knows another life is viable and isn’t interested in returning back to this one. This could be the end of her hero’s journey with how Luz has come back changed; But unlike the classic version, the beginning is not her end.

[fromxxthexxashes]

My thoughts on Supernatural if it were on different networks/platforms.

ABC: No gore. No brutal murders on screen. So much melodrama. A lot more characters. Many love triangles. Maybe Destiel, but if it was leaning that way they would have had a complicated on and off thing. It would probably play second fiddle to an over complicated romance for Sam.

HBO: More gore and darker themes. More explicit content (lots of seggs). Also F-bombs. Mostly from Dean. Dean’s alcolism and Sam’s demon blood addiction would have been highlighted more and it would be way darker. Destiel would be a thing and they would probably get together pretty early on.

Amazon: So much more blood. Like all the blood and all the gore. Hard core seggs. Also SO SO SO many f-bombs and other taboo curses not allowed on network television. Again, most of them from Dean. Just watch The Boys. It would basically be that, but switch the supes for monsters.

NBC: imagine if supernatural had a baby with a procedural cop/hospital/fire-fighter show. It would basically be monster of the week all the time, with some more romance. Destiel is like a fifty-fifty chance (in the later seasons when the general viewers are less afraid of gay people), but if they were together they wouldn’t get as much attention as Sam’s romance, which would probably be Eileen and everyone would love them, but still.

FOX: It would have gotten canceled after season three.

Netflix: Possibly better VFX, depending how popular it is. Shorter seasons, so way less filler episodes. I feel like it would be way more dreary or way more action packed. They would certainly queer bait Destiel, but I feel like they would be more into it than the cw (Byler vibes yk). Seeing as it is a mostly male show with mostly white leads and no sapphics in the leading role - it would not have been canceled after one season. Also seeing as Netflix wasn’t making their own shows in 2005, the time-line would have been pushed WAY up.

CBS: Less gore. It would be a procedural, monster of the week thing. It would still have its long run time. Way more drama and more suspense. Probably less humor. The only humor would come from some flat jokes or like a beloved comic relief character. Probably lots of copoganda.

Disney channel: No gore at all. Also no death, except rarely mentioned things in the past. John would probably be written as a better father. Dean and Sam would be high schoolers. They wouldn’t kill the monsters, they just put them in monster jail or some shit. Think Wizards if Waverly place (there would probably be a cross over tbh). Sam would definitely be a monster fucker dater. Him and Madison would probably be endgame. Destiel would 100% be a thing, but that’s because they’d make Cas a girl. Cas would still be an Angel, with fluffy white wings and white clothing. Also, no demons, just vampires, ghosts, and goblins and shit like that.

Nickoldian: A) An incredibly overdramatic show on teennick. Think soap opera for teenagers. They would probably make Cas a girl and there would be a love triangle with Sam and Dean. They go to like a private school for monster hunters or something. Horrible ratings. Would barely make it to 2 seasons, but it would a have a very small, but devoted fan base. B) Deeply unserious. It would probably involve Sam and Dean befriending most of the supernatural creatures. It would involve minor comical injuries mixed with mild adult humor (like Icarly and Victorious). It would be Dan Sch*ender era, so, you know, f**t.

Cartoon Network: it would be a cartoon (duh). No blood or onscreen deaths. Either a spin off of Scooby-Doo or very reminiscent of it. Either way, it would have the vibes of Mystery Incorporated. They would definitely lean more into the “Sam is a nerd” thing. If it was made during recent years, they would incorporate more magic, and Dean and Cas would be together and sickeningly adorable.

Freeform: It would be during the ABC family era technically. They’re teenagers but they’d be played by people in their late 20s. So much melodrama. Way less gore. Lots of dead bodies, but no gory deaths. PLL but instead of stalkers it’s monsters. A lot less humor. Inappropriate relationships.

BBC: it would probably be pretty much the same, except they’re, you know, British.

[hello-nichya-here]

Do you think politics should be kept out of fictional stories, or just from satires like The Addams Family?

Before I get to The Addams Family mixing with politics or not, let me clarify one thing: there's a difference between an artist adding political commentary to their work, and a big corporation like Netflix doing things like adding random political slogans to a character's dialogue to sell their product as "woke."

To make my point clearer, let me compare two properties BY Netflix.

First we have the anime Cyberpunk Edgerunners. It is a dystopia in which the people in charge have so much power, they can get away with OPENLY treating human life as absolutely disposable in every way because all that matters is that they keep making money, and the characters are just trying to make a living, their own way, so the system won't crush them like bugs.

The politics is part of the world building, and it is presented through us as just another part of the narrative - the challenges the characters face, and the consequences of them getting their way, or failing miserably.

Meanwhile, there were the random “woke” moments in Wednesday. A guy saves her life in the first episode. This leads to her being rude to him and asking if he saved her because women are all fragile damsels in distress that need a man to help them. 

Wednesday had no idea who this guy was. She had no reason to believe he was sexist. He did not condescend to her in any. All did was help her out, and then explain to her what happened when she woke up at the infirmary. 

Now, about your actual question: politics are, unfortunatelly, a part of life, so naturally that is reflected in fiction, and to pretend that political messages haven’t been a part of a ton of great shows, movies, and books is not just silly, is downright stupid. However, like anything in the writting process, it has to be done right - and what is right for one story, is completely wrong for another.

This wasn’t a “strong female character telling the patriarchy to fuck off”, it was a character spewing out cheap “empowering” lines to make the internet call her a feminist icon - and thus keep their Netflix account, praise the show, and recommend it to others for having said “feminist icon.” It is the equivalent of writing a scene with Wednesday’s roomate telling her - or rather, the audience - that she loves Netflix because it has all the best shows and movies she could ever want to watch.

This is as "bold" as Disney announcing it's 50th first gay character, which will get three seconds of screentime. It's not the writers sending a message to the audience, it's fake activism in it's laziest form.

