#they're making Game of Thrones Season 8

[almoststedytimetravel]

I miss sincere storytelling. I miss it when writers wanted you to care about their characters, about their world. I miss when writer would take pains to show you the light of humanity even in the most dire of worlds. I miss it when writers.... Actually seemed to like the stories they wrote. I hate modern story telling. Making a mockery of the audience when they care about a character, about a world. When the people are depraved, vain, and selfish no matter their station. I wish the worlds of modern stories were worth saving. I wish I was allowed to care about characters, about the people and their struggles with out being talked down to. I want to love, I do not wish to despair.

[eternalbuckley]

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[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[spirit-meets-the-b0ne]

House of the Dragon was built to fail

Which the greatest shame of that is, I truly believe they got an incredible cast of talented actors, it's distressing to see them largely wasted. I've been an HBO fan (in a Stockholm kind of way) for the better part of two decades and even some of their usual pitfalls were accelerated here. While it's easy to just blame Ryan (5 spits for an enemy Condall) it still feels like there's more than just writing or directing so this post won't focus as much on the characterization follies but more on the story's infrastructure. While budgetary concerns with a show like this are obvious considering the dragons cost a great deal of time and money it is odd to me that this is a series rather than a mini-series. By that I mean, HBO for most of their big productions had seasons ranging from 10-15 episodes (Sopranos S1 13 episodes, True Blood S1 12 episodes, The Wire S1 13 episodes, etc) so this is exceptionally short of a season for House of the Dragon. Game of Thrones original run was largely a 10 episode format until the later seasons which were also notably shit.

This structure was never designed to give the characters or an audience time to breathe. While this is something that is continually brought up across the cinema/film community these days it seems especially important here. It also seems very easy for an audience to decide against investing time and energy into a series that only holds you for 8 weeks and then takes another 2-3 years of production. As most of the audience knows, it isn't like there is a shortage of materials for the show to incorporate. It's an active choice to not dive more into the lives and circumstances of these character and their relationships. Now, I'm not expecting Lost 2.0 where every character will get an episodic focal point and backstory. Still, you have plenty of non-dragon riding characters whom you could spend time with that don't require maxing out your VFX budget for. Because as of right now from the posts I've been seeing it's clear that most of the general audience at this point is more invested in the dragons than any human character in the show save for some Stans. I can't say I blame them. Most every character at this point is barely tolerable or straight up deeply unlikeable. That's a failure of the writers and directors explicitly. I think the actors are genuinely doing the best they could with the material they're given.

It's frustrating because while I was expecting this show to disappoint (both because of GoT's outcome and HBO's late game losing streak shout out to True Blood for getting so bad I never watched the final episodes) this production is hitting that wall way sooner than expected. If there was another 2-4 episodes to actually develop the characters and their relationships (even with piss poor writing) it might have helped tremendously but this structure is going to leave an audience wanting more and not in a good way. If there is a season 3 I can't imagine in 2 years that a lot of the current viewership would return. So even the "fix it" episode rewrites fans make don't seem like enough, to me you genuinely need more material, more for an audience to invest in or feel a part of. If this season was even 10 episodes there would have been so much room for improvement. The Last of Us was able to deliver a satisfying plot and character arcs with 9 episodes and there's a huge difference with the way that was received by audiences vs. HotD. The obvious difference is the amount of time they needed to tell that story vs. the amount of time you rightly needed to tell this one, which is case in point why HotD needed more time. So, while a short season can deliver satisfaction in some cases, I don’t believe as a rule it should all be common place to condense stories and characters. Especially considering HotD's compression is coming largely at the expense of the women in the show (Rhaena, Jeyne Arryn, Helaena, Nettles, Rhaenrya and Alicent's respective character assassination, etc). That's to say even if these character plots deviate from the canon they have the room to grow and develop a character completely to an audience. If you're going to change a character from the source material at least make them a well-developed different person.

[thephantomcasebook]

Martin's post really solidified the fandom divide and even channels that are trying to smooth things over are getting blacklash. And while I knew Ryan becomes very full of pride, and so he probably will not change his plans, I also think about how much hbo needs this show to not fail. So I wonder if this will affect S3 somehow, and they will try to curse correct at least the Maelor and Alicent stuff.

Nope, not a chance.

Condal is backed by HBO, under the false assumption that his plans are popular. Condal - if he takes anything from the backlash - will believe that the reason everyone hates Season 2 is because we didn't have any battles and the season got cut off.

Because of his false assumption that he and Sara Hess's scripts and ideas are genius, he'll stuff Season 3 with action and battles to try and make up for what he perceives as what the audience wants.

In reality he'll take HOTD right into a meat grinder that is reminiscent of Season 7-8 of "Game of Thrones". In which he believes now that he has all the characters established and down therefore he can put character development on the backburner to put his foot on the gas and rush into The Dance.

Condal and Hess are a mixture of pettiness, stupidity, and arrogance. They'll never course correct and GRRM turning against them and their vision will be soothed by the studio that has historically learned all the wrong lessons in the past - which is why they're 50 Billion Dollars in debt.

Condal, in his heart, truly believes that he's right and the fans, the hardcore fans, and GRRM are wrong. Not only that, he thinks that CGI Dragons going "Pew! Pew!" at each other will sate the normie audience enough to carry his show that is sinking under bad premises and atrocious character writing.

Alicent and Rhaenyra will be the focus of Season 3 in King's Landing - which literally no one wants. Daeron will be a footnote as a way of punishing the hardcore book fans and GRRM for pushing so hard for a character that he nor Hess wanted in the show. They'll axe Maelor from existing to protect Rhaenyra. And it'll be over all mindless garbage with CGI Dragons fighting so that retards in a bar can make monkey chatters at every cheap pop.

[butterflydm]

wot rewatch (book spoilers edition): 2x5

Not only is this one going to have spoilers for all the aired episodes plus any teasers (including the trailer for episode 6), it will also have book spoilers through book 14: A Memory of Light.

An interesting change from the books is Suroth calling Loial a slave -- in the books, the Ogier of the elite guard are very specifically not enslaved (I wonder if they got as badly jacked up by the Longing as the ones in the Westlands but their 'solution' ended up involving the Empress and the Crystal Throne somehow?). Since this exception is never explained in the books, I don't have any issue with it being changed.

2. I also think we are getting some really good set-up here for a potential fracture in the Seanchan once we get deeper into the series -- a fulfillment of the narrative promise that Jordan set up in books 2-9 but then backed away from once we hit Crossroads of Twilight & Knife of Dreams. I'm hopeful that we're actually going to get the Seanchan civil war that the books never gave us but that they desperately needed in order for Mat's characterization to make any damn sense in CoT & KoD.

3. The idea that Ishamael is being something akin to Suroth's Truthspeaker makes a lot of sense (I think only the Imperial family has Truthspeakers in the books? but it makes sense to expand them outward).

4. That Fain plays the game so well with Turak here can serve as a hint that he's playing the subservience game with Ishamael as well (who killed the Fade? in other words).

