#this is my season two subplot fantasy

[sasakisyndrome]

tck after monty asks him his fourth animal shifting question of the day (no, he does not know if monty eating chocolate would kill him)

[spaceorphan18]

Ranking Bridgerton Season 3 Episodes

After sitting with this season the past month, I kind of wanted to see how a ranking would go (and those of you who know me, know I love a good ranking). These are 100% subjective opinions, and I don't expect anyone else to agree. More so did it out of the fun of it. :)

8. Forces of Nature (Episode 3)

I don't actually think there is a bad episode of this season. Truly. After really sitting with this season, thinking it over, even agreeing that there isn't enough Polin and some of the subplots could have been stronger (or not existed at all), I think all of these episodes are pretty stellar. But one of them had to be placed last, and after combing through all of them, it's episode 3.

There is actually a lot I like in this episode - Colin spending the whole episode pining for Pen, the ridiculous and romantic dream fantasy, the awkwardly cute willow scene, the angsty cake scene, Colin asking his mother for advice and awkwardly trying to figure his shit out, loved it. I also really enjoyed Debling and the development of that story as an alternative option for Pen.

What really bogs this episode down, and consequently pushes it to the bottom, is that it's also the culprit for braiding in all of the seemingly many subplots. I don't necessarily think any of them are bad on their own, but it feels like so much that it's too much at times.

We get Lord Kilmartin's introduction (yes, great), Lord Anderson (yeah, okay), Lady Tilly (ooff, fine), The Mondrichs (why are they here again?), the stuff with the Queen (this was just weak in general), and development of Cressida (it works in conjunction with LW, but idk if it holds up on rewatches?). It's just a lot and the main characters (unfortunately, especially Colin) get pushed a little to the side.

7. Romancing Mister Bridgerton (Episode 6)

This is the episode that when I first watched it, I straight up thought it wasn't that good. I've honestly changed my opinion on it a lot, but I do understand why I originally felt that way.

I love LOVE the first half of this episode. We get to have Pen and Colin in a little bit of a honeymoon stage -- the engagement ring scene is brilliant, everything at the church is brilliant, even the stuff at the Mondrich ball... It's truly delicious. And I love Colin just being soft with his sister and at the Mondrich bar scene. And then I do love the Lady Whistledown aspect of it -- Pen dealing with whether or not she wants to continue. There's some great Eloise stuff in here, too. And even Cressida pretending to be Whistledown was handled decently.

But, like episode 3, this episode was saddled with a ton of side plots, where the scenes just go on and on and on because they're the meat of some of these side plots. I don't know if they needed to be balanced better or parceled out better, I don't know. But the long stretches without any Polin, or much Pen or Colin in general in the second half is why this episode ended up lower.

I think the only reason it's moved up a spot is that I do love the Polin we do get more than what's in episode 3. Also, the last few moments of Colin discovering Pen is Lady Whistledown is an excellent cliffhanger.

6. Out of the Shadows (Episode 1)

I do think the season opener is solidly good! I actually really love Pen getting her transformation and the ridiculous of Colin (attempting) swagger as he comes back into town. I love that we don't beat around the bush, and the two of them really get to the heart of their issues right off the bat and it sets up the entire season really nicely. Plus, their dynamic as never sparkled any better -- it's truly a treat to see the two of them back on screen.

The rest of the episode works pretty well, too. The tension between Pen and Eloise is great -- and kicks off one of my favorite arcs of the season. Francesca's (re-)introduction is wonderful. There's some truly brilliant Bridgerton sibling stuff, as well as Anthony and Kate being on the top of their game. It's also got some breathing room as we haven't established the nineteen other plot lines going on this season (though the Mondrich stuff feels a little sluggish).

The only reason this episode is as low as it is -- is because I just like everything else more.

5. Joining of Hands (Episode 7)

It pains me to have this episode as low as it is because I love so much of it. The Polin stuff in this episode is just delicious. I love the tension after Colin finds out that Pen is Lady Whistledown. I love the brutalness of the first argument and the angst, longing, and actually working through some of their shit (as well as the spiciness) of their argument outside the Modeste.

I love that they still get married despite having unresolved conflict, and that their love transcend set backs. And that wedding dance is absolutely gorgeous.

Plus - we get some great Bridgerton in general stuff -- Eloise and Pen are on their way to repairing their relationship, Colin and Eloise get some great moments, Benedict is adorable at the 'bachelor' party, and Anthony and Kate are amazing in everything that they do (I love LOVE the scene with Kate, Anthony, and Colin).

The episode does have some weaker aspects - I don't care all that much about Violet and Lord Anderson nor Benedict and Lady Tilly (even if I'm all here for Benedict's bisexual awakening). But the subplots don't really weigh everything down as much, and it's a solidly good Polin episode.

4. Into the Light (Episode 8)

The Season Finale! I honestly toggled between episodes 7 and 8 and where they went, and I think maybe on a different day I could be persuaded to switch them, but I think what really sells me is everything from the Butterfly Ball onward. The ending is gorgeous, Pen's story wraps up brilliantly, Colin's grand speech was beautiful, the epilogue was pitch perfect, and all of the storylines work out in a great way, setting up threads for future seasons (obviously, Benedict is next but Eloise and Francesca are getting some good stuff, too.)

My only issue with the end of Pen and Colin's story is that I wanted more resolution to their story. The twenty seconds of make-up sex felt like not enough, and I do hope that they rectify this in Season 4. (Which I have a feeling they will.)

There are some really great things leading up to the ending as well -- I love that Pen and her mother kind of come to terms with each other and finally that relationship is being restored, as well as the Featherington sisters blooming into decent people. I also LOVE the reconciliation of Pen and Eloise. And while the blackmail plot could have been a little stronger (Cressida's whimper out was a little weak) I honestly love Colin's scene with Cressida. (As well as the hilarity of Portia, Eloise, and Colin being the ones to try to help Pen deal with it all.)

It's not perfect episode -- there's the seemingly never ending threeway with Benedict (as well as the fact that Benedict desperately needs next season because his character feels aimless at this point), and Francesca's wedding, while sweet, felt like it pushed Pen and Colin a little out of the limelight for a little too long in the middle. But pacing might have been the biggest issue of the episode. It's otherwise a great episode and a solid ending.

3. Old Friends (Episode 4)

So here's the thing. Here is the thing I've been really thinking about while putting this together. It's a testament to the carriage scene and, honestly, everything from the last twenty-ish minutes of this episode because without it, I'm not sure this episode would be that high. Pen and Colin get ZERO screen time together until the end (and I suppose that's somewhat intentional) you really start to feel it as the episode goes on.

But the tension of this episode is fantastic. Pen bonding with Debling, beginning to accept that this is her best option with pressure from Portia... Colin dealing with his own feelings and downward spiraling (though I do wish we had gotten more of him). It's really, really well done. And then the last twenty minutes is just solidly amazing. All of it. Fantastic. It's just captivating.

And then, of course, the carriage scene -- one of the best (possibly the best??) scenes of the entire show. I could wax poetic about the carriage scene for days...

This is another episode that does feel like it's saddled with too many subplots, and pacing issues, because they're withholding the Polin stuff until the very end and it almost feels like a trudge to get there at points. But it's well worth the wait -- and enough of an amazing payoff that I have this episode so high.

2. How Bright the Moon (Episode 2)

I just fucking adore this episode. Like so much. It is a romantic comedy at its finest with one of the most beautiful first kiss sequences I've ever seen. I love everything this episode chooses to be.