Avatar The Last Airbender and A Song Of Ice And Fire are both stories that have among their themes grief, trauma, and the horros of war. Both could have key characters meeting a duel, but only Avatar could get away with making said duel a parody of a wresteling match, including an obvious stand in for The Rock, because it was a kid’s how and comedy was a big part of it. Both could have characters getting hurt or even dying, but only ASOIAF could show/describe these scenes, because it is aimed at adults and has a much darker, and straight up brutal tone.

The Addams Family is satire. That genre is PERFECT for the best kind of political commentary: the kind that is made through witty and/or silly jokes.

However, for said jokes to feel natural in the story, they have to be true to the essence of the characters - and the Addams’s main trait is that they’re weird, sometimes scary people.

To give you an exemple, in the first movie, we have a scene of Morticia proudly telling her daughter’s teacher that one of their relatives danced naked in the town’s square, enslaved a minister, and was burned as a witch. Morticia then says that she told her daughter that she is not only allowed to do the same, but is actually encouraged to, but only after she goes to college to get a proper education. This shows the Addams have exactly zero problem with women that were demonized through history because they were sinful, lustful, evil witches, and all that great stuff.

However, the same movie also mentions how they did the Mamuska, a traditional dance of their family, in honor of Jack The Ripper - a serial killer who violently murdered sex-workers. 

This could look like a contradiction, but it isn’t, because the Addams’s whole deal is celebrating EVERYTHING that regular people find creepy, distasteful, sinful, inappropriate, morbid, vile, scary, etc.

Another exemple would in the sequel, Addams Family Vallues, in which Gomez and Morticia are listing all the “baby names” they thought of before finding the correct one - and among the options were both Lucifer and Mao.

Now, obviously this is the writers pointing out that Mao, the dictator that ruled China with an iron fist for years, was such a horrible person, he could be compared to the actual devil. But it also means that the Addams are not only okay with the guy, they actually considered naming their son after him. The movie is bashing Mao, but Gomez and Morticia are praising him for his terrible actions as a dictator - while the fact that he was a communist dictator is irrelevant, because the Addams are not communists. The joke is political, the characters are not.

And the super racist thanksgiving play Wednesday ruins in that same movie? She only did that because she was forced to participate in it, and she was sick of their fake, imposed happiness, that went as far as pretending that a massacre was actually a friendly dinner between the “civilized” europens and the “savage” natives. The scene was political, but the character was just doing something she knew would horrify and anger her enemies.

Even in THE tamest version of the Addams Family, the TV series of the 60s that had to drop nearly all of the dark humor, that element wasn’t lost.

There is an episode in which Gomez is supporting a politician. When Morticia asks him why in the world would he vote for a guy who is promising to destroy all the swamps when the Addams all like swamps, Gomez says that this is exactly why he is voting for him: is a campain promise, and everyone knows those are exactly what the guy will NOT do if he is elected.

But Gomez is still super friendly to the guy (the Addams way, which creeps him out), and there is no tension about how the other candidates are horrible and thus this guy is the good one, or at least the lesser of the evils they get to chose from. It is not taken seriously AT ALL. It’s just another excuse to have the Addams freaking the normies out.

The show was also praised for being one of the few family series that had the parents being actually happy together and in love, and taking good care of their kids. This was 100% because of the satire element, showing that the people who didn’t conform to what the traditional american family should be like were one of the few american families that were actually happy - but the Addams never point that out to us. Because it isn’t an act of rebellion on their part, at least not intentionally, they’re just living their lives.

They are NOT like us, so our ideas of politics could NEVER apply to them, because they simply can’t relate to it. That doesn’t mean the writers can’t add political commentary to the story - it just means they have to actually be competent at ballancing “these are my beliefs” and “this is what feels natural for the characters to do”

[qqueenofhades]

Hi. I’m curious. What did you mean by “women who read fiction might get Bad Ideas!!!” has just reached its latest and stupidest form via tumblr purity culture.? I haven’t seen any of this but I’m new to tumblr.

Oh man. You really want to get me into trouble on, like, my first day back, don’t you?

Pretty much all of this has been explained elsewhere by people much smarter than me, so this isn’t necessarily going to say anything new, but I’ll do my best to synthesize and summarize it. As ever, it comes with the caveat that it is my personal interpretation, and is not intended as the be-all, end-all. You’ll definitely run across it if you spend any time on Tumblr (or social media in general, including Twitter, and any other fandom-related spaces). This will get long.

In short: in the nineteenth century, when Gothic/romantic literature became popular and women were increasingly able to read these kinds of novels for fun, there was an attendant moral panic over whether they, with their weak female brains, would be able to distinguish fiction from reality, and that they might start making immoral or inappropriate choices in their real life as a result. Obviously, there was a huge sexist and misogynistic component to this, and it would be nice to write it off entirely as just hysterical Victorian pearl-clutching, but that feeds into the “lol people in the past were all much stupider than we are today” kind of historical fallacy that I often and vigorously shut down. (Honestly, I’m not sure how anyone can ever write the “omg medieval people believed such weird things about medicine!” nonsense again after what we’ve gone through with COVID, but that is a whole other rant.) The thinking ran that women shouldn’t read novels for fear of corrupting their impressionable brains, or if they had to read novels at all, they should only be the Right Ones: i.e., those that came with a side of heavy-handed and explicit moralizing so that they wouldn’t be tempted to transgress. Of course, books trying to hammer their readers over the head with their Moral Point aren’t often much fun to read, and that’s not the point of fiction anyway. Or at least, it shouldn’t be.