5. The saa in Lanfear's eyes! I love that we're getting a super-charged look at the True Power this early on. I definitely approve of the change of the Forsaken getting brought back with the True Power rather than being put in new bodies -- that can work in a book, but in a show, you want to keep your actors. Especially when they're so good!

6. The Elyas scene does feel like Elyas is essentially doing triple-duty this season: he's himself (Wolfbrother lore dump); he's Hurin (sniffer who leads them after Fain); he's Noam (completely detached from his previous human life).

7. I do like how Elyas feels... somewhat amoral (not immoral!) -- he cares about his fellow wolves (including Perrin) and only his fellow wolves. Obviously, part of the reason that's there is so that viewers will wonder if Ishamael (the Father of Lies) was telling the truth about Perrin becoming closer to the Shadow the closer he gets to the wolves but that's... a good thing, I think, for Perrin's narrative arc. It gives him a grounded reason to try to avoid embracing the wolves. The show has done a really good job in giving characters believable motivations for their behavior.

Show: has Elyas diss every human that Perrin cares about because he's trying to tell Perrin that he belongs with the wolves and not the humans.

Some Book Readers: Ah-ha! Laila wasn't his pack? Darkfriend!

It was just so clear to me, in watching the episode, that Elyas mentioning Perrin's wife was the last straw that made Perrin push him away. It was not meant as a Darkfriend hint of any kind! Elyas did not know Laila as a person! He does not care about Laila as a person! It's pretty clear that he only cares about Perrin (because he's a fellow Wolfbrother). That's why he only saved Perrin from the caravan; that's why he led Perrin eastward instead of west. He has zero interest in putting himself in danger to help humans; he does not identity with humans.

8. Ooo, I wonder if we're going to see Perrin's wolf name visualized at some point by the wolves -- Young Bull with his axe that is also his horns, strong and protective. Again, the show has done such a good job in showing us the Perrin that I think Jordan wanted us to see but that he didn't quite manage -- pretty much every show-only reactor sees Perrin as genuinely considerate and empathetic and believes that he has a good heart and wouldn't leave people to suffer.

9. Brilliant choice to have Aviendha introduced here and be part of Perrin's storyline. I do really like how Elayne, Aviendha, and Min have all been part of another main character's plotline before anything implied romantic between them and Rand happens. Hopefully, the show does the same thing with Tuon in the season when she gets introduced. I'm going to guess that (rather than going along with Perrin because of Faile) Bain and Chiad are going to help Aviendha meet her toh towards Perrin once she's told that she needs to become a Wise One apprentice and Bain and Chiad will travel with him to the Two Rivers. I suspect that Gaul will be introduced next season as well.

10. I also really like the way they set up Dain and Perrin's future dynamic here as well -- Dain realizes that Perrin is from the Two Rivers, so that gives him a reason to go there after he (mistakenly?) thinks that Perrin has killed his father. I do wonder whether or not Fain will go to the Two Rivers at all. It's kinda... crowded over there, since we know that Slayer was cast (I think). There isn't, imo, any real need for Fain to corrupt the Whitecloaks in the show -- I feel like they can corrupt themselves just fine. (I kinda feel that way about Elaida too) -- and it might be good to tie Fain back into Rand and/or Mat's plotlines.

11. The Seanchan and the Whitecloaks both have a 'evil but not the evil of the Dark One' situation going on, and we kinda get that here, with the (new) innkeeper being even more unhappy with being occupied by Whitecloaks than by the Seanchan. I actually like that they have the new innkeeper here selfishly being okay with the Seanchan -- the issue that I had with various plotlines in CoT & KoD wasn't "it's unrealistic for anyone to be collaborators with the slavers", of course some/many people are selfish enough that it doesn't matter to them that some people get enslaved as long as it isn't them; it was an issue with specific characters turning collaborator without there being anywhere near enough work in the characterization or narrative to justify it. That was the issue that I had.

Especially since this same conversation does illustrate how selfish this man's PoV is, if you pay attention to the dialogue. The old innkeeper's granddaughter was kidnapped by the Seanchan -- SHE would not agree with him that they're totally chill if you only just swear the oaths.

12. Seeing Lady Suroth like this, 'dressed down', as it were, gave me quite a start. She looks almost naked without the super-long nails and the helmet and with me being able to see that she has no eyebrows. Like, it gives her a big 'pathetic and vulnerable' vibe even though she's been just as awful as she was in her introduction.

And it makes me wonder... are people who are sympathetic to Tuon in Crossroads of Twilight and Knife of Dreams also more likely to be good at visualization when they read? Because, personally, I don't see pictures in my head when I read books. I think it's part of the reason why I can so easily accept adaptations in the first place -- there's no prior image that I need to override. I had no firm mental image of how 'Rand' or 'Nynaeve' or anyone looked in the books, so the actors can easily become that person for me. It's all just... words in my head for me. The most that I ever visualize is something akin to black and white abstract sketches.

How this relates to Tuon: one of the deeply frustrating things about CoT+ Mat to me is how he behaves like Tuon is 'not like the other Seanchan' even though her behavior on the page is just as rancid and terrible as any other Blood. But, in her descriptions in CoT & KoD, she doesn't visually resemble other Seanchan anymore -- her hair is growing out, she's in Westlands clothing instead of Seanchan High Blood clothing. But as someone who doesn't visualize characters and scenes when I'm reading a book, the clothes that a character is wearing has little to no impact on my perception of them as a character.

Is it different if you do/can visualize how differently Tuon looks when she's traveling with Mat vs how she looked when she was embedded in the Seanchan power structure? Because it really does genuinely confuse me when I see people repeat what Mat says about her being different from the other Seanchan because her behavior is just... identical to all the other Seanchan Blood from what I've seen in the books -- intensely political and manipulative; firmly supports and believes in slavery; gets off on torture and abuses her slaves even while believing that she's the bestest and kindest slave owner in the world; thinks of herself as inherently better because she's Of The Blood, etc. I remember when Mat places her in the same 'better than other nobles' category as Talmanes in KoD, my brain just bluescreened because he's consistently been shown on the page that she's still just as awful as the others (the chapter where she literally collars and tortures three of his allies is certainly never anything I'm forgetting, even if Mat 'goldfish' Cauthon forgot about it five minutes after it happened). But, yeah, if you visualize characters and scenes when reading books, do those visuals have an impact on how you think of the characters?