First of all, there's just so MUCH content for Pen and Colin, and we really get to see their FREINDSHIP at play here. (As well as Nicola Coughlan's amazing comedic chops - she shines in every scene here.) Everything between the two of them is brilliant and hilarious and awkward and funny and really, I could have watched a whole season of just this ridiculous rom-com trope-y stuff. Because they're both so good at it. Because it's just so delicious and wonderful.

We also get some of the best comedy of the show in the scene with Portia explaining sex to the Featherington sisters. And some truly great moments with Eloise, too. The rest of the side plots don't feel as heavy as they don't over shadow what's going on with Pen and Colin.

And then that last scene, the beautiful, fairy tale, fantasty-esque, shot like an Old Hollywood film first kiss that is truly breathtaking. This episode just wins all the things.

1. Tick Tock (Episode 5)

Like it was going to be anything else ;)

But no, here's my thing. It's not just the awkwardly beautiful ten minute sex scene of this episode that has me placing it on top. No, really, even if I think the mirror scene is incredible and breathtaking in it's own right.

This episode is solidly for Pen and Colin. And in a season that sometimes struggles to find good balance, this episode (and episode 2 really) are the only ones that really feel like the fully feature Pen and Colin, so it's no coincidence they end up taking the top spots.

The first half of the episode is just a continuation of the amazingness that is the ending of episode 4. The engagement announcement, the hilariously wonderful ABC Bros scene, Colin telling off Portia, Pen and Colin being so soft and sweet with each other during sex, the aftercare cuddling on the satee, the carriage ride.... it's all so, so good, I love it so much.

There's also some great stuff going on around Polin -- Kate and Anthony are back, Eloise has some great stuff, the Cressida plot is hitting its stride, the Queen is adding tension, the Lady Whistledown plot is getting turned up to eleven...

The second half of the episode is also incredibly strong, as it mostly takes place during the engagement party and the tension during that whole sequence is fantastic. All the little plot threads are getting pulled at in a way that works well being woven in together. It's GREAT drama and it really pushes this episode to be the season's finest hour.

This episode just works all the way through. It's got such lush, romantic Pen and Colin that I keep coming back to, some crazy tension built in to ramp up the drama, the characters all just so much fun to watch. This episode is amazing, and truly deserves to be at the top of the list.

And that's my list!! Thanks for reading!! :)

[heyclickadee]

I understand that people are going to cope how they are going to cope, and trying to find meaning in the handling of Tech in season three is part of that, but it’s also okay to criticize the show.

I like a good character death. Tech’s departure was not that. My issue is not that he’s presumed dead, my issue is that it and the handling of it is nonsense. So (I once again get very negative about my favorite show under the cut):

1. When you kill off a main character, you really have to kill them off. How you do so can vary from story to story, but you really have to do four things:

One, you need a good reason to kill them off in the first place. (“Stakes” is not a good reason. A secondary character, sure, but not a main one. More on that in a minute.)

Two, you need to make it perfectly clear that the character is, in fact, dead.

Three, you need to show the other characters processing and accepting that death. This is important because doing so will allow the audience to do the same and let the character go. This is especially important if you’re writing for a young audience.

Four, you need to make it explicitly clear that the character cannot come back. This is especially true in sci fi or fantasy. Especially if you’re the Character Resurrection franchise.

And guess what the show didn’t do?

Any of that. Any of it. What it did instead was ambiguously remove Tech from the story (uniquely in a show that loves making us watch characters die on screen; last time we saw Tech for sure he was alive), never gave a good reason for doing so in or out of the show, never showed us any character working through the impact of his loss (even though there was ample opportunity for Omega, especially, to do so), and ripped the “could he come back?” box wide open by parading CX-2 in front of our faces. It is never, at any point, handled like an actual main character death. It’s handled as a plot point from which the narrative moves fairly quickly, and treated by all parties as an absence. By all the rules of storytelling, Tech isn’t dead. He’s just ambiguously gone. And that means the writing team did a terrible job if what they wanted to do was kill him off. We should not be debating this after the show has ended if he’s actually dead.

2. I understand why some fans are trying to find meaning in losing Tech. I am not, because that meaning is not offered by the text itself. And, if the plan was to never bring him back, it should have been.

We are not, for example, offered a lesson about how not everyone comes home from the war. In order for that to have been the case, we would have needed to see someone, probably Omega, working through that. We would have needed to see her refusing to accept that Tech is gone—like we do in Plan 99, by the way—and slowly coming to terms with the idea that her brother isn’t coming home. But we don’t get that, not even as subtext.

Something else we could have gotten that would have worked with all the little visual reminders of Tech, empty chairs, name-drops, and even the CX-2 leading? The batch being so haunted by losing Tech and not really knowing what happened to him for sure that they start seeing him everywhere. But for that to work we would have needed, again, to see that as an explicit subplot where someone, probably Omega, again, gets really invested in the signs that Tech is coming back and even starts assuming that CX-2 is him, only to realize that she’s seeing what she wants to see and having to accept that Tech isn’t coming back, but that she can still keep Tech’s memory alive by following in his footsteps. That’s something you can kind of project onto what we’re given in the epilogue, but you do have to project it, because it’s entirely absent from the rest of the show.

As is, Tech’s sacrifice isn’t given any weight. From a narrative perspective, it was an incredibly contrived set of circumstances that accomplished nothing except punting Tech off a train, and gave Tech no choice but to remove himself from the story—exit, stage down. Losing Tech doesn’t, even sub-textually, serve as anyone’s motivation. It does nothing to move the plot or anyone’s character development forward. The primary motivators of season three were Omega’s kidnapping, Crosshair’s PTSD, and Hemlock needing to get Omega back.

Tech’s absence does nothing to move anything forward and only really serves to slow the plot down and make the others struggle to do anything because he’s not there to carry the team like he did in the first two seasons—and nothing about that would have played out any differently if Tech spent the season in a coma in a bacta tank. The only part of Tech’s sacrifice that has meaning is that he loved his family enough to offer it. And that is profound, but that’s not something that would be negated by a return because the love and the offer remain. As for his presumed death? His return couldn’t have taken meaning away from that, because the show never gave it any meaning in the first place.

And no, Tech “dying” isn’t something I have to accept. Tech isn’t a real person, he’s an idea, and an idea that didn’t come to fruition. I can point out the ways the handling of his departure didn’t work all day if I want.

3. CX-Tech was not an overly online theory. I need people to understand this. It was an assumption made by most of the casual audience. My sister, who has no contact with the fandom and doesn’t like me discussing the show at all until she’s seen it, assumed he was Tech. My brother-in-law, who was a die-hard Tech-has-to-be-dead-shut-up guy for the entire hiatus and the first half of season three, was convinced he was Tech. Every kid I’ve spoken to who watched the show thought he was Tech and is deeply confused that he got speared like that. My brother, who doesn’t even watch the show but who does walk by when I’m watching it sometimes, thought he was Tech. You can’t get more casual and away from the fandom than that.

The thing is, the answer we get isn’t that he’s not Tech. It’s, “We’re not telling.” Which means that as it currently stands, a season-and-a-half of CX buildup amounted to a five minute boss fight and a non-answer. That’s…not something that works! That’s atrocious writing if that was the whole sum of their intent all along.