Fast-forward to today, and the entire generation of young, otherwise well-meaning people who have come to believe that being a moral person involves only consuming the “right” kind of fictional content, and being outrageously mean to strangers on the internet who do not agree with that choice. There are a lot of factors contributing to this. First, the advent of social media and being subject to the judgment of people across the world at all times has made it imperative that you demonstrate the “right” opinions to fit in with your peer-group, and on fandom websites, that often falls into a twisted, hyper-critical, so-called “progressivism” that diligently knows all the social justice buzzwords, but has trouble applying them in nuance, context, and complicated real life. To some extent, this obviously is not a bad thing. People need to be critical of the media they engage with, to know what narratives the creator(s) are promoting, the tropes they are using, the conclusions that they are supporting, and to be able to recognize and push back against genuinely harmful content when it is produced – and this distinction is critical – by professional mainstream creators. Amateur, individual fan content is another kettle of fish. There is a difference between critiquing a professional creator (though social media has also made it incredibly easy to atrociously abuse them) and attacking your fellow fan and peer, who is on the exact same footing as you as a consumer of that content.

Obviously, again, this doesn’t mean that you can’t call out people who are engaging in actually toxic or abusive behavior, fans or otherwise. But certain segments of Tumblr culture have drained both those words (along with “gaslighting”) of almost all critical meaning, until they’re applied indiscriminately to “any fictional content that I don’t like, don’t agree with, or which doesn’t seem to model healthy behavior in real life” and “anyone who likes or engages with this content.” Somewhere along the line, a reactionary mindset has been formed in which the only fictional narratives or relationships are those which would be “acceptable” in real life, to which I say…. what? If I only wanted real life, I would watch the news and only read non-fiction. Once again, the underlying fear, even if it’s framed in different terms, is that the people (often women) enjoying this content can’t be trusted to tell the difference between fiction and reality, and if they like “problematic” fictional content, they will proceed to seek it out in their real life and personal relationships. And this is just… not true.

As I said above, critical media studies and thoughtful consumption of entertainment are both great things! There have been some great metas written on, say, the Marvel Cinematic Universe and how it is increasingly relying on villains who have outwardly admirable motives (see: the Flag Smashers in The Falcon and the Winter Soldier) who are then stigmatized by their anti-social, violent behavior and attacks on innocent people, which is bad even as the heroes also rely on violence to achieve their ends. This is a clever way to acknowledge social anxieties – to say that people who identify with the Flag Smashers are right, to an extent, but then the instant they cross the line into violence, they’re upsetting the status quo and need to be put down by the heroes. I watched TFATWS and obviously enjoyed it. I have gone on a Marvel re-watching binge recently as well. I like the MCU! I like the characters and the madcap sci-fi adventures! But I can also recognize it as a flawed piece of media that I don’t have to accept whole-cloth, and to be able to criticize some of the ancillary messages that come with it. It doesn’t have to be black and white.

When it comes to shipping, moreover, the toxic culture of “my ship is better than your ship because it’s Better in Real Life” ™ is both well-known and in my opinion, exhausting and pointless. As also noted, the whole point of fiction is that it allows us to create and experience realities that we don’t always want in real life. I certainly enjoy plenty of things in fiction that I would definitely not want in reality: apocalyptic space operas, violent adventures, and yes, garbage men. A large number of my ships over the years have been labeled “unhealthy” for one reason or another, presumably because they don’t adhere to the stereotype of the coffee-shop AU where there’s no tension and nobody ever makes mistakes or is allowed to have serious flaws. And I’m not even bagging on coffee-shop AUs! Some people want to remove characters from a violent situation and give them that fluff and release from the nonstop trauma that TV writers merrily inflict on them without ever thinking about the consequences. Fanfiction often focuses on the psychology and healing of characters who have been through too much, and since that’s something we can all relate to right now, it’s a very powerful exercise. As a transformative and interpretive tool, fanfic is pretty awesome.

The problem, again, comes when people think that fic/fandom can only be used in this way, and that going the other direction, and exploring darker or complicated or messy dynamics and relationships, is morally bad. As has been said before: shipping is not activism. You don’t get brownie points for only having “healthy” ships (and just my personal opinion as a queer person, these often tend to be heterosexual white ships engaging in notably heteronormative behavior) and only supporting behavior in fiction that you think is acceptable in real life. As we’ve said, there is a systematic problem in identifying what that is. Ironically, for people worried about Women Getting Ideas by confusing fiction and reality, they’re doing the same thing, and treating fiction like reality. Fiction is fiction. Nobody actually dies. Nobody actually gets hurt. These people are not real. We need to normalize the idea of characters as figments of a creator’s imagination, not actual people with their own agency. They exist as they are written, and by the choice of people whose motives can be scrutinized and questioned, but they themselves are not real. Nor do characters reflect the author’s personal views. Period.

This feeds into the fact that the internet, and fandom culture, is not intended as a “safe space” in the sense that no questionable or triggering content can ever be posted. Archive of Our Own, with its reams of scrupulous tagging and requests for you to explicitly click and confirm that you are of age to see M or E-rated content, is a constant target of the purity cultists for hosting fictional material that they see as “immoral.” But it repeatedly, unmistakably, directly asks you for your consent to see this material, and if you then act unfairly victimized, well… that’s on you. You agreed to look at this, and there are very few cases where you didn’t know what it entailed. Fandom involves adults creating contents for adults, and while teenagers and younger people can and do participate, they need to understand this fact, rather than expecting everything to be a PG Disney movie.

When I do write my “dark” ships with garbage men, moreover, they always involve a lot of the man being an idiot, being bluntly called out for an idiot, and learning healthier patterns of behavior, which is one of the fundamental patterns of romance novels. But they also involve an element of the woman realizing that societal standards are, in fact, bullshit, and she can go feral every so often, as a treat. But even if I wrote them another way, that would still be okay! There are plenty of ships and dynamics that I don’t care for and don’t express in my fic and fandom writing, but that doesn’t mean I seek out the people who do like them and reprimand them for it. I know plenty of people who use fiction, including dark fiction, in a cathartic way to process real-life trauma, and that’s exactly the role – one of them, at least – that fiction needs to be able to fulfill. It would be terribly boring and limited if we were only ever allowed to write about Real Life and nothing else. It needs to be complicated, dark, escapist, unreal, twisted, and whatever else. This means absolutely zilch about what the consumers of this fiction believe, act, or do in their real lives.