(on a character level, I understand why Mat would lie to himself about Tuon if he genuinely believes himself to be trapped in a marriage with her -- the issue with that is two-fold though: a. with Mat's other lies to himself, we are given outside context with other PoVs and behavior from other characters to see that he's lying while in CoT and KoD, we're pretty firmly locked into Mat's warped perspective, and b. Jordan did a shit job of showing why Mat gave up so quickly and just believed that he's doomed to be married to Tuon without him making ANY attempts at fighting the prophecy)

13. Looking forward to the future... I do suspect that we'll still get Semirhage trying to shape and mold Tuon (unless we don't get enough seasons), but I think in the end (exploring @sixth-light's idea about having a split Seanchan Empire instead of having the Sharans), we may end up with Suroth in charge of one half of the Seanchan (who will fight for the Shadow) and one half led by Tuon (who will fight for the Light) and that we will, hopefully, be getting a Tuon who actually has to confront what being a sul'dam means and that the Seanchan will fracture on the issue of slavery (which would make their American accents even more apt) instead of the Westlands characters becoming friends and lovers with gleefully cruel slavers. Having Tuon's 'stubbornness' and pushback against Semirhage actually lead to her questioning the established order would be so much more powerful than her stubbornness being used as an excuse for her dodging and avoiding any character growth for the entire time that she hangs around.

14. I hope that Aviendha's amusement here over Perrin's protectiveness is perhaps going to be more of the vibe we get with Rand & the Maidens once that relationship gets going. Rand really doesn't have the same reasons (so far) to be as unreasoningly overprotective of them as he is in the books, since the Two Rivers in the show aren't Weird about women in danger the way that the books are. It's very much a Perrin hangup because of his wife and we've seen it develop over time. And if Rand feels some protectiveness, I'd like it to be tied more towards him feeling like he doesn't want to lose any of his newfound family.

15. It feels clear that Moiraine is absolutely still bound by the Three Oaths. She obviously WANTS to lie in the scene where she's introducing Rand to Anvaere and Barthanes, but she isn't able to. It's played very much the same way as when she was caught in the Oath last season (one of the funniest moments in S1 is when she wants to tell the Two Rivers' kids that she trusts them now but she absolutely doesn't trust them and can't say the words).

16. So, who in this scene is a Darkfriend. I suspect that Barthanes is and I suspect that Anvaere is not. Anvaere's information session with Moiraine last episode completely destroyed the Shadow's plans for Rand -- it could be the Shadow tripping over itself but I suspect it's just that Anvaere is what she seems to be -- a very political but non-Shadow-aligned person.

17. I wonder if the end of the next episode is going to timeskip us the few weeks to the wedding (thus making it so that Egwene spends several weeks in 'training') -- or maybe we'll timeskip between episodes 6&7. From the preview, it looks like we're going to spend some serious time showing how horrible and dehumanizing the damane 'training' is. What they might do is show us the initial beginning of it -- and then we jump forward and see how things are after several weeks? The mention of the wedding just feels... potentially significant, since it's not from the books. This would give Perrin time to travel to Falme with Aviendha; Mat and Min would have time to get to Cairhien; Elayne and Nynaeve would have time to bond; and Siuan would also have time to get to Cairhien, since we know she goes there at some point. And it might mean that, along with Egwene getting her 'training' from Renna, we might also get Rand getting some training from Logain and potentially Lan as well.

18. I love Verin kickstarting the Black Ajah Hunt so much. I already talked about this a lot in my earlier post about Darkfriends, so I won't get into it here but: fantastic choice. It does imply to me that we don't really need the Wondergirls to go back to the Tower next season to get their Black Ajah Hunting instructions, since there's already a Hunt started by full Sisters. Which I would be fine with -- they literally spend less than a week in the White Tower in book 3. They dip in for Egwene & Elayne's tests, to get more instructions from Siuan, and then dip out again. I feel like the show could easily have them decide to hunt the Black Ajah of their own accord (Nynaeve in particular has a reason to want to go after Liandrin).

19. I do not think that Sheriam knows that Verin is 'Black Ajah' or that Liandrin is (more genuinely) Black Ajah. She and Liandrin were at odds too much earlier in the season over Nynaeve imo. Joiya, otoh, I think might know that Liandrin is also Black Ajah, because she immediately backed Liandrin up in the big group discussion.

20. "We respect the One Power so much that we don't believe that anyone should wield it by accident of birth". I've seen other people (reactors on youtube) wondering if this conversation means that the Seanchan already know that sul'dam are learners, since they talk about training the sul'dam for years and them earning the right to use the One Power, but this line in particular makes me feel like they don't know. Because sul'dam are only sul'dam because of an 'accident of birth' as well. I'm sure that we'll find out, because the realization of the sul'dam secret was a pretty huge moment with Egwene in the books (even if Min & Nynaeve appeared to have completely forgotten the information when they were spending time with Rand later in the series) so it will definitely stand out if it gets played differently and Renna doesn't get that horror of realizing that she, too, is marath'damane.

21. I've also seen people wonder why the damane & sul'dam didn't catch on that Liandrin was channeling to wake the girls and free Nynaeve, but she was channeling that entire time (to hold open the Waygate) so her tiny weave would have been masked by the larger one.

22. Aviendha's attitude towards obligation and honor is going to be such an interesting contrast to how weighed down Rand is by his obligations. Looking forward to them getting some good scenes together in s3.

23. I hope Egwene gets to hit Renna over the head in this version too. And collar her to the wall. I can already tell that this is going to be painful and intense. I did notice that a lot of show-only reactors have NOT picked up on how terrifying and awful the damane slavery is yet, but I feel like the show is going to make it very clear in the next episode. (I don't know how you can look at Egwene in pain here and not already understand but... next week should make things crystal clear).

The preview did show us how... earnest (ugh) Renna is going to be in her 'training' of Egwene. The way she called the damane kennels "your new home" and the (horrifying) sincerity in her voice.

I'm actually wondering if Egwene is going to be freed in episode 7, before Rand gets to Falme, since Perrin and Aviendha are headed in the direction of Falme and it's Perrin who is attached to the Ingtar and Horn storylines and not Rand (who didn't even find out that the Horn is a thing that exists until 2x3). Because Rand isn't actually involved in her rescue in the books iirc -- that was Elayne and Egwene (with Min tagging along). He spots her and seeing her is why he refuses to leave, but since he's going there for his own purposes unrelated to the Horn in this version (I assume), then he doesn't need that extra push to stay. From the preview for episode 6, it kinda sounds like Loial & co are going to try to help her be freed but I'm not sure if it'll work that soon.

Expecting next episode to be extremely rough, emotionally.

Additional spoilers/speculation based on imdb listings (which may not be entirely accurate):

.

.

.

.

.

.

.

.

The actress who played Maigan in S1 is listed as being in the next three episodes (6, 7, 8). She was planning to go west to investigate the rumors. She has not been seen in the White Tower this season. The actress who is playing Ryma is only listed for episodes 5 & 6. Renna is listed for all the remaining episodes; Seta is listed for the final two episodes. That just all seems like interesting information to me, though again, imdb.

Complete side note, episode 7 is the episode that Hayley Mills is listed for. I wonder if she's the Queen of Cairhien that Barthanes is marrying.

[kallypsowrites]

I'm not going to spend a lot of my time ranting about House of the Dragon because I try not to spend excessive time on pieces of media that annoy me. But, I have crystallized what has been bothering me about this season.