And you can say, well, that was a clever misdirect! Plot twist! Except, one, misdirects and twists only work if the real answer is more satisfying than the false one, otherwise it just falls flat. Two, if it was a misdirect, it’s not one the creative team is willing to own. No one will touch the Tech-CX-2 parallels with a twenty-foot pole, except the Kiners, who have incredibly meaningful explanations for every musical choice but then say shit like, “that chord just sounds good in brass” about Battle of the Snipers (…before going on to say that the four note lose motif from “Plan 99” is Tech’s leitmotif…which is also all over Battle of the Snipers…and is only there according because the batch is divided in that scene, a scene in which Crosshair’s leitmotif is entirely absent even though he’s just supposed to be fighting his own dark side represented by a guy who’s totally not Tech. Sure. I’m going to go eat drywall.) Because acknowledging that and saying that was supposed to be Tech will just make the audience angrier, and they may not even be allowed to do so, and saying that it is Tech—you can understand why they can’t do that, right? The implications are horrific. But that horrific implication is probably what at least some of the casual audience who will never interact with the fandom or a single interview is going to walk away with.

4. The thing that bothers me most about all of this is the combined toxicity of the fandom and the leading from the marketing and social media. Part of the fandom saying that there were never any signs Tech could have survived (in Star Wars, no less) is starting to feel like gaslighting; and while I don’t think there was any malice in the leading in the marketing and social media—I’m even willing to give a tiny bit of leeway for the creative team maybe knowing something we don’t yet—it was handled badly, expectations for this season should have been set early and clearly, and as of right now it all feels like an incredibly cruel prank at autistic fans expense, whatever the intent may have been or may still be.

5. And finally, here’s the thing: I’m willing to give the writers a bit of leeway on this. I’m willing to grant that some choices may have been out of their hands for unknown reasons. I’m even willing to say that maybe they’re not really done with this story yet, that The Bad Batch could just be the first chapter of a longer show that was split up for stupid business reasons, and that the finale is the way it is because they had to have an ending of sorts without actually resolving anything. I’m willing to grant a lot of grace there. In fact, I actually think there’s a very good chance we’ll still get Tech back alive in canon, and sooner than later, if only because no one (not even the voice actors) seems happy about this, most fans are coping but disappointed at best, the creative team got asked about Tech non-stop for a solid year and a half, and the writers don’t seem at all committed. We know from the rest of the show that they know how to definitively kill a guy, and, frankly, Tech in the first two seasons comes across as something of a writer favorite. They like using him!

But whatever I’m hoping or suspecting, and whatever leeway I’m willing to grant the creative team here, the final product is all we have right now. And I am going to criticize that final product for badly handling a (presumed) character death and straight up breaking the central conceit of the show in doing so.

[mashmouths]

so i started this show and it just gets worse and worseeeee not only did it lift the romance subplot directly from twilight (and not well) but they also are trying to play the forbidden love angle hard in the fantasy racism vein except it's a "cross-species" relationship between the two whitest people i've ever seen in my life and there are three people of color in the whole (first season of the) show who aren't villains and it seems that every other episode (and sometimes ebery episode and sometimes twice an episode!) there is a man physically or magically subjugating a woman and i keep waiting for the big reveal at the end to be stolen from fucking rainbow rowell

[mask131]

So you want to know about Oz! (5)

Now that we looked at the MGM-continuity of movie and cartoons adaptation, I propose you in those post some adaptations that are either more in line with the original novels or... just not following either the novels or the MGM movie, and just doing their own thing. Since there is a lot of Oz adaptations, for this movie I will stay by American productions, post-1939.

First my three faves, and the rest will be under the cut.

2005's The Muppets' Wizard of Oz

This movie did quite poorly upon its release - and of all the Muppets movies, it is not considered to the best in any way. There is notable use of some old CGI that aged very poorly when it comes to the Wizard's scenes... But, not only does it have one of the most hilarious depiction of the Witches of Oz ever (what do you expect when they are played by Miss Piggy?) and some cool songs - this movie has the honor of being the most book-accurate, book-faithful adaptation of The Wizard of Oz there ever was. (Well outside of Japanese animes I'll talk about later). Yep... this Muppets parody is the closest you can get to experiencing the original novel as a movie. Crazy, right?

2011's The Witches of Oz

Originally it was released as a mini-series in two parts ; and in 2012 it was recut and edited as a single movie known as "Dorothy and the Witches of Oz" (but the single-movie version deleted a lot of scenes and segments from the complete mini-series). It tells a sort-of sequel to the Oz books (yes ALL of the Oz books), while mixing it with urban fantasy - as young real-life Dorothy, all grown-up in 2000s Oz, is depicted as the current author of Oz books, only for her to discover the fictional adventures in Oz that were written about her are real, and Oz is coming to New-York to get her...

Now... this mini-series aged VERY badly. The special effects are so cheap, most of the characters are insufferable, the plot is very weak... BUT! BUT this mini-series deserves to get some attention and to be known due to specific elements, such as, the most badass depiction of Langwidere ever ; Christopher Lloyd delightfully playing the Wizard of Oz... And the Wicked Witch of the West! This incarnation of the Witch is without a doubt one of my favorit reimaginings of the character, striking the perfect balance between the character of the original novel and the MGM Wicked Witch. Just in design she is the coolest Wicked Witch of the West there ever was. Too bad the rest of the mini-series is... quite cringe.

2017's Emerald City

Yet another proof of the "Oz curse" that plagues most of Oz adaptations - because the series got cancelled after its first season, leaving the show unfinished.

What is Emerald City? It was an Oz television series from the era of "post-Game of Thrones". Since the success of GoT, every channel and network tried to create its own dark and gritty big-budgeted high fantasy series... And "Emerald City" is what happened when Oz got caught in the trend.

People were very divided on the show (hence why it ended up cancelled) - some people adored its beginning and got tired of it by the end, others hated the first episodes but by the final ones were eagerly awaiting for the next season. On one side, most people agree that it is too much and that the show handled itself in a strange way, everything being a bit crammed-in. This TV show is actually adapting simultaneously THREE different Oz novels (The Wonderful Wizard of Oz, The Marvelous Land of Oz, Ozma of Oz), all mixed together in a new, dark, adult iteration of Oz, so yes, that's a LOT.

However the show does work out several very cool and interesting concepts, playing around with both the MGM and the novel heritages. And while the story can get a bit convoluted due to the so-many plots and subplots mixing each other in a complicated way and not giving each other enough time to breath, the visuals are 10/10. There was a real visual effort on this show that makes it entirely worth the watch, if just as an eye-candy. They literaly used GAUDI ARCHITECTURE for the Emerald City, come on, how cool is that?

And also it is one of these shows were several actually working languages were created by experts, so that's always cool. I always stand by fictional linguistics.

Now I'll go a bit quicker for these ones because else it's going to be one LONG post:

In the 1960s, there was one animated show that dominated the Ozian landscape. 1961's Tales of the Wizard of Oz.

One of the early creations of the future Rankin/Bass studios, it is a cartoon that reuses the settng and characters of "The Wonderful Wizard of Oz"... But not the plot X) Basically Dorothy and Toto end up entering Oz by... by a hole, as if she was Alice. And there she meets her companions and each episode is about them trying to have a wish granted by the Wizard of Oz, or trying to avoid the schemes of the Wicked Witch. So... it is quite a VERY loose adaptation, and the modern cartoon "Dorothy and the Wizard of Oz" is kind of a modern heir to this old cartoon.

After 114 episodes, there was an animated special created to conclude the show. Called "Return to Oz", it IS actually an adaptation of the plot and events of "The Wonderful Wizard of Oz"... But happening after all of the events of the cartoon, and thus taking a different direction in terms of set-up.

1969's The Wonderful Land of Oz

This low-budget movie was an adaptation of the second Oz book, "The Marvelous Land of Oz". There's quite a lot of interesting stories surrounding this production - from Judy Garland supposedly having been intended as the narrator, to the background actresses having appeared in nude films created by the movie's director... However the movie tend to be ignored or forgotten compared to the other 60s Land of Oz adaptation...