Once more, I do note the misogyny underlying this. Nobody, after all, seems to care what kind of books or fictional narratives men read, and there’s no reflection on whether this is teaching them unhealthy patterns of behavior, or whether it predicts how they’ll act in real life. (There was some of that with the “do video games cause mass shootings?”, but it was a straw man to distract from the actual issues of toxic masculinity and gun culture.) Certain kinds of fiction, especially historical fiction, romance novels, and fanfic, are intensely gendered and viewed as being “women’s fiction” and therefore hyper-criticized, while nobody’s asking if all the macho-man potboiler military-intrigue tough-guy stereotypical “men’s fiction” is teaching them bad things. So the panic about whether your average woman on the internet is reading dark fanfic with an Unhealthy Ship (zomgz) is, in my opinion, misguided at best, and actively destructive at worst.

[repunzee]

So, in elementary school, my best friends and I all read The Mysterious Benedict Society books together and adored them. We even wrote fanfic of them all grown up with kids together. Needless to say, we were excited, yet cautious for the disney+ show.

The friend I still talk to spent the night and we binged the entire show together and we were both very impressed

All of my thoughts with spoilers for the books and show under the cut

It's all random rambling from here on out

The Great Kate Weather Machine

She was always our favorite character. Once on a fourth grade field trip we had to make something that I'm pretty sure was wind adjacent in groups and my friends named our project "The Great Kate Weather Machine." So we were worried about her portrayal in the show, but we didn't need to be at all. The actress did great and we loved everything about her, from her shoes to the beanie she always wore.

Kate x Martina

Either during episode two or three (I can't remember since we binged it), but it was one of the very first times we saw Martina and se was interacting with Kate and my friend just says "enemies to lovers." Thinking the show would be more similar to the book than it actually was, we decided it would be a fun crack ship. We were happy to see Martina get more development as the season went on and then Martina saved her gf from being barged by using "tetherball, the pride of the Institute." They could not of picked a better sport than tetherball, it was perfect.

So, we don't think it's a crack ship anymore and we are fully invested. The Martina and Kate bonding moments were wonderful. When Martina gave Kate the little tetherball I knew she was already fully in love. Then, when Kate was helping her get away at the end, it was so sweet, until Martina realized she'd been betrayed and my heart was ripped out.

Milligan

He was wonderful in the show. We loved how the tone always shifted when he was doing something and his colors were darker than everyone else and we LOVED that scene where it's slowly zooming in on him and the background is getting darker and darker.

Connie Girl (section title credited to Kate never calling her that in the show)

At first we were worried about her and missed the classic red coat, especially since we would tease one of my friends about being Constance for wearing a red coat that was too big on her. But, I could not have asked for a better portrayal of her. I would have liked a little more of her backstory and to know if the character was aged up at all, but overall, I'm really happy with the way Constance turned out.

Reynie

Out of all the characters, Reynie was most similar to the books, so I don't really have much to say. He was good and I'm happy with the character, I just don't have that many opinions on him.

SQ

Though, I did like his relationship with SQ. Out of all of the changes SQ is the one I think I'm most conflicted about. My friend and I were really confused when they were mentioning SQ at the beginning, but once we figured out he's a different character with the same name, he became a lot more lovable. I miss the old SQ, but the new one is a good character too and I really like that he got to befriend Reynie. Bonding over their shared love of art was really sweet.

Miss Perumal

She was AMAZING and I love that she got to go meet up with Mr. Benedict and the other adults to help out. It was great to see more of her and to follow her into the rest of the world beyond just The Institute and Mr. Benedicts friends. And of course any scenes with her and Reynie were adorable and make me so happy.

Sticky Washington

I don't know why they changed his backstory to be his aunt and uncle instead of parents, but that wasn't too big of a deal. I wish they had done more with his character since I feel like his plotlines were dropped more than anyone else's. The Waiting Room was one of the most memorable things Sticky did in the first book and I get why they could have had reasons for changing it, but the new Waiting Room doesn't leave the same awful feeling.

Rhonda and Number Two

I love what the show did with their characters and am so happy they got more character and plotlines. The way they bounced off of each other was perfect! They're dynamic, just- *chefs kiss.* As we were getting more excited about their relationship, I pointed out that Number Two's color scheme was mostly yellow and orange while Rhonda's was mostly purple and pinks and asked my friend what that made. She, a lesbian, immediately got it and we ship it. Later, when they were agreeing more and their outfits would coordinate a bit (both wearing turtle necks or jackets with the same cut) and they would start getting little pieces of the other's colors.

Mr. Nicholas Benedict

He was a lot more eccentric than we were expecting and when he was first explaining what was going on, he gave us conspiracy theorist vibes, though overtime I think his character got better.

Dr. Curtain

At first we really weren't sure about his portrayal since his narcolepsy was almost completely removed from the show until the end. He wasn't in his wheelchair nor have the sunglasses to hide his sleeping and was overall a lot more calm. It made him a different type of scary than he was in the books. I would have loved for him to be more similar to the book version of him, but it still worked.

Jackson and Jillson

They were so creepy and could not have been portrayed better.

Other Thoughts

I really liked the overall look and feel of the show. The color pallets for the characters were all amazing and overall the costumes were all great. I loved getting to see past just what Reynie was doing and what he knew to what the other kids were up to all the time and the adults and what was going on in town.

Conclusion

Me and my friend really liked the show and with the exception of a couple of the changes were very happy with the entire thing. We're hoping for a season two, especially with that ending, and will definitely binge it if we get one.

[storiesofsvu]

What type of drunk everyone is from svu?

Most of them are big on only having a couple of drinks, or only drinking at home/mini gatherings at someone’s apartment, as to not fuck shit up in public, being cops/lawyers and all, appearances do still matter. (Also I’m characterizing their drinks cause being a bartender that’s literally my job). That being said:

This got chaotic fast....