For context, I enjoyed the first season a lot and was even willing to give some grace in the first episodes, believing that they made blood and cheese a 'misunderstanding' to match Luke's death being an accident. I thought from there, the characters would shift from passive to active. They...did not.

The reason why this season feels off is not because it's 'slow'. It's because the character's lack a firm motivation and goal. Or if they do have a goal, it's not a goal they CHOSE its a goal that they feel has been set before them and they don't actually WANT it.

This leads to a bunch of characters who simply have no agency. They are moving 'away' from something and not toward something and while moving away CAN be done well, it's much more dynamic to have characters that want something.

In Game of Thrones, in the mess of war, each of the core characters wanted something--power, vengeance, to return home, to find their family, to free slaves, to gain the throne. And they had a mix of grand motivations as well as more personal motivations.

In House of the Dragon, the characters are given 'grand goals' that they don't want because wanting is bad. And then none of them are really given small personal quests and relationships. So they don't feel like human beings existing in a living, breathing world. They feel like pieces on a board.

The writers seem to think that in order to do the 'tragedy' of House of the Dragon they have to have every character state at least five times that they don't want war, that they want to stop the war, that this war is terrible, instead of just showing us. And they'll have long discussions about the cost but no one is making choices, no one is pushing the narrative forward, they're just talking about how much they don't want to be in a narrative.

The characters trying their best to avoid war made sense in season 1. I liked the tragedy there. But season 1 ended with a beat which said--all right. There's no going back. War time.

And then season 2 didn't deliver on that promise. It kept the same 'if only we could avoid war' energy and its like No! You already spent your episodes being reluctant to engage with the narrative. It's time to dive head first into the abyss now!

All of the pacing problems and character issues people have I think tie back to this--these are passive characters. They spend their days having visions about a future in which they will have no say, or discussing the ethics of politics and war, or wishing they had made different choices instead of making new choices now. And it's just...weak. That's the best way I can describe it. Not garbage writing like season 8. Just thoroughly lackluster and disappointing which is a shame because it LOOKS and SOUNDS incredible.

PS: I'm mad they cut Nettles

[ride-thedragon]

I’m genuinely confused on whose idea it was to have Rhaena claim sheepstealer?? Like for all that just wait to bring nettles in season 3 and have Rhaena’s egg hatch. I really hope it’s not true and it’s a false rumor for attention because I’m already mad we don’t get too see nettles or Daeron

I feel like I'd believe it more if the reasoning made sense.

They cast Silver Denys, a Dragonstone bastard who Sheepstealer and the Cannibal kill to set up the fact that Sheepstealer is the most Dangerous dragon to claim.

Then he'll move and fly to the Vale, which he doesn't do in the books, and Rhaena will follow him there, I guess, rather than being sent to the Vale with Dragon eggs.

But by the end, she's watching Baela fly off to fight while she stays in the Vale. It's not making sense.

We see Rhaena’s eggs at the start of the trailer. We see the crown, the dragon, and the eggs in that order. It would make sense to be like Jace, Baela, Rhaena now that Luke's gone.

I don't think it's making sense unless they're going out of the way to have another dragonrider they don't need due to the dragonseed plot. That was the point of the dragonseed plot. Not for them to be overstocked with dragons but to have the big ones claimed. Why wouldn't Rhaena have the first attempt?

So I personally don't believe it. It was a long-standing fan theory since the first season was airing, and after all the complaints, I don't think it's their solution. If it is, then they're no better than Game of Thrones with the strong women fight mentality.

Overall, I thought about it. It doesn't make sense, but if it's adapted, then it is what it is.

I do think both Nettles and Daeron are there for Season 3 because Daeron has to be introduced, most likely a call made by Otto after the triarchy or after Aegon in Rook's Rest and Nettles is coming because Jace is still alive and they haven't fought the Triarchy. I believe them when they say these 8 episodes are the march to the start of the war.

Nettles is the last dragon claimer in the history of Westeros. I do think they are postponing her to signal war because she claims a wild dragon, a feat no one else has.

[susellesie]

my opinion on s2 Alicent is that house of the dragon needs to be different from game and thrones, and that most of the criticism of house of the dragon is a reactionary instinct to relive certain beloved characters and tropes from game of thrones.

let me be clear; house of the dragon as a show is already going into characterization with a lot of options for characters and tropes off the board because they've already been done in game of thrones. they're already going to have to work with the instinctual assumption from the audience to relate back to what they know. rhaenyra = daenerys, otto = tywin, and alicent = cersei.

now, obviously these aren't exact matches. i'm talking about sweeping personality and the tropes they march. cersei, specifically, is the trope of the feral mother. she kills for her kids (in the books at least - technically in the show too, but that was revenge and i'm talking about premeditated murder) she lives and dies by her kids. her ethical code, goals, all of it rests on her children.

and cersei is an amazing character. she's fascinating to read and watch, and lena headey's performance will live in my brain forever. but cersei is one of the main characters throughout game of thrones. and say what you want about season 8- god knows i won't defend it - but her arc ends there, for better or for worse, after all her children have died before her.

now, years after watching game of thrones slowly decline and eventually bomb in the final two seasons, the show writers are tasked to explore these new characters in a prequel. to be the first "new" asoiaf content to air on television since. the reality of house of the dragon is that it has to be different from game of thrones. it just does. hotd has to be its own show with its own characters.

so, here's what i'm getting at; alicent is the deconstruction of the trope of motherly devotion.

alicent in season one has the exact same ethical code as cersei; do whatever to protect my children. even if that means taking the throne from my childhood best friend, even if that means forcibly removing her from power. and in driftmark, this escalates, if only temporarily - alicent shows a willingness to harm a child to avenge the harm that has been done to hers.

asoiaf have always asked tough questions of the reader. what do you do if someone hurts someone you love? how do you act with honor if honor gets you killed? cersei's character asks an audience a question: what would you do to protect your children? and to the audience, that question is simple, it's easy. anything. it's the thing that redeems cersei when her actions are irredeemable; she does it out of love.

alicent's character asks a different question is season two, one that i think will be explored more in season three. what would it take for you to stop supporting your children?

no matter what joffrey does, cersei is a bystander to it, and often an accomplice. that is the devotion that makes up her character, and the trope she represents in the story. alicent is the deconstructed answer cersei's dilemma, and i think ultimately what cooke, condal & co. are trying to say is that there is a reality where "a mother's love" is a trope.

think about media today. think about the characters we think of when we think about mothers. cersei, cat, rhaenyra? all mothers so devoted they die for it. the concept of a mother's love is so idolized by the media that we don't think about the woman behind the mother. the woman becomes more mother than person, a shield for children both good and evil. (not talking about George's wrting - i'm talking about the way people view these characters commonly.)

and it's unrealistic. it just is. for every mother who is completely and utterly devoted to their good, well behaved child there is another who has raised a child who ended up committing sexual violence, or domestic abuse, or hurting others in general. and that's not to say children/people who grow up to do these things do not deserve to be loved by their mothers - that's to say the expectation that mothers should always be not only forgiving, but silently accepting and an accomplice to the actions of their children is not the feminist trope people might think it is.

cersei is already the example of the dedicated mother. we saw that arc play out on screen. Alicent is the deconstruction of the devoted mother who is tested beyond belief. who is challenged in the worldviews she has held her entire life. and the decision at the end of season 2 - the decision to choose rhaenyra over her son, half dead, who never took ruling seriously, who sought revenge by killing innocents, is something many dedicated mothers have had to do in their lives too.

it's not an easy thing to stomach, because we have been told through media our entire lives that a mother who does not choose or defend her children is the evilest of evil. but that is an antiquated trope for a reason.

we have to be able to move past the reactionary instinct to desire the things that make us comfortable, and one of the things that makes us comfortable are the tropes we rely on. alicent's s2 characterization is the deconstruction of that trope.