1960's "The Land of Oz". First episode of the second season of Shirley Temple's Storybook

This was a much more famous adaptation of "The Marvelous Land of Oz", if only because of Shriley Temple's name. Retrospectively, I should have added it in my previous Oz post because this mini-movie takes a lot of visual cues from the MGM's Wizard of Oz, such as the Scarecrow and the Tin Woodman being designed after their MGM incarnation, or Glinda's outfit calling for the MGM Glinda's design.

1980's "Thanksgiving in the Land of Oz"

An animated special for Thanksgiving of the year 1980, which is - as the title says - about Dorothy going to celebrate Thanksgiving in Oz. In 1981 it was re-cut to become "Dorothy in the Land of Oz" (with most Thanksgiving references being removed so the animated short could be aired at any time of the year - which is quite a challenge since the special is ALL about Thanksgiving... Dorothy is literaly brought to Oz by a "giant green turkey ballooon", come on!)

1987's Dorothy meets Ozma of Oz

This animated middle-sized movie is an adaptation of the novel "Ozma of Oz", and remained for quite a long time the only adaptation of Ozma of Oz alongside Disney's Return to Oz.

1997's The Oz Kids

A direct-to-video cartoon series that is just what it says. We follow the adventures of the children of the various protagonists of the Oz novels. Dot and Neddie, Dorothy's children ; Bela and Boris the children of the Cowardly Lion ; Tin Boy and Scarecrow Junior ; the son of the Nome King, and more...

2007's Tin Man

Ah, Tin Man! A cult-classic a lot of people remember fondly - especially on Tumblr. This mini-series was part of the long suite of SyFy "dark sci-fi" fantasy reimaginings (2011's Neverland ; 2009's Alice, etc).

Described as an "adult steampunk reimagining" of the Wizard of Oz, it depicts the adventures of DG, a waitress of Kansas, as she gets taken by an interdimensional storm to the otherwordly "Outer Zone", and there befriends a telepathic leonine humanoid, a man who lost half of his brain, and a former cowboy-like law enforcer of the dictature a wicked witch-queen set upon the Outer Zone...

Speaking of steampunk, the last two Oz adaptations I want to talk about are...

2015's Lost in Oz

This animated show was part of Amazon Prime Video early days at producing its own content. Originally it was just a pilot episode released in 2015. Since the pilot episode proved good, it became a three-episodes mini-series in 2016. Since THIS mini-series proved good, it became a full season in 2017. And since this first season proved good, a second season was released in 2018. And then they stopped.

At first it seems that this show is just an "updated" version of The Wizard of Oz: Dorothy and her dog Toto gets transported to the Land of Oz, and must find a way to get back home while making friends and all together fighting through the many plots and scehmes dividing the land... Except that this Oz is a more modern and updated Oz filled with magi-tech, and Dorothy's companions are not exactly your traditional band... Turns out Dorothy has to team up with Ojo, here depicted as a "giant Munchkin", and a teenage witch by the name of... West. Yes, she is the (not so) wicked witch "of the west".

And thus starts a quite unique retelling of Oz where the three teenagers must face various threats taken from later Oz books: Langwidere, here West's evil aunt ; the mysterious Crooked Magician ; and Roquat, the Nome King.

And a last steampunk Oz for the road: 2018's "The Steam Engines of Oz". This Canadian animated movie is actually an adaptation of an Oz graphic novel of the same name, by Erik Hendrix and about a modernized Oz set after the events of "The Wonderful Wizard". A young mechanician of the Emerald City, Victoria, is chosen by the Good Witch of the North to help fight the ever-growing expansion and industrialization of the Emerald City, pushed by a Tin Man who became a cruel dictator of Oz...

[physalian]

So you want to turn your one-off book into a series…

As a writer who decided only after publishing book 1 of a trilogy, to then make it a 4 book saga, here are my thoughts on series planning, or at least the insomnia-driven process I went through to reach this decision:

Firstly—I prefer to write multi-book stories with the structure like Lord of the Rings over something like Harry Potter. As in, it’s one long story with various hurdles to overcome split into multiple books, instead of each book being much more self-contained, with a reliable time skip, like years of schooling.

With that in mind, the very first thought I have is this: What are the new threats going to be? I don’t think about my heroes or any subplots or new characters. Priority one is my antagonistic forces: Do I have enough to each carry their own book?

A hero is only as compelling as their conflict, after all.

In my sci-fi WIP, I had 6 main characters and five books planned, and I based it off the structure of the OG Teen Titans cartoon—Everybody gets their own season and while not every episode is about them, the main threat is theirs first, with the rest of the team backing them up. The threat was always a twofer, both an external threat and an internal conflict that they had to overcome in their book. For example I had a character who “lead” book 2, and the external threat was Bad Guys from a different team member’s war, dragging her home into it. The internal threat was her “suffer in silence” tendency and extreme self-reliance, which becomes too much for her to handle when her powerhouse teammate is out of commission physically and unable to help her emotionally.

ENNS doesn’t have an ensemble cast and was not meant to. In this style, if it’s one long story, I’d need three major incidents in books 1-3 that all led up to a final conflict in book 4, all building off each other. I needed essentially two whole “Helms Deeps” for books 2 and 3. Not just in terms of story but literal conflict, as I write high fantasy and not having a big climactic battle for a whole book would flop. But now I need two of them, and I struggle with action scenes.

And without spoiling myself, I have them vaguely defined. For me, at least, so long as I have my little compass pointing toward my “North” of “this is the thing that every major scene should be dealing with in some capacity” it doesn’t matter what path I take to get there, I’ll figure it out. Heavily outlining only ever leaves me with plenty of outline but no book.

For me, once I have my main threat, I then have my main theme. Example for ENNS being that book 1’s main theme/question was “What makes a monster?”

Have yet to narrow it down and split the original 3 themes now into 4, but one I intend on exploring is “Can vampires change?”

Doing this, having your big picture at least in a foggy idea, helps with cohesion across multiple books, and within the same story. If you keep your theme in the back of your mind and relate as many character arcs and mini conflicts back to it as possible, it’ll really start to look like you know what you’re doing.

Otherwise you end up with a bunch of loose ends and dangling plot threads that get abandoned, or characters that feel out of place as their arc has nothing to do with the rest of the story, it’s just here because they had to do something to participate.

So if you want to see now book 1 of 4, check out Eternal Night of the Northern Sky on Amazon.

[br1ghtestlight]

random thought but i love eugene mirman's gene sounds ESPECIALLY when gene is sleeping. they're so good & cute

louise tina bob and linda looking @ gene literally exactly like this when he forgets how his song goes at breakfast LMAOO

love that tina and louise seem to actually pay attention to what songs gene is writing and what they're about despite the fact that there are SO MANY. supportive family <3

gene's dream.... bro that was god speaking to you. like for real wtf

also im only a minute in and there are SO MANY good screenshots already he's such a cutie i love him so much!!!! <3 gene episodes my beloved

"Now I'm going to change into last night's pajamas, AKA my only pajamas, and brush my teeth with Tina's toothbrush because that's what I accidentally did last night."