Olivia swaps between wine and beer. She prefers wine at home cause it’s easier to carry a bottle or two than like, 12 beers or liquor and mix. She only ever drinks scotch/whisky when it’s been a REALLY bad day, or she’s drinking with Barba/Stone/Casey. She’s usually a happy drunk, she gets super cuddly, giving extra long hugs to Noah when she gets home to relieve Lucy. She doesn’t like being drunk though, she’ll have a few drinks, she doesn’t mind being buzzed, but after watching her mother while she grew up, she doesn’t want to turn into her (and addicting personalities is genetic). She also doesn’t ever want to be actually drunk around Noah, so if it’s the night of a staff christmas party or something, he’s at Lucy’s. When she was younger/recently legal she opted for beer, even if it was shitty, it was what she drank.

Alex is a classy drunk until she’s too drunk. At first, she’s sipping back white wine, gin and tonics or martini’s, she gains a little extra confidence, and is definitely up for a good debate. Whether it be law or politics, or even something far less important, she’s always loved a good debate and that’s only amplified with them extra liquid courage. When she’s too drunk she gets whiny and needy, clinging to her s/o, trying to sneak as many kisses from them as possible, and that’s usually their cue to take her home and put her to bed (where she demands extra snuggles that they’re more than happy to give to her). Alex’s go to young adult drink was a solid glass of Riesling. She’d been allowed wine at the dinner table for years already, but she preferred something a little sweeter.

Donnelly is drinking the top shelf scotch, and probably ordering a round or two of Patron for everyone because I headcanon her as a chaos instigator when she’s not working. (And a bit when she is). She’s also the one debating with Alex, the two of them can get so fired up that someone definitely thinks their arguing for real until they over hear that they’re talking about which Disney villain is the absolute worst. She never gets too messy in front of everyone, and Irish goodbyes before anyone even realizes that she’s gone. Liz has always been a whiskey/scotch drinker, but she moved up from crown royal and ginger to double crown maple on the rocks, to the top shelf stuff she drinks nowadays.

Casey can go a number of different ways depending on the kind of week she’s had, and what she’s drinking. I don’t see her as a beer girl, if she is, it’s nothing darker than an amber, and if it’s after a day of soft ball, it’s whatever’s on special in jugs for the team to split. She drinks scotch, and likes it, but doesn’t often buy it herself/keep it at home. Her drink changes up all the time depending on the type of bar she’s at/who she’s with and the day she’s had. Rough trial? She’s going scotch. Summertime cocktail? It’s gonna be a red sangria or a mojito. Date night? She’ll split a bottle of wine. Some nights she’s at the debating table with Alex & Liz. Some nights she’s playing pool with Amanda and Fin. Other nights her and Kat are feeding Munch shot after shot and listening to him go off on hour long tangents about conspiracies until Fin manages to drag him off to get him home. She’s the one that lets loose the most in a positive way, when she’s passed her limit, she’s either getting overly competitive with the boys, or is starting a dance party with someone. Liz usually sneaks her out of there while she leaves, not wanting Casey to be embarrassed the next day. There is the rare occasion that she starts to get teary/emotional, she doesn’t really cry in front of everyone, but she definitely has those sad drunk nights once in a while.

We all know what Sonya’s like when she’s drunk 👀. She’s drinking bourbon or cheaper whiskey, Jim bean on the rocks or with a splash of water. She’s usually the one up at the bar, not by herself, but she can’t really be bothered to join any of the social circles, rather letting them come to her while she plays on her phone/watches the game/etc. She’s the first one there and the last one to leave, usually stumbling into a cab. She still socializes, often teasing the squad, maybe enjoys a game of darts (that she kicks ass at). Her and Amanda are definitely sneaking out for smoke breaks hoping no one catches them to call them out on it. When she was younger she would drink rye and cokes, or fuck it up with a spiced rum and coke.

Amanda we know can get a little spicy when she drinks, both sexually and anger wise. It kinda depends on the day and who her company is. She’s probably drinking an IPA, a standard beer, or whatever’s on special on tap. A southern comfort and ginger ale. She’s playing pool with the boys and Casey, flirting with Nick/Carisi depending on what era we’re in (and if it’s Nick there’s a high key chance they’re sneaking off to go make out in a back hallway somewhere). When she’s had too much is when she starts to try to bet on someone else’s pool/dart game, or a sporting event, or she starts threatening to throw punches. Liv’s quick to make sure none of that happens and gets her into a cab. When Amanda was freshly 21, she was drinking vodka soda/water and a splash of cran and you cannot tell me otherwise.

Nick’s drinking beer, something in a bottle cause he thinks it’s better, nothing too dark, maybe something craft if they have it/he’s feeling it. He can be at a variety of places in the bar. He might be up at the wood, two seats over from Sonya as they toss back and fourth comments over sports/whatever. He could be playing pool or buck hunter (if it’s buck hunter he’s playing with Casey and is genuinely surprised when she absolutely obliterates him). When he’s had too much, he’s getting possessive and angry (if he’s had any rye and cokes, then this is amplified a thousand times). He’s about to throw a punch to someone who grabs one of the girl’s asses before someone else from the squad gets him out of there as fast as they can. When he was younger he was drinking the shitty cheap beer, and jagger bombs.