[gotylocks]

Willow Month 2023- Day 3: TV Show (Full Series/Specific Episode) or Movie

If you read my entry for Day one, you'll know I went into the show without seeing the movie. In fact, I actually made a point to wait to watch it until the finale, because it was a rare opportunity where I could watch one of these years later follow ups without nostalgia for the original (unlike, say, Star Wars), so I wanted to see if it worked on its own.

The fact I'm writing this should tell you, I truly believe it does. Now, I don't want this to come off like I don't like the movie, because that is not the case. I love the movie! I'm wearing a Sorsha and Mads shirt as I write this! But I would still love the show just as much without the movie.

Some hard numbers may make my point. I have watched the movie once, and while I often think about watching it again, I haven't yet. By contrast, I have watched the full series 13 times through at this point, and at least 8 of those times were marathon sessions where I went from episodes 1-8 in a single sitting.

Why is that? Well, I think the movie is missing some key ingredients that keep it from hitting that obsession level. Namely, Kit, Jade, (grown up) Elora... ok it's the entire crew. Their interplay, the way their relationships build over the course of the season, and the way that by the end of the finale every single one of them has been improved by the others being present in their lives.

The party of six, all with their beautiful, layered arcs and emotional storylines, they're the ones that make the show something special. I've said in the past that typically in shows with ensemble casts, there's usually at least one character that I find annoying, or one actor that I don't like for one reason or another. That's another thing that makes the show so incredible. I love every single person involved. From the main six, rippling out to the supporting cast and cameos like Hannah Waddingham and Christian Slater. Not only does everyone understand the assignment, they bring their own unique flavor and quirks so nobody feels like they're phoning it in. You can tell everyone is having fun and that translates to the audience.

And while fun is first up on the menu for the show, there's also so many moments of heart-rending drama. As someone who lost their dad at 26, I connect to Kit's feelings of grief and abandonment over the disappearance of her father. I connect with Jade feeling lost and purposeless. I connect with Elora desperately wanting to help despite struggling to believe in herself. I connect with Graydon carrying a lot of guilt over things he had no control over and wanting to prove himself as more than what his father believes he is. I connect with Boorman regretting his selfish choices and wanting to make up for his past mistakes. I even relate to Willow, thrust into a position where he has to be a believer despite feeling like a fraud.

Whether it's due to the run time or the time in which it was made, the movie just can't compete with the variety of character arcs, the layers that get peeled back the more the crew spend time together, the realization how each person has something to learn from the others and how they've grown to rely on each other.

By the time they reach the Immemorial City to fight the Crone, they have grown into one of the best found families I've ever seen. They have each other's backs, they trust each other implicitly, and they're willing to put everything on the line to save the world, sure, but more importantly, save each other and facilitate their rises to greatness.

The dialogue, while not to everyone's taste, I felt was a great choice. It immediately plants a flag on its own territory and says confidently "We are not Game of Thrones. We are not Lord of the Rings. We are our own thing." I love that shit! It is never a show that feels like it's chasing a trend, because it is so uniquely itself. That extends to the music, be it the fantastic score by James Newton Howard and Xander Rodzinski or the fascinating modern song choices deployed in each episode, which while I have opinions about songs I would prefer in different places, I cannot deny that they set the show apart from everything else that has come before. And "Crimson+Clover" by Pom Pom Squad will live in my brain forever thanks to its absolutely pitch perfect use in episode 5.

The fight scenes are fantastic, because they're never there for the sake of having action. Instead, major character beats are woven throughout, making each fight hugely meaningful to everyone involved. Whether it's Willow going from his weakened, nigh magicless state at the start of the show, to being the great sorcerer he was always meant to be thanks to working with Elora, or its Kit and Jade connecting and expressing emotions that words may not be enough for through their shared love language of sword fighting, or Graydon finding the magic within at the moment he needed to and killing one of the Gales pursuing them. Action has a purpose in this story and I love that after so many hollow and emotionless cgi fight scenes we've been inundated with over recent years.

This is why I can't simply choose one favorite episode from the series, because they are so intertwined that I cannot separate them. However, unlike many straight to streaming shows, Willow doesn't just feel like an 8 hour movie chopped into parts (despite my tendency to watch it like one long movie lol). Every episode has a unique identity that I can immediately point to when prompted. Every episode is important to moving both the narrative and character development forward, and there isn't a single one you could cut without everything feeling askew.

So. When I saw this prompt I was like "Maybe I'll make this one short", but we all know now that was going to be impossible. The intense emotional connection I have to this show from front to back just brings this out of me. To the only Fellowship I need in my life. I wouldn't be here without you.

To quote Erin from the making of doc, "These people are my family."

[elithilanor]

For the ask game:

what are 3 things you'd say shaped you into who you are?

what's an inside joke you have with your family or friends?

what's some good advice you want to share?

For the Ask Game!

What are 3 things you'd say shaped you into who you are?

Friends, places/locations that I've lived (California, San Francisco, etc.), and the experiences that I've had. Very cliché in a way but it's the truth.

What's an inside joke you have with your family or friends?

With my roommate: a very obnoxious fake Jon Snow vibe: "She's ma queen, I don't want it." anytime we don't like or don't want to do something a la the disastrous and just horrendous season 8 of game of thrones. I hope my fanfiction writing is never as bad as that catastrophe.

It's mostly a long list of like variant versions of back and forth echolalia with my roommate because we're both ND and that's just how we roll, honestly.

What's some good advice you want to share?

Here's some medical advice I've had to learn over the last few months through my own issues and fighting to find out what's wrong. Also shout out to the failures of the US's scholastic teachings (mitochondria is the power house of the cell lolol):

Advocate for yourself and remember that you're the only one who will. You don't know medicine maybe, but you know when something isn't working the way it should in your body.

Hydration affects every bodily function including your heart and your dry eyes (omega-3s also affect eyes). Drink water and eat your fruit and veg with higher water content (cucumbers, watermelon, etc.).