"Wait, what?"

gene and tina are so silly?? 😭

me and gene share many similarities including waking up in the middle of the night every two hours for no fucking reason. like THATS relatable

MR AMBROSE APPEARANCE LETS FUCKING GOOO‼️‼️ why does his voice sound slightly sped up is he okay. does he have a new voice actor?? he sounds slightly off not like in a bad way its just strange

THERE WAS A NEW VOICE ACTOR BCUZ BILLY EICHNER WASNT CREDITED maybe bcuz its such a small appearance but thats very weird. i feel like mickey fans in season 12 episode 6 when loren did that horrible mickey impression 😭😭 also whoever did his voice in this episode wasnt credited so it was somebody from the main cast doing an impression of him. will try to figure out who. sorry episode review cancelled i need to figure out who the hell voiced mr ambrose in this episode

based on the fact that u cant obviously tell who it is i dont think its eugene mirman and probably not h jon benjiman?? dan mintz can only do one voice so its not him either. probably either john roberts larry murphy or a random crew member who they didnt bother to credit

(most likely billy eischner just wasn't avaliable to voice mr ambrose due to his movie career etc so i dont blame them but it was noticeable enough to ME that i needed to figure it out. not even a bad impression honestly the average fan wouldnt notice)

"What do you lucid dream about?"

"I do revenge stuff on people who were mean to me in high school, some fantasy and science fiction, some adult stuff I can't tell you about."

this is literally the gayest thing mr ambrose has ever said omg FHFMDDJKSKS i cant believe this drama club ass nerd was bullied in high school who could have guessed. not me thats for sure

(now somebody has to write a fanfic about mr ambrose having Adult Stuff dreams about mr frond. i want this on my desk by 3pm tomorrow)

love mr ambrose and his gay ass curly hair..... mr ambrose my beloved <33 kisses u

i dont have anything to say im just strangely invested in gene's lucid dreaming plot at this point. Love all his silly little dreams and its incredible he never seems to have any nightmares or anything!!

this is reminding me of the movie where gene had a dream and he was scared that he wasn't good at music and that people weren't going to like his performance and the aliens came down to told him to stop 😭😭💔 his insecurity that he might not be that good a musician literally makes me cry. he's so sweet and kindhearted my babyy boy

CAN I SKIP SCHOOL AND GO BACK TO SLEEP LMAO

"Even successful musicians went to sixth grade, Gene."

"That's a MYTH!!"

weirdly mr ambrose started sounding completely normal at some point like did his voice actor come back and just wasn't credited?? or whoever did this impression was REALLY good jfc

mr ambrose HATES these fuckign kids bro

HES SO UNHINGED LMAO 😭😭

NOT THE STARING AGAIN. why are they literally just this image every single time gene plays music in this episode im gonna cry

love this specific frame of gene running his hand through his hair

awww bob is such a good dad

sidenote but this subplot with tina and louise is so stupid it actually made me laugh LMAO the fucking girl cricket. thr female cricket. like what if he's gay huh what then

"or if she's not his type she also makes a great best friend. she's a good listener" THANK YOU louise for acknowledging the cricket might be gay. she's an ally 🙏

AWW GENE WRITING HIS SONG <3 eugene mirman isnt a Good singer (not hating he literally says that all the time. they have to record each line seperately bcuz he cant sing on key) so its hard to tell when they're trying to make gene's songs seem good or not but this is really sweet. u can tell he just loves music so much

why is gene's song kinda making me emotional..... like this show is usually 50/50 on if it actually wants to take gene's songwriting ability seriously but in this episode its so clear how much he LOVES music and songwriting and how talented he is at it. he has trouble with focus and commitment sometimes but thats never an issue when it comes to his music and he'd happily spend an entire afternoon writing a song from start to finish (even skipping out on dinner) because he was so hyperfocused. love how much respect they give gene in this episode tbh

deeply appreciate the "larry murphy as teddy" credit despite teddy not having one single line in this entire episode. Literally just a legacy credit at this point

I LOVED THIS EPISODE 😭😭💕 i dont think it'll be as widely popular as some other episodes this season but as a gene fan and an artist this episode really resonated with me. the ending sequence was actually really beautiful (gives me the same vibes as "your heart's not broken its only growing" tbh) and i loved gene's song and all the different costumes they put him in for his dreams!! tina and louise's subplot was really cute too. very enjoyable episode if you're a gene fan or just a casual viewer who wishes he got more focus. he's SO SWEET and so passionate <3

[azazelsazaleas]

I finished watching through DS9 a few weeks ago and I’ve been meaning to do a rundown of my thoughts on it. Here goes:

- Oh my god that was fantastic. I really wish it’s given it a fair shake back when it was on the air; I was a dumb teenager who resented it for not being TNG and was going through a weird self-loathing phase where I didn’t want to admit to myself that I was the massive nerd that I am. This seriously lived up to the hype. I may have to do a TNG rewatch because this might just have upstaged it as my favorite 90s Trek.

- Andrew Robinson should’ve been made a full cast member. Ditto Max Grodenchik and Aaron Eisenberg.

- Damar’s transmission at the end of The Changing Face of Evil lives rent-free in my head. I cheered out loud at that.

- One thing the show did fantastically that a lot of other SF/fantasy properties don’t quite get right is that it lands a pitch-perfect balance of “these characters are major, important figures in the larger multinational conflict” and “this conflict is absolutely massive and not everything revolves around the same small group of people.” The fact that Sisko, Worf, Kira, Odo, et al are so important is entirely plausible and it never feels like the writers are trying to gratuitously bring everything back to them.

- That said, I kind of love that Admiral Ross’s leadership approach during the Dominion War eventually consists of doing whatever the hell Sisko tells him to do.

- God, the acting was incredible. Andrew Robinson, Armin Shimerman, Nana Visitor, Marc Alaimo, and Louise Fletcher were real standouts, but everyone was just so damned good.

- Actually, I really need to give special mention to Shimerman. The man went above and beyond to make Quark be something more than a joke character, despite how obvious it was that basically the entire production team wanted him to just be cartoonish comic relief. He worked harder to flesh out his character and show his race as a race of *people* (not just caricatures) than just about any actor playing an alien on Star Trek before him except for maybe Nimoy. Give the man a goddamn Emmy. Don’t believe me? Go rewatch the iconic root beer scene from The Way of the Warrior.

That said: I do have a few criticisms:

- Pretty much all of the (canon) romantic subplots were just…yikes. The only major exception I can think of Sisko/Yates, where they actually seemed to have a healthy dynamic, fall legitimately in love with each other, and generally treat each other like adults in a serious relationship, not bickering teenagers.

- Seriously, Worf/Jadzia got so hard to watch and then the fallout with Ezri was just ugggghhhhhhhhh stop please for the love of god

- Why did the writers need to try to romantically pair off all the female characters? Just, why?

- Kira had more sexual tension with that Romulan lady in half an episode than she did with any of her bucket-of-paint boyfriends over the course of seven years.

- I totally get the behind-the-seasons reasons why things panned out the way they did, but (hot take) I think Dax’s whole arc would’ve worked better if they had killed Jadzia off after the first season or two and brought in Ezri earlier. Jadzia was fun, but she was just too perfect to get many interesting stories and her relationship with Worf felt too much like manufactured drama. Having a trill who didn’t want to be joined, agreed to in a life or death emergency situation, and now has to reckon not only with taking on this symbiotic relationship with no preparation whatsoever but also succeeding this beloved person in the eyes of her loved ones is such a better setup for a character and it’s a pity we didn’t get to see that play out properly.

- Sisko deserved a better conclusion to his story. Give the man his damned house on Bajor and let him raise his kid with Kasidy. He’s more than earned it.

- Next time I rewatch the series, I’m skipping the mirror universe episodes and the ones with the genetically enhanced walking-90s-neurodivergent-stereotypes.