Barba’s there and low key hates it if it’s the entire team cause it’s just so many damn people to try and deal with. He’s drinking top shelf, though a different brand from Donnelly. He’s usually at a table near the debate table, Rita, Liv or both with him as the madness begins. He’ll flit between them, sassing Carisi and the debate table. Sometimes he and Carisi are both at the debate table at the same time and they get so into it that the girls slowly and mildly awkwardly leave the two of them to it, moving to another table to continue their own. (And promptly start taking bets on how long it’s gonna be before they bang or if Rollins is gonna manage to snag Carisi first). When he’s had too much he gets mopey, it’s when he’s finally let his guard down and the emotions start tumbling out. He starts to feel every loss of every case or other personal issues that he’s insecure about. Rita’s always the first one to notice, being his oldest friend, swiftly dropping whatever she’s doing to get him into a cab. Sometimes he refuses though and she just sits with him and lets him get it out, whether that means he’s talking or there’s silent tears slipping down his cheeks, he appreciates it either way. She always finds a private booth in the back so the rest of the team doesn’t see it, and lets Liv in on her tactics of how to get him home and happy for the days she’s not around. When Rafael was younger, he didn’t drink much. He never drank underage cause his Mami would straight up kill him. When he did turn 21 he thought most beer was disgusting, and didn’t start on the scotch til he was a working prosecutor. He opts for something more simple like a rum and coke.

Rita surprisingly shows up more often than not. She’s there for the chaos mainly. She’s in the same boat as Cabot, drinking martinis, scotch or red wine. Whatever it is she’s drinking top shelf, if she does a shot she loves a good shaken espresso vodka. Coffee and liquor together is the greatest combination. But she’ll only do shots with Liz. She swaps between the debate table with the girls, and her sass offs with Barba, though there are nights when she’s on the prowl, and those nights, it’s her and Amanda teaming up to find their conquests. She’s also a hell of a good wing woman, and when Kat shows up, you better believe she’s helping this lil baby gay find someone to go home with. When she’s had too much to drink, she gets overly affectionate, like, doesn’t matter if you’re just a friend, she’s still going to be hugging you, and kissing your cheek. It’s time to go when she’s at the stage that she’s pouting cause she’s not making out with someone. (Or when she really is making out with someone, especially from the squad. Her and Amanda were definitely caught making out in the bathroom at least once). Her palate was always adjusted to more “grown up” drinks, like Alex they always had wine with dinner, though she was more of a zinfindel girl when she was in college.

Dodds is mainly a beer drinker, but he surprises some of the squad when he splits a nice bottle of red with Olivia. Some nights he’ll be at the table with her, kinda keeping an eye on everything, he wants to make sure that he’s not a mess in public, between being sergeant and his dad. He does indulge in a little bit of the more playful stuff, joining the pool game or those little punching bag games they have in bars. He almost always knows his limits and ducks out before he’s had too much, but on a night where he really wants to stay, he just gets more playful when he’s pretty drunk. Him and Carisi are both like little puppies sometimes, and when they’re drinking and having a good time, they’re full blown golden retrievers. When he first started drinking, he swapped between shitty light beer and vodka sodas.

Carisi is mainly a beer drinker, and even as an ADA, he doesn’t get on the scotch train. He thinks it tastes like campfire and is just too gross. He does love a good red wine though. He’s usually one of the more social ones, flitting around the room like a hyper hummingbird, he spends some time at the debate table, but Donnelly hardcore intimidates him (tbh, all of the lady lawyers do...) so he usually only pops over there when Barba’s there. He plays a few games of pool, and is definitely the one ordering food/apps for the group to make sure they’re getting some actual nutrients in (though it’s usually just him yelling about how good specific menu items are until everyone tries them). When he’s too far gone, he gets sappy, like, full on “I just love you guys all so much...you’re like my family but better.” Defs has a few nights where there’s a make out sesh with Rollins/Barba, and he definitely tries to beat Casey in an arm wrestle (and no one will let it down when he loses).

Stone only comes out if Liv or Carisi is going, he’s still pretty sure the rest of the team hates him, but he knows he has to keep up appearances. He swaps between beer and scotch, but he’s definitely drinking a craft beer. Back in his baseball days it was always bud, like this man could’ve been the spokesperson for it. He keeps to himself, usually up at the wood with Sonya, especially if there’s baseball on. He socializes with Carisi the most, or settles into a good heart to heart Momma Benson talk. He always tries to head out before he’s had too much, if he’s gonna get messy it’s gonna be at home. That’s where he wakes up in the morning, still in his clothes on his couch with a half eaten pizza on the coffee table and a raging hangover.

Kat, being one of the younger ones, can outdrink basically all of them except Donnelly. If she’s feeling classy, it’s a nice rose wine, otherwise it’s vodka sodas or a custom cocktail of the bar. She stays as far away from the debate table as possible the first few times she’s out, more socializing with the cops, being active, playing games, and definitely ordering a couple of shots. She low key thinks Rita’s hitting on her the first time the older woman talks to her, mentioning that she’s flattered, but Rita’s not her type. Rita laughs it off, saying she was just being friendly, and they start to pick out a cute girl for Kat to go after. She never drinks past her limit the first few times out with the squad, wanting to keep somewhat professional, but when she does, that’s when she joins the debate table and damn does home girl ever debate hard.

Cragen, Melinda, and Huang are sitting at a table in the corner with the best vantage point of the entire bar, just watching everything go down. Cragen can’t help but shake his head at the fact that “these are all my idiotic children” (mainly...the lawyers are Liz’s problem). Huang likes to profile them as they watch the mess go down, joking and teasing with the other two. Melinda only sticks around long enough to make sure she’s not gonna have to stitch anyone up. None of them are drinking and they all use that to their advantage when someone starts to get sassy with them later on at work. The only time Huang leaves the table is when Rita walks up, grabs his hand and drags him way being all “mlm wlw solidarity! I just found a really cute boy you need to meet”. Cragen’s the actual last to leave, making sure all the tabs are paid and all the team gets into cabs (ignoring the ones who are thinking they’re sneakily getting into the same cab like he’s not standing on the side walk watching.)

#tag yourself

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@1000spices @natasha-danvers @detective-giggles @thatesqcrush @beccabarba @billiedeannovak @farahs-faeling @teamsladsandgents @itsjustmyfantasyroom @oliviaswifey

[amplesalty]

Halloween 2022 - Day 2 - Hocus Pocus 2 (2022)

All the 2′s in the pen, come by!