If you're a vegetarian, pescetarian, vegan, or just don't consume too many meats and animal products, check if you're vitamin B12 levels (energy) are okay. It's the only way to get them as they aren't produced in the body. Legumes and soy are all fine and dandy for protein, but not B12. B12 is a required nutrient and affects the skin, hair, liver, heart, etc.

If you live in the Pacific Northwest or other far northern climes and/or you don't get out a lot and/or you don't eat a lot of animal byproducts, please check your Vitamin D levels! Also affects heart, brain, skin, etc. Your body does make vit D naturally, but that assumes that you're getting enough time in the sun for you to produce it and that you don't have any underlying issues that affect it's production and/or absorption. Vit D levels also affect your body's calcium intake, which especially for AFAB people, can affect bone health and the likelihood of osteoporosis later in life.

Movement (as much as you can) will keep you alive and your circulation flowing. Even if it's just one part of your body, move it. Stand up and move every half hour if you can.

Sleep matters. Undisturbed sleep matters. Movement helps sleep.

Soreness is okay. Tiredness is okay. Exhaustion, constant fatigue, and long-term pain is an indication that something is wrong.

Stress will kill you.

Different fruits and veg have different nutrients and vitamins that your body needs. Don't just eat the leafy greens because they're "healthiest".

Relationships take work. Not really, "how do I improve and make things better all the time (though this can be important)", but just reaching out and saying "hi how are you" every so often.

If it took you 20 years to get to a point, it's going to take more than a couple of weeks to reverse it.

If your body is telling you to rest and you can, do it.

You spend the latter half of your 20s making adjustments and changes to the life that you've been leading. Everyone goes through this and it's normal. You're a little crazy until the 30s/40s. That's fine. Roll with it. Your life is just getting started.

Life is hard. Life is so hard. It has it's ups and downs. Enjoy that cup of coffee or that cup of tea or 5 min in the sun.

Community matters more.

Stop trying to "better yourself" all the time. You're probably a fine person with fine and great qualities. You can improve, but spend time just being or else life will pass you by and you won't have a lot to say for it.

You're doing better than you think you are.

[astramachina]

For those of you who've been following me for a while now, there's a good chance you got to experience my journey reading the Remembrance of Earth's Past series last year. I loved Three-Body Problem, but The Dark Forest and Death's End were like pulling teeth. Both books had their very very good moments, but getting through them was a tedious experience I considered giving up on on multiple occasions. I will give it to Cixin Liu tho, I needed to know how the series ended and that alone was the sole reason I pushed towards the finish line. Any author that can make me tough out bad writing for the sake of seeing the end deserves some kind of award (and he won a ton anyway, so).

I approached the Netflix series with zero expectations given their propensity for shitty adaptations (One Piece notwithstanding), but after watching the first episode I was left cautiously optimistic.

Having watched all 8 episode I'm still unsure how to feel about it. I spent most of the series hitting pause to rant at my roommate about it, both positively and negatively.

I had many issues with the books, but some of the more obvious ones came from a writing standpoint. I love hard sci-fi. I could not excuse the sheer length of those final two books. The atrocious treatment of women as objects to romance and use as bartering for the main character. The abysmal MCs (specifically Luo Ji) that made me want to yell to the high heavens due to annoying they were. The lack of human connection between characters.

For books so steeped in sociopolitical and ethical commentaries, the flagrant misogyny and homophobia was eye-rolling. And not even in a "This is Bad" sort of way, just in a "This is So Fucking Boring" kind of way. I cannot speak for the author's biases, because the contents of a book in no way reflects the views of an author or their character.

Where the books shone the brightest were during the battle scenes, the looming dread, genuinely horrific thought experiments.

And, surprisingly? It feels like the people at Netflix thought the same.

I've never watched Game of Thrones but I understood why people were against it from the get-go. That, along with the whole "whitewashing" thing which I consider to be interesting. For starters, you're using whitewashed wrong. Yes, they moved the central story from China to England which was... a fascinating choice, but of the core five (that quickly became the core four), only two of them are white. I'm not saying it was okay for a western adaptation to take a cast and further diversify it, I'm just saying that that's not whitewashing.

That aside, I did like some of the choices that were made from a narrative standpoint. Reshuffling and streamlining events, for one. Removing the whole plot line about Luo Ji hunting down a woman who he invented in his head in order to marry her? I'm not entirely sold on the idea of taking core events and divvying them up between four different people, but I do understand what they're trying to do.

The book series failed at crafting believable and impactful relationships between its human characters, which made the narrative feel hollow and one-dimensional. This adaptation aimed to change this by slapping a band-aid over the issue. Like I said, I'm still unsure of how I feel about this.

A lot of unnecessary stuffing was removed to make a suitable run time, and I say unnecessary because there's really no scenes that are making me go "oh, I wish this had been included". Was some stuff rushed? Yes. The passage of time could have been outlined a little better, but that's a small nitpick on my end.

The scale of things was toned down, and I don't think Netflix has the capability (or budget) to tackle space battles.

Honestly? I don't really see this getting a second season for a variety of reasons, and I'd be okay with that.

It was an "okay" watch, in the end.

Tho, I'm still flabbergasted by the random "gory scary jumpscare" scenes????? Where did those come from??? I don't remember anything like that being in the books but, you know. I've read a lot more books since finishing these, so.

[madsmilfelsen]

20 questions for fic writers

tagged by @thenookienostradamus, quyanaa!

1. How many works do you have on Ao3? 22 :)

2. What’s your total Ao3 word count? 237, 409, yeehaw!

3. What fandoms do you write for? Magic Mike (allegedly), Always Sunny (allegedly), Killer Joe, True Detective (season one, I get too weepy if I think about season four too long but someday!), Midnight Mass, Shadow & Bone, Tell Me Your Secrets, Loki, and I've got an original work snuck in there, too

4. What are your top five fics by kudos?

5. Do you respond to comments? Typically! I have a habit of hoarding my favorites in my inbox so if I take a week or three months to answer you it's because I've been thinking about kissing you on the mouth. Comments really make my day so I do my best to show gratitude to those who take the time to make them.

6. What is the fic you wrote with the angstiest ending? Maybe Sinhound? I don't set out to write angst.................. ever, but ending with Mildred's funeral wasn't what I was expecting either.

7. What’s the fic you wrote with the happiest ending? All of them :) I'm a sucker for love and happy endings :)))))

8. Do you get hate on fics? no and that gets more and more shocking each time I post a new work lately as my ao3 becomes a pit of depravity while I work through everything I can't put in my novel manuscript.

9. Do you write smut? If so, what kind? hell yeah fuck yeah. I like playing in varying degrees of consent, unhealthy or unbalanced dynamics, girls who come too fast and have weird relationships with sex, yada yada. I have a really supportive husband who I am disgustingly, deeply in love with so a lot of genuine warm and fuzzy feelings for one old man in particular generates a lot of material.

10. Do you write crossovers? What’s the craziest one you’ve written? I simply don't have the mind processes for it and admire those who can mix media like that.