Other random thoughts:

- Dukat’s storyline should’ve ended with him getting killed at the end of Waltz. Either by Sisko, or by deluding himself so thoroughly that he does something suicidal. The pah-wraiths subplot felt like a lazy afterthought (except for the episode where he pretends to be Bajoran and starts fucking Kai Winn) and as much as I liked watching Marc Alaimo act, his story arc was basically over at the end of Sacrifice of Angels….which, incidentally is when Damar actually starts to get interesting.

- I loved the O’Brien must suffer episodes but I thought Hard Time was kind of overrated. Mostly for the plot line with the cellmate; I think I’m a little burned out on seeing stories that have a moral of “deep inside us is a line between humanity and savagery and when pushed to the limit, even the best of us would turn to murder.” It’s been done to death, and it’s really not truthful, at least for many people.

- I think I may have a little bit of a crush on Major Kira. It would never work out if I met someone like that in real life, though. I’m a laid-back, atheist, creative type; she’s a deeply devout former insurgent. Given certain real-life crushes I’ve had recently; maybe I’m just into strong women with big, expressive eyes who wear their hearts on their sleeve and have a spine made of fuckin’ steel. I have no idea what this says about me.

- MORN

- Favorite Episodes: In the Pale Moonlight, The Visitor, Improbable Cause/The Die is Cast, In Purgatory’s Shadow/By Inferno’s Light, In the Cards, Duet, The Wire, Civil Defense, The Magnificent Ferengi, basically the entire Dominion War arc.

[vexillologyisenjoyable]

dimension 20 seasons that I’ve watched, ranked(spoilers obviously):

A starstruck odyssey, without question my favorite. Basically every character in this went hard. The plot was fun, the hijinks were delightful, there were the moments that just hit the spot(the house always wins, ‘how did you know there was going to be a plinth in this fight’, beating up a guy and being like oh. that didn’t really do anything but we beat him up, snake eyes, and so many more), just the whole vibe of the season was off the charts.

the seven. I’ve probably laughed the hardest in my entire life while watching this season. It is second to starstruck simply by virtue of not being an intrepid hero season.

mentopolis. A city in a mind. The whole season takes place in about a minute or two. Dan FUCKS. Conrad Shintz, who is so sad and so funny. The fix, with his… fun… facts. Imelda Pulse, with a very high class air who will do the stupidest shit on a whim. Anastasia Tension, who has the most indescribable vibe. Hunch Curio, who will get into a fight with Fight itself. A conspiracy, a philosophical thing, a stolen birthday cake, truly this season had everything.

Misfits and Magic. I probably wouldn’t like this season if I was British, but I’m American so it’s funny when they make fun of British people. Nice how it works like that. The story about how friendship is a stronger tether than dark magic(where have I heard that before?), a story made in the setting created by a transphobe, where they proudly proclaim ‘fuck terfs’. Brennan plays a pc. Aabria dms. All is right with the world.

Burrow’s end. An all around fantastic season. An amazing cast. Brennan pc. Aabria dm. All is right with the world. They play stoats, hats are an important subplot, there’s meta themes about imperialism and colonialism. Also Shiobhan and Izzy play siblings.

fantasy high. With two and a half seasons, it’s one of the most well known. Freshman year is a solid 7/10. Sophomore year is a solid 8.5/10. Junior year isn’t finished yet, but so far it’s going strong. Some incredible bits came out of those seasons.

Neverafter, some cool themes were hinted at but never came to pass, most of the characters were good, but some didn’t really hit the mark, overall a decent season.

a crown of candy. King Lou! This season was good, I can see why other people might like it, but it wasn’t for me personally. Saccharina wasn’t the turn off, to be clear. She was a fine character and Emily deserved none of the hate.

unsleeping city. I know some of y’all really love it but idk it just isn’t that great. Sophie is an incredible character. Ricky Matsui my beloved. Very ok season.

also I didn’t finish acofaf but I got a couple episodes and and it was incredible. The secrets! The lords of the wing! K. P. Hob! I based on of my pcs on Hob, that’s how good he was(flint if my irl friends see this). Rue! Andhera and the duel between him and hob was so good. “Me, the slippiest boy?” Followed by just being yoinked. I would put this in the top three if I finished it, which I don’t intend to. I do consider it worthy of a top three spot, but i haven’t finished it so I’m just putting it down here as a footnote.

[ltwharfy]

"Bob's Burgers" Season 2 Episode Ranking Rewatch (Long Post)

So, I've been rewatching "Bob's Burgers" from the beginning and ranking the episodes using the spreadsheet that @babsvibes created! If you want to know why I'm doing this or how I view the 1-5 rating scale, you can check out my Season 1 post!

Now, on to Season 2:

Average (mean): 4.22

Mode (most common ranking) : 5

I hid the director and writer name categories when I took the picture to make it easier to focus on episode ratings. I will share my director and writer rankings when I reach the end of this project.

Season as a whole thoughts:

I really enjoy Season 2! I know everyone's got their own take on when "Bob's Burgers" really hit its stride, and many folks say Season 3 or later, but I'm going to say that for me, it had already hit that stride in Season 2. It was consistently funny, and I was surprised by how many lines from it were just burned in my memory- some without me even recognizing the source. (For example, before starting this project, the line: "You know what's free? Loading. Freeloading!" popped in my head. I did not know where it was from- not even what show. It's Louise in "Burgerboss".) "Mommy doesn't get drunk, she just has fun." "Don't feed a guy a sponge, Bobby." I could go on...

Seeing all the familiar faces who started showing up also really made it begin to feel like classic "Bob's Burgers" to me: we've got Zeke! Darryl! Sgt. Bosco! Mickey! Tammy! Honestly, I always think there is something fun in watching all the pieces of something begin to fall into place to create something wonderful, and Season 2 gave me a lot of that feeling.

In my season 1 review, I noted that if "Bob's Burgers" had been cancelled after that season, I would've been annoyed because I thought it showed promise but I wouldn't've viewed it as a tragedy (Season 1 of "Bob's Burgers" is no "Firefly"). But, Season 2 was really the beginning of the time period when I would've been outraged had it been cancelled. (Thankfully, it avoided being a two season wonder like "Joan of Arcadia" or "Saved by the Bell (2020 Revival)")

That said, the show was still figuring out some of the characters (especially Bob) and the overall family dynamic and show tone, which lead to the few episodes I didn't enjoy that much, including the only 2 I've issued so far.

Some thoughts on particular episodes:

"The Belchies": I remember watching this episode when it first aired and feeling like the show had clearly leveled up- it felt like it was beginning to realize the potential I saw in the first season. For some reason, I specifically remember watching the end credits- with Cyndi Lauper singing "Taffy Butt" and JJ dancing- and knowing that the show was capable of being more than it had been in season 1. Also, this episode is really the first example of one of my favorite "Bob's Burgers" episode types which is "the Belcher kids and their friends have an adventure!" And one of the great things about Season 2 is that the kids gain a number of friends- Hi Zeke!

"Bob Day Afternoon"- After this rewatch thing is over, I may try to do a top 20 or 25 list and this episode may be on that. I love it! In particular, the scene where the kids cling on to Bob as he is trying to take the burgers to Mickey and the hostages is one of the best of the series in terms of improv and the humor of talking over each other. And if I ever don't laugh at the part of Gene's Robot College fantasy where he walks in on his robo-roommate performing "routine maintenance" it's a sign that I am dead.

"Burgerboss"- This was a really pleasant surprise! While I knew those first two were two of my favorites, I just thought this one was kind of good- but on actually rewatching it, I found myself laughing the whole way through, so it gets a 5.