In the words of Jay Zed; fresh out the frying pan and into the fire. I know I had a quick turn around last year with the Netflix New Day special but given this movie only released on September 30th on Disney Plus, 2 days has to be the quickest something has appeared on here. I was going to do it on Day 1 but then the idea of re-doing Freaks took over. Disney Plus doesn’t seem to be the most obvious place to look for Halloween inspired content but they do have a whole section dedicated to it. There’s your usual kids stuff, teens/young adult etc including a movie that literally looks like that one Simpsons joke with the Mummy. “The Professor said he’s not supposed to get a boner!” But there’s a whole bunch of movies on there like the Alien series, Predator, The Fly, Signs, 28 Days Later so it’s another useful resource. I only subscribed fairly recently after a deal came up, I’ve not dedicated much time to it outside of scrolling through and being impressed by all the stuff on there. I have watched a couple of episodes of The Simpsons, Futurama and Bob’s Burgers, plus The Lion King. The original mind you, not that PoS remake. Looking at those two is tempting for some rare non seasonal content, even if it would be some cold takes that everyone and their dog have already made...

It’s been a few years since I watched the original, I didn’t rewatch it going into this but I remember enjoying it and being slightly enamored with SJP in that movie given how cute and ditzy her character is. It didn’t exactly do wonders from a financial or critical perspective but it has certainly gained a big following over the years with TV showings gaining an audience and various live events including a 25th anniversary spectacular. So it’s perhaps not a surprise that a sequel was eventually greenlit, just slightly odd that it went straight to streaming. I know obviously cinemas took a hit over the pandemic and Disney were experimenting with premium releases on Disney Plus of their marquee titles like Mulan and Black Widow but I would have thought things would have normalized by now and they’d be starting to get back to a normal schedule.

I like the touch at the start during the traditional Disney intro where it pans down and starts to take on a darker tone with the music veering off on a more sinister path to match. It sets the tone and better fits the mood, it would be a bit odd to have this spooky movie pre-empted by the usually up beat and colourful castle intro. It ties into the start of the movie as well as the camera pans down, over some trees and into the 17th century  Salem where we’re shown younger versions of the Sanderson sisters and the attempts of the local Reverend to banish them from town due to Winifred’s unwillingness to go along with the marriage arranged for her. The only boy she’s interested in marrying is Billy Butcherson, which considering how he ended up during that first movie, if that’s what she does to the guys she likes then good luck to the rest of you.

It really gets the theme of sisterhood in early when the Reverend intends to take Mary and Sarah away, leading to Winifred leading the girls into an escape to the local woods where they’re set upon by a witch who bestows upon them her magic book (creatively named Book) and sets in motion the sisters descent into the dark arts as they immediately go back to town to wreak havoc by setting the Reverends house alight with a bolt of lightning.

But it isn’t long until the Sanderson’s are unknowlingly brought forth once more into the modern era which leads to all manner of ‘fish out of water’ moments akin to the first movie where, in lieu of brooms, Mary and Sarah end up riding Roombas and power mops.

That resurrection sure is loud and colourful as the sisters spring from the earth and promptly break out into a full song and dance number. Now, I know that there was a musical portion in the first movie but that worked in context given it was a means to entrance the grownups so they wouldn’t meddle with their plans, plus it spoke to the vanity that the sisters have. Of course they’d want to get up on stage to be the centre of attention. And  I get that when you have Bette Middler that you’re going to have her sing, it’s what she does, but this was the genesis of a feeling throughout the movie that they were just trying too hard with. Like, they’re just really leaning into the whole kookiness angle here as fan service and even that concert moment I mentioned from the first movie gets a re-do here. I remember the original being over the top but there was some menace behind the trio as well that balanced it out. There’s a whole subplot here about the Reverend’s descendant who is the town’s Mayor that never really goes anywhere, though it was nice to see Tony Hale in that role.

There never felt like there was any degree of threat or impending danger, there were actual scuffles between the two sides in the first movie and a big showdown at the end where here the ending felt very anticlimactic. Even the story behind the resurrection seemed kinda dumb because the character involved doesn’t really have much motivation to do it outside of he just thinks the sisters are kinda neat. There’s no sense that he had a phase 2 in this plan as to what he was going to do when they did come back. He’s shown to be knowledgeable on the whole story and, whilst he’s definitely playing up the whole thing as a means to drive business for his magic and trinkets shop, he does seem to be on the level in terms of knowing the story behind the Sandersons and how powerful they can be but it’s like it never occurs to him that they would do anything other than just show up and want to hang out with him. He’s not some evil mastermind who thinks he’s going to use for his own devious ends, he’s just some guy who is like ‘oops’ when they come back and aren’t loyal to him for his part in it.

The movie isn’t bad by any means but it definitely feels like they’re just doing a greatest hits performance to satiate the fanbase that has built up over the last 30 years and I was hoping for a little more given that I liked the first one. Total sequel bait in the post credits as well but if this was the best that they could come up with after 30 years, I don’t think they’ll manage much else in the next 2 or 3.

[thefudge]

yes!! the writers seem to be thinking about the destination of the characters without actually being invested in the journey. i think loki deserved a slow burn redemption and a darker tone to his own show, where he seriously does betray some people (the stakes don’t feel high) and show his genius. if he was a protag he has to be an anti hero, and way less cuddly and likable the way he is here. i ALSO feel like the ‘redemption’ hasn’t been earned at all — something felt off from the moment he confessed that being cruel or w/e is part of the “act” in ep 1. no way 2012 loki would be so self aware as to call himself a narcissist and all that! it feels more like ragnarok loki, and even then it’s off. makes me sad because tom obviously loves the character but what they’re doing to loki is sorta cringe. do love one thing about the show and that’s the soundtrack which slaps. all this makes me curious: how would you have liked to see loki’s development done? :)

yep, yep, you are saying pretty much everything i wanted to say (and the soundtrack is definitely the best part! it sounds like the score for a much bolder, weirder show)

something i didn't mention in my previous posts is the fact that the show seems to be falling into that disney trend of making everything kid-friendly. you mentioned the series should've had a darker turn, with more twists and turns and serious betrayals and i completely agree. that doesn't mean that i wanted it to be really adult, but for instance, some of those philosophical discussions between mobius and loki could've had more weight, there could have been a more in-depth exploration on the nature of fate, betrayal, power etc. especially since they had these interesting opportunities to travel back in time. that could've been fuel for many interesting stories.