11. free space / no question here, send me an ask with one instead please :)

12. Have you ever had a fic translated? Not that I know of! would be awfully neat though.

13. Have you ever co-written a fic before? Oh man, I had a fun star wars piece I was writing with my dear friend, Jess, when impostor syndrome struck too hard to finish-- I still have the embroidery she did of our title (the inverse must also be true) in my office hanging below my first rejection letter :)

14. What’s your all time favorite ship? every goblin couple that make out nasty style, so uh, rust/sugar :( they're so special to me and pulled me out of a Hellacious writer's block

15. What’s a WIP you want to finish but doubt you ever will? My only wip is Sunday School Dropout because I sort of forgot where I was going with it, it'll come back with light voyeurism, blood drinking, virginity taking, the usual order

16. What are your writing strengths? I feel like this is question to really sell myself but honestly, hell if I know, creating place? mannerisms maybe? Beyond my general insecurities, some of the nicest compliments I've gotten are for things I did unintentionally so hard to say! I have crafted some fuckin nonlinear bangers I'll give myself that much.

17. What are your writing weaknesses? I DON'T KNOW HOW TO MAINTAIN TENSE and I HAVE NO WORKING KNOWLEDGE OF SENTENCE STRUCTURES, which annoy me and are my father's biggest complaints so I can't take them seriously enough to consciously attempt to improve on them yet. Lately, I've been smoking weed and flipping vocabulary flashcards before bed because my diction feels stagnant, a bit repetitive across pieces like.

18. Thoughts on writing dialogue in another language in fic? I can't even speak english well enough to write coherently I'm not going to fuck up further with google translate. I did some ballet au's a few years back that I know have some french in it but I think I did a firmly okay job with the sprinkles of dialogue-- I know damn well my terminology is correct.

19. First fandom you wrote for? technically game of thrones, I have a sansa/sandor reunion very angrily tapped out in my notes app when season eight skipped it. The first work I posted was Seduction of Odile after I saw a post here about the potential of a rey/kylo blackswan au, reached out and asked if I could give it a try and here I am 22 works and years later :)

20. Favorite fic you’ve written? I'm going to be corny but I have a soft spot for every fic that connected me with other writers who are so talented and inspiring and force me to be better so I feel like I can talk to them lmao

tagging tagging tagging @the-heartlines @labyrinthphanlivingafacade @littleredwritingcat @abeadofpoison @teeth-ing @itstendereye @barbie-nightmare-house

[lykomeraki]

Carl Grimes Deserved Better

I first mentioned this in an earlier post after I finished the Walking Dead for the first time, and my thoughts about the show. If you're like me, you probably agree that what happened to Carl was the worst story decision ever. So here's a lot of thoughts I've been sitting on for a while. If you'd like to read or commiserate with me about my rant/character study please continue reading. Caution: Spoilers Ahead

First off, killing off one of the main characters, particularly in this way, did nothing but damage the story. I read that they were trying to gain even more viewers in a similar way to game of thrones, a book and TV series unafraid of killing off main characters. In the case of Game of Thrones however the main character deaths made sense for the story, the individual storylines for these characters were complete, and their deaths could contribute to the stories of other major characters. the Walking Dead failed at this a myriad of times, giving smaller characters good development, then killing them just for shock value. Carl's death in particular. It provided no true motivation for any characters, he still had unfinished storylines, it only damaged the story itself, and there was so much potential and so many places his character could go.

in the comics, there didn't need to be a major death for Rick to spare Negan, his mercy was actually a punishment. the world would grow, improve, and repair itself, and Negan could only watch, never be a part of it.

If there needed to be a death to convince rick to have mercy, it is my opinion that Morgan would have been a far better choice, particularly as his ideologies kept shifting between kill everything and life is sacred. His character would be leaving the show at the end of season 8 anyway. It makes more sense story wise, it could have been that Morgan got bit or fatally injured, and in his last moments of life he encouraged Rick to have mercy. This makes a lot more sense then Carl's sudden turn to pacifism at the beginning of season 8, particularly since he fired the the first shots of the war in 7,16.

Carl played a key part in Negan's character development, being the first one to actually reach his small ember of humanity. Judith took over this particular storyline, and while I think she is a cool character with a phenomenal actress, she simply isn't the same. Carl actually has a history with Negan, both with him being the villain, and also with him having an almost mentor-like attitude towards him, touching on Negan's past as a gym teacher.

Rick Grimes leaving the show was also a bitter pill, one whose negative effect could have been lessened with Carl's survival. The only original group members still present are Daryl and Carol. and while they're great, it now feels like a completely different show. Michonne leaves too, so the only Grimes are Judith and RJ. Neither of whom had any real development. RJ simply existed, and Judith's skill level and character didn't make sense for her age, and the relatively easy life she must of had during the time skip bar being kidnapped by Jocelyn. Her shooting ability and skill with her little katana didn't make sense living in a place where she didn't have to grow up fighting and in danger like Carl did. Carl could have provided that feeling of the original Grimes family who were the ultimate focus and purpose of this story, a father and his son suriving in the apocalypse, and the friends, family, and enemies they make and lose along the way. with the loss of both rick and especially Carl, (since Rick didn't even die so his new story would still make sense even if Carl survived.) the walking dead no longer feels like the same story, and not in a way where it naturally evolved. it simply doesn't make as mush sense anymore in regards to the characters they have.

Carl ultimately had the best character development, growing from an annoying bratty kid who doesn't understand that there are new dangers in this world, to a teen who is wise to the world and it's dangers, and is capable of protecting himself, and helping his loved ones. he is also able to retain a sense of compassion, not becoming a soulless killing machine like Morgan did briefly, Herschel intervening and helping with his development to keep him off that path when he shot the teen from Woodbury. towards the end, he was really coming into himself, becoming a very fleshed-out character and becoming a very good leader in his own right, he could have helped Michonne and/or Tara after Rick and Maggie left and they took over Alexandria and Hilltop respectively. I believe that despite Michonne orders of complete isolation even from their friends, Carl still would have visited and reached out to Hilltop and Kingdom, even being a friend and mentor to Henry, who I personally think was a little whiney. Henry still could have had the romantic storyline with Lydia, because Carl would likely continue to pursue Enid. but he could have been a friend and ally to Lydia in a similar way to Daryl.

the manner of Carl's death was also dumb to the point of disrespectful. he got pinned by one walker and bitten by another when a few years ago he was able to get out from under three without a scratch. while Siddiq did become a good character, his death (which was also pointless) rendered Carl's sacrifice completely pointless. they also didn't even need to be killing those walkers, Carl was helping Siddiq honor his mother's belief that killing walkers released the dead souls. an interesting belief and concept Siddiq never brings up or seems to follow again.

Carl's death was anticlimactic, cheap shock value, and again I state: pointless. He is possibly my favorite TV character ever, with some of the best development I've seen, similar to Sansa Stark, going from annoying and inflated self-confidence to wisdom, capability, and experience. truly growing as a character with believeable flaws and relatable growth.