"Dr. Yap"- I generally enjoy Yap the character, as well as Gayle, but the two things I really love about this episode are the Gene and Louise jawbreaker subplot (it's fun watching those two get into a ridiculous competition over something stupid) and the Prince of Persuasia. The Prince is such a great parody of that horrible "pickup artist" style, and I find literally all his lines hilarious ("Never make her pancakes. Force her to make you pancakes- in the middle of the night.")

"Bad Tina"- Another episode that might make a top 25 list. Both storylines- the introduction of Tammy and Bob's obsession with "Cake"- are A+. They had already established a number of Tina's core traits throughout the first two seasons, but now with the addition of friend fiction and Tammy, her best of frenemies, it feels like they've fully got Tina down and we get the first great Tina episode (and Tina episodes tend to my favorites, even if Louise is my favorite character).

Okay, now the episodes I didn't like that much:

"Moody Foodie"- Why did I give this my first (and so far only) 2? Honestly, I thought it was overdone and dry.

Sorry, I couldn't help myself. I actually enjoy the first half of the episode. Bob's nightmare about working in an office is hilarious to me as an actual office drone. The scene where he and Louise just start yelling "overdone and dry" at passersby is great. And the farmer's market scene at the beginning has some great family banter.

And then it goes completely off the rails in the second half. The second half of the episode is "Bob Belcher and his friends and family hold a couple of dudes prisoner" which sounds more like a WTF fanfic summary than an actual episode of the show. And it's likely that this episode bothers me more now than it did when it first aired. I think they were still figuring Bob's character out and if they had ended up making him more Homer Simpson-like (prone to anger and hare-brained schemes) maybe this episode wouldn't stick out so much. Similarly, I think that all animated shows struggle a bit with figuring out how grounded in reality they are going to be. if BB had evolved into a less grounded show, this episode also might not stick out.

But it does stick out, for me at least. I just found the second half of this episode more weird and disturbing than funny (although it still had some good lines- I enjoyed Tina translating "Wet Willie" into Spanish for Pepe). If the hostage taking was a shorter part of the episode, maybe I would give it a mixed-review 3, but it is basically the main plot, and I'd rather not rewatch it.

"Beefsquatch": I don't love the physical confrontation between Bob and Gene at the end, but what stops this episode from being a 2 is that really the worst part of it (in my opinion) is actually a pretty small part of the episode. And both of them realize they were acting nuts, and their motivations seem kind-of in character to me (Bob wanted the cooking segment to be a chance to promote the restaurant, Gene wanted his performance as Beefsquatch to be the center of attention). And I just enjoy some other bits in this. "More Scotch!". Louise first enjoying than getting burnt out by her involvement in Gene and Bob's prank war. And Gene's flashback to accidentally gluing his wiener to his remote control helicopter- followed by Louise's "accidentally on purpose!" and them high-fiving. (The high-five cracks me up so much! It's such a silly thing to high-five over!)

Random thoughts (stuff that doesn't affect the ratings):

-It was fun to see the introduction of the exterminator van being different each episode after seeing "Rat's All Folks!" for all of season 1.

-Peter Pescadero is back- and he has his correct face after that weirdness in "Spaghetti Western and Meatballs"! Has anybody written a fic about why his face changed? Like "Face/Off" but with Peter Pescadero (just one idea)?

-Generally, I try not to nitpick about continuity on the show that much. I think they do a really good job, especially by standards of animated comedies (but honestly, really all comedies). But it does bug me that there is a whole episode in a later season about how Louise can only poop in her home toilet when in "Synchronized Swimming" she poops in public pool. She named it Jezebel for crying out loud! It's Bob and Linda's grand-doody! JEZEBEL CANNOT BE FORGOTTEN!

Well, clearly I've been writing for too long and have gone crazy. See you when I'm done with Season 3, whoever may be reading these!

[misscrawfords]

Hi, I am going to start watching k dramas, so could you recommend some good ones? Which ones do you like best?

Ooh an excellent life choice, if I may say so!

Honestly, what I'd recommend would depend on what you enjoy. My personal tastes are for:

romcoms very low angst

romances with deeper characters, a bit more realistic

thriller/spy stories, usually light-hearted, romantic subplot

fantasy, romantic subplot

For gateway kdramas, I'd recommend:

What's Wrong With Secretary Kim (romcom, a classic)

Hometown Cha Cha Cha (romcom, a few angsty moments)

Crash Landing on You (romcom... ish... angsty!)

Strong Woman Do Bong Soon (romcom with adorable female superhero and serial killer subplot)

If you like predominantly romances, I'd recommend in addition:

Her Private Life (Park Min Young (also in Secretary Kim) is basically a romcom goddess - HPL is v similar to Secretary Kim)

Because This Is My First Life (surprisingly relatable and thoughtful take on contract marriage trope)

Romance is a Bonus Book (less well known as some but just so charming if you like books and bookish people)

Rookie Historian Goo Hae Ryung (not usually a fan of historical kdramas and this is light on the romcom and heavy on the palace drama but it's genuinely interesting)

Our Beloved Summer (second chances romance, slow burn)

Weightlifting Fairy Kim Bok Joo (cute university sports romcom

Business Proposal (only watch when you are well-versed in romcoms - it's hilarious because it makes fun of all the tropes)

No Gain, No Love (still airing but doing something similar to Business Proposal but a bit more subtlely)

Dali and the Cocky Prince (had some flaws and some painful moments for the FL but overall excellent)

Love Next Door (still airing and I had to stop watching because it suddenly got serious and I need to know it ends happily before I force myself through the difficult episodes but really excellent up to that point - so I'm hopeful)

If you like your romcom with a twist:

Healer (another PMY drama, lots of rom but also main plot is a thriller - really excellent)

Marry My Husband (look, I just love PMY... time travel and revenge plot and swoon-worthy rom with plenty of com)

Vincenzo (the Ultimate kdrama for me - I adore it; mafia, revenge, hilarity, romcom- got everything)

My Roommate is a Gumiho (kind of forgettable tbh but I really enjoyed it a lot at the time - fantasy romcom)

Crash Course in Romance (romcom between middle aged people, crash course in the messed up Korean education system and a serial killer - IDK what is going on with this drama but overall it worked?)

Terius Behind Me/My Beloved Terius (a rather obscure one but A+ if you like spy comedy shenanigans with subtle romance)

The King: Eternal Monarch (mixed reception for this fantasy parallel universes romance but I had a Good Time)

And finally, standing all out on its own:

Alchemy of Souls Parts One and Two: just brilliant. Pure epic fantasy. I want 10 seasons in this universe and the novelisations. Should be bigger than Harry Potter.

Something to bear in mind is that most kdramas are 16 episodes and around episode 11... bad things tend to happen! Sudden illness/death/betrayal/breakup/white truck of doom... And while some of them deal with this well, others... don't. Usually it's worth getting over the hump episodes but I have to admit I have a lot of unfinished kdramas. I do keep meaning to finish them... but then another one comes along and I start that instead!

I also recommend getting onto MyDramaList to get recommendations and read reviews and find new dramas to watch as well as keep track of your watching. My list is here.

Enjoy! :D

[celticbotanart]

You guys really liked the "Ecclectic Halloween" post I did a while ago, so I want to go for another round!!

For those who didn't see the previous post - music is my biggest hyperfixation, and I love making thematic playlists and play with them by adding little rules and such. My "Ecclectic Halloween" playlist currently has over 150 tracks, and all of them are there according to the following little rules I've stablished:

The song MUST include anything supernatural, spooky, bizarre, "murder/serial killer", classic creature and so on - if it's instrumental, which is the case of many tracks in this list, it has to have all of these but in VibesTM

The song can be of ANY genre; is it metal? Prog? Disco? Electronic? Soundtrack? COOL, ALL ARE WELCOME!