it's weird because they made the choice to revolve this whole thing around 2012!loki. why even choose that loki if they are clearly working with a post-endgame loki? hell, show!loki is already kind of reformed by ep 1, as you pointed out with that confession scene. i initially thought that moment was meant to be ambiguous and part of him playing mobius (since it could be both genuine and deceptive), but no, it turns out loki was genuine from the start. by episode 4, mobius is telling him he can be whoever he wants to be. so what was the point? how is this even a journey? they barely took any time at all. maybe the season finale will turn everything upside down and reveal some secret play, but i don't see how they can fix the pacing. if it all turns out to be a lie, it'll still feel lame.

i personally would have liked a 12-ep season where only by episode 10 does 2012!loki finally confess to being afraid/alone and that this feeds into his cruel behavior. since he's such a fan favorite and an important villain, he should've had a proper, slowburn arc. and not necessarily a redemption arc, more like self-actualization, self-awareness arc. isn't he always going to be the god of mischief? he's always going to stray in some ways. honestly, the potential was there on the show, they could've just taken their time. but disney/marvel works according to a strict calendar and they have to tie it in with the goddamn franchise movies and other bajillion projects... it's exhausting. the marvel netflix shows had their flaws but they were atmospheric and took their time and seemed to care about the characters and weren't always racing to a deadline. this show has the atmosphere and the visuals and the potential, it just won't take advantage of them.

i also have a sneaking suspicion that hiddles won't be loki for very much longer and so they rushed and streamlined this series to get rid of him (sylvie or another loki will probably replace him) and move on to the next marvel phase *eyeroll*

[smittenroses]

What are the rules of the blog?

this was the first thing I saw in my inbox so I shall be using this as a launching stone for my rules list until I make a carrd n shit, since I need something to help me keep track of all the rules and what projects I'm working on.

So the official rules of this blog

if I don't answer your question here, send an ask with "question" attached

1. no asks relating to the sexuality or gender of any character unless it's reader specific

yes, I get that everyone might have their own headcanons regarding this about characters, I want to try and keep the blog as friendly as possible to everyone. I try and stick as close to the source material as possible, and even though I have my own headcanons (eg everyone I like is autistic because I am autistic), I will not let them get in the way of writing an experience that everyone can read. Readers can request reader inserts that will be tagged appropriately in the title (eg My Immortal || Harry Potter x Trans!Reader, disclaimer, I don't read or watch Harry Potter), but I won't do it to the characters. However, this does not mean everyone is straight and cis; all my readers are gender-neutral unless stated like above

2. No hateful asks about race, gender, sexuality or mental health

I do love a bit of dark content and am willing to write asks based around the stuff listed, however, should the asks be directly targeting someone, complaining about things or mocking the things listed, then I will be deleting it, and if it continues, even if you're on anon, I will block you. What counts as mocking? I will use something I got recently as an example: "can I have a reader who bullies Aesop about his autism?" No.

3. All dark content will be tagged appropriately, so please do not complain if you ignore the warnings

as someone who loves darker content, I will write it from time to time, however due to this I do not wish for people to come complaining to me if and when they read the content despite my warnings and then get upset that they read it. The warnings are there for a reason, and all dark content will be put under a read more so then nobody accidentally ends up reading it. The same goes for my current fic "The Mouse and the Cats", in which will also feature darker content down the line. I accept responsibility for writing content, however I do not accept responsibility if you read it despite the warnings. However, this does not mean I will accept incest and pedophilia; these two things will IMMEDIATELY get you blocked. If I catch you trying to sneak it into my ask box, I will block you- anon or not.

4. Please no adult content on this blog

I do have a more adult blog in the making as I am over the age of 18, but for this blog, I wish to keep things family friendly for everyone, so I will have to refuse adult content on this blog. When the time comes for the adult blog being made, I will announce it, but I will be monitoring whom is on that blog so then I do not have minors interacting with it. The last thing I want is to catch a case.

5. I have the right to refuse a request

I'm a person who has my own life, and I do a lot more than just write when it comes to creative pursuits. This means I do not have the time to get into a new series if it's just for one fanfic, however, I may consider should it sound interesting to me.

Currently I write for (as of June 12th, 2021): BNHA/MHA, Cookie run, Identity v, Genshin Impact, Creepypasta, Undertale, No Straight Roads, Dead by Daylight, Crush Crush/Blush Blush, Doki Doki Literature Club, Obey me, Love Live, BanG Dream, Disney, Sally Face, Animal Crossing, Five Nights At Freddy's. You can also get AUs of these.

I also refuse to write about real people.

6. Ko-fis and commissions will always come first before requests

I'm someone who needs money too, so anyone who commissions me or buys me a ko-fi with a specific request will be considered first in the line. If people are willing to pay for my work, this means that they should be getting their work sooner over free stuff. Ko-fis and commissions will be tagged appropriately. Ko-fis and commissions also get the options of (if they request so): ● having their name in the story ● having their appearance in the story ● getting to see it first before it gets published in order to make sure they're happy with what they're getting ● the chance to change details of the experience so then they're 100% satisfied with what they get

7. You are allowed to contact me outside of the blog

this Tumblr is a completely separate account from my main in order to stop myself from being flooded with notifications, so for those that wish to contact me outside the blog, you're freely allowed to do so. However please do not take this as the chance in order to try and get your request boosted up the line since I will be getting to it in my own time.

Where can I be contacted? Main Tumblr || Twitter || (18+ version) || Tiktok || Archive of our own (warning, this has nsfw)