Losing Sophia, costing Dale his life by treating walkers like a game, Losing Shane and his Mother, Killing the teen and Herschel's intervention, losing the prison, Herschel, and temporarily Judith, the Claimers, the Termites, his interactions with Ron and the loss of his eye, Glenn's and Abraham's awful death's, his desire for revenge and his failed attempt on Negan's life, and the following consequences and interactions with him that followed. all of these experiences contributed to his growth. he learned his capabilities, and when he got too cocky, he was knocked down a peg by real consequences. when Judith acted out, rebelled, took on an enemy, or got cocky, there were no consequences, direct or otherwise. when Carl's skill, self-confidence, or ego grew, there were still consequences that made sense. this gave him a better character and more relatability and humanity, making mistakes and learning from them.

I never expected to get this attached to a character, and will be salty about how they treated Carl and Chandler Riggs for a very long time. (I'm not even going to get into how they treated the actor but it was awful) thank you for listening to (reading) my rant, feel free to commiserate about Carl or other undeserved TWD character deaths in the comments.

[just-jae]

Hazbin Hotel 7-8 (Spoil McNoil)

Hazbin Hotel is indeed not an action show.

But at least they tried to have some action.

Should they have tried tho?

(I'm gonna start out ripping, but, I don't hate this show, it's actually pretty funny that does some things super well but then just bumble fucks other big moments)

I mean, here's the thing, they're great at street fights, apparently. Vaggie vs Lute was pretty brutal, I felt like I was watching two bird tear eachother apart. Like a scene out of Gardians of Ga'Hoole.

But the ninja anime fantasy, martial arts type stuff was pretty weak, and didn't really track as something the characters would utilize. Like, Alastor is a cannibalistic voodoo serial killer from 1930's New Orleans. And twice before we've seen Alastor grow and contort to intimidate, kill, etc. But he doesn't do any of that against Adam except for that one aesthetic moment. Instead it's got generic "Tentril powers, GO!" vibes. Husker and Charlie also have this problem. Why is an American Gambler using cards like ninja stars? He can fly dude-- or, can he?

Can Husker fly?

And Charlie- like, she has a sheild, but she can only really use it to protect herself :/ Like, girl, just go inside.

Lucy beating the shit out of Adam was cut so short, Like, 2 secs and 4 punches b4 Charlie goes "DAD STOP ITS TOO MUCH"-- no, let Lucy COOK; I think it would have actually been an interesting point to make on how the reason Lucifer gives for discouraging the Hotel is sinner's being "The Worst", yet here he is clearly having a fit of violence (an understandable one but, Charlie, who's never even been to heaven except for a bs court hearing, has to remind a high-ranking angel to have mercy.) Charlie, razz and Dazz transforming didn't really do anything-- it actually felt more like a game of thrones reference, which would be fine if Razz or Dazz DID anything except die. They also didn't explain Carmilla's motive for helping them well. Like, neat entrance, but the build ups to the pay offs didn't exist :,O

And the voice acting: These guys are great singers, but the noises they make when they get hit, their mid-battle dialogue, is so corny and tonally off for certain characters. Like, Alastor and Charlie's yells in particular are- pardon my accent but cringe af.

Charlie in particular has so many anti-climatic moments. If they meant for her to not be particularly good at fighting, maybe establish that and not have all these super dramatic badass magical girl moments that just lead to her getting dunked on. It was so anticlimactic jeezuz christ.

And really it's more about picking a tone, the anti climactic moments could have been funny if they framed it as a funny moment or a joke, but it's framed seriously so it's read seriously.

But, who doesn't bumble fuck around how to end something though. I've read some juicy, golden touch stories that really freaked out on the gas and steering at the end. So, this isn't anything uncommon, especially for relatively new creators.

They have flaws, who doesn't. I loved so much about this show even when my first impression going in was just cringing at it not being what I expected. This is a critique of love, guys, I genuine wish the best for this show, bc it's apparent that when Viv has the freedom and breathing room she needs to plan and pace, she can cook up a good ass goddamned meal (See: Helluva Boss, Season one). This was them crunching and smushing a ton of story and moments into too-few episodes, which, looking back could have been done better, but its easy to see how something can be better once it's done and out in the world. (See: literally any amature artist 2 seconds after posting their work)

The season finale ended with so many good set ups tho! :D

Lilith vacaying in heaven, having made a deal with Adam.

Alastor becoming desperate for a way out, having made deals with Vaggie and Charlie-- And far more explicitly there against his will. Also--is a future antagonist?

Yes PLEASE. I love that they showed Al loosing his shit through his eyes even with the smile he's always wearing. And they built this up before hand having him talk previously about wearing a smile, basically as a mask.

PENTIOUS

YOU REDEEMED FU-

(I was actually cringing at Pentious the entire time inep 8, I'm sorry but he's so hard to take seriously-- even his "death" was funny as hell. I love him but its like how someone loves a clumsy puppy that destroys your house without neither malice nor remorse)

Also: The exorcists switching leaders- I am wondering how things are gonna change with them, especially given how much more sadistic and violent Lute is. Like, Adam just liked laughing at sinners. He saw them as insults to his existance, his mini-me hates and seems like she just enjoys violence and malice, using ego and "they deserve it" narratives as an excuse to indulge in acts that ordinarily would lan someone in hell.

Overall-- Not the best season finale I've ever seen, execution-wise through these 8 episodes (like, Vaggie got her wings learning to fight for love, but she's been doing nothing but supporting and protecting Charlie this whole time. There was no hint that she was bitter or wanted revenge). They definitely needed to pace and build things better but there's so much to love. Like, Seeing Alastor in his element with Rosie and Nifty was so fun, even if they were small moments (his laugh is so stiff tho, c'mon Al.)

The finale did a good job setting up the future, but I don't have much more to say than that. Hopefully, now that they know they're getting a second season, they'll just, breathe on this one a bit more ya?

I'm glad I watched it, I cried, I laughed, I cringed, I yelled at Pentious for subjecting me to second hand embarrassment. It's great :,D

Also- I hope he doesn't read this and takes it the wrong way, but Vox reminds me of my brother-- Especially with the scenes where he's watching the battle :,D

[thephantomcasebook]

Do you think there is the slightest chance that the show will change showrunners in s3?

Not a chance ...

HOTD will take a hard blow in the short term, but its numbers will be strong enough to limp along, with the promise to have a battle and event a minute in Season 3 that will please the front office at Warner Brothers.

The main question is will the Showrunners be self-aware enough to change their course and take the right lessons from the backlash? Aka: Stop making everything bias toward the Blacks, Stop pushing Rhaenyra and Alicent on the audience, and to do a better job of showing balance between good and bad from both sides of a conflict.

And the answer is, unequivocally, no. I have not seen any evidence to show that Condal and Hess are people that will switch up what they're doing. They'll drive the entire show into the ground rather than pivot.

So, expect a spectacle band aid - ala Season 8 of "Game of Thrones" - for Season 3.