I'm still including less widely known / "cliche Halloween songs", and this time I decided to feature songs that are soundtracks (from movies, games, animes, books even!); most of them are instrumental, or feature a heavy use of choir, and/or vocals that are prevalent but doesn't really mean anything (bear with me, you'll see what I mean, lol)

LET'S GET STARTED, part deux!!

1- Only Murders In The Building - Creatures of the Night

Starting off with this banger from the latest season of "Only Murders in the Building"! The original context is that Oliver Putnam, one of the main characters who's a theater producer/director, decides to put on a musical play as one of the main subplots of this season; the show actually presented a couple of full, real songs, and they are all REALLY Broadway-like, campy, and epic (fucking Meryl Streep sings two of them???? It's REALLY good!). The musical's plot is that this woman was murdered in a mysterious lighthouse, and a private Investigator and a Constable comes in to investigate it. The main suspects are the Nanny and... the baby triplets of the deceased woman??? Lol This song is SUPER fun, weird and extra, with that little touch of mystery - it's the "opening act" of the show, and it's the Investigator arriving at the lighthouse, singing with the whole ensemble cast, it's SO cool! I'm including here the actual scene where they perform it, so you can see it! (Spoilers for the last episode of s3, I guess?)

In this eerie old lighthousе thrashed by the tide Live triplets whose mother suspiciously died And suspects uncanny, a constable, a nanny Do they all have secrets to hide?

2- Genshin Impact - Die Mittsommernacht-Fantasie

This one is VERY "mischievous trick or treat" vibes! Very, very fun and colorful, with that little touch of mystery, too! This was definitely one of the best battle themes in Genshin Impact, and it was featured exclusively in a time-limited event last year?? Such a tragedy this good of a song was used only then!

The domain this song appears is themed after the character Amy "Fischl", who roleplays all the time as "Fischl, the Prinzessin der Verteilung"; the domain itself was a huge castle, with big fairytale vibes going on. Fischl is a very dramatic, mischievous character, and this theme really reflects that, in the most fun way! The song has INTENSE baroque influences with the harpsichord as main instrument, and even features a classic/ spanish guitar!

3- Cuphead, The Delicious Last Course - The Finishing Touch

To those unfamiliar, Cuphead is a game that mimics the entire aesthetics, artstyle and music from 1920's cartoons. It's honestly one of the best ideas I've seen, and this one is a song from the DLC released a while ago. It's very spooky, and of course in that 20s cartoon sort of way.

I personally love the super eerie atmosphere, the flute, piano and the strings combo creating all the tension!

4- Young Sherlock Holmes - The Ceremony / Waxing of Elizabeth ("Rametep Theme")

These are technically two songs, but some good soul mashed them together into one cohesive piece, because they both really, REALLY slap hard with the dramatic chorus and Carmina Burana-esque energy! This was featured in the movie "Young Sherlock Holmes", in a scene where a crazy-ass cult is having their gathering, and preparing to mummify this girl.

I have to say the soundtrack is actually better than the scene itself, lol. It has a really impressive crescendo and use of orchestral metals, I have goosebumps every time I listen to it, hnnng <3

5- Ori and the Will of the Wisps - Mora, the Spider

Easily one of the most intense boss fights I've ever played - and the theme really reflects that fear and tension. Mora is a giant spider hidden in the deep, buried shadows of the forest that you, as Ori (a light/forest spirit) has to defeat. It really is a "dark vs light" sort of fight, and the this theme really goes fucking hard. It also has strong horror music elements used in movies of the genre - like the violin pizzicato at the beginning, and its use throughout the piece, giving that "classic horror" feeling to it.

Note how when the choir kicks in around the minute 2:15 - they are chanting "MO-RA! MO-RA!" in such a terrifying way! And then, around 4:50, it really shows how Ori's determination and hope prevails, when their leitmotif starts playing!

6- Yuki Kajiura - Ship of Fools

If you follow me for a while, you know already that Yuki is literally one of my all-time favorite composers ever, so OF COURSE I had to include her here!! She is an OST composer for animes and games, and this was the first song of her I've ever heard - it plays on the very first scene of the "Tsubasa Reservoir Chronicles" anime. Yuki is well-known for her dreamy, haunting style and this piece is a huge example of it!

She mixes in electronic, rock/metal, classic and folk genres, and layered vocals (mostly done by singers hired for her projects). This one is also an example of her using the "kajiurago", or "kajiura language" - it doesn't mean anything, it's just vocalizing that sounds like words. They are one of her trademarks, and one of her elements that really gives the etheral, haunting atmosphere in her works!

This song really goes hard into the "mysterious, dangerous witch" territory, and I fucking love it! <3

7- Yuki Kajiura - The Main Theme of Petit Cossette

Another one from my favorite girl - this one is soundtrack to a very obscure anime called "Le Portrait de Petit Cossette" - it's essentially the story of a girl's ghost (Cossette) trapped in an artifact (I think it's a goblet?? It's been over 15 years since I saw it, lol), and this guy who falls in love with her. It's a very weird, dark and atmospheric animation.

This one track here really translates that energy, and I honestly HIGHLY recommend the rest of this OST - it's VERY VERY GOOD, and mostly all tracks have that dark, eerie, gothic vibe too.

Here we can see once more the use of "kajiurago", and another trait of Yuki's work that I fucking love - the intricate solos!! In this case, a violin solo, which is also very prevalent in most of her work.

8- Mary Fahl - Exiles (The Wolves of Midwinter)

Another Anne Rice-inspired! "Exiles" was composed by Mary Fahl as an actual official song for the audiobook version of "The Wolves of Midwinter". I don't know about the book's plot because I haven't read it, but this song is SO atmospheric, and it's very werewolf-y. I personally LOVE Mary's deep voice, and how I can almost see the wolves running in the wintery forest.

When the hunger comes and I lose control Hold me in the darkness, bless my tarnished soul I will run beside you, we'll leave the past behind We'll hide inside the ages beneath the sands of time

9- Karliene - Become the Beast

Technically, the only one of the playlist that isn't a soundtrack - not offcially, anyway, hehe. This is a song that Karliene wrote inspired by Hannibal, the tv show; I haven't seen Hannibal, but I'm OBSESSED about this one, because yeah, it can be about Hannibal, but I like how she's a bit vague about it, so it can also be about werewolves, or any other dark supernatural creature, like vampires.

Her voice is incredible, and I love how "minimalistic" this song is, featuring pretty much only a violin, piano and cello as insstruments. The pizzicato sound comes in again to give that unsettling, classic horror vibe, at the same time her layered vocals + the piano and cello really softens the whole thing, which in my opinion, makes the song so eerie and menacing - even more with the lyrics!

So look in the mirror and tell me, who do you see? Is it still you? Or is it me? Become the beast, we don't have to hide Do I terrify you or do you feel alive? Do you feel the hunger? Does it howl inside? Does it terrify you? Or do you feel alive?

10- Wolfwalkers - Howls the Wolf (Moll's Song - Wolf Run Free)

And closing the "werewolf trilogy" here at the end of the playlist with another favorite of mine - and ending with wholesome vibes! This is a song that plays in the credits of the animated movie "Wolfwalkers" - IF YOU HAVEN'T SEEN THAT MOVIE YET, AND YOU LOVE ANIMATION, YOU MUST. LIKE FOR REAL. ITS SO GOOD. And the entire soundtrack, written by Kíla and Bruno Coulais, fucking slaps - it's mostly all traditional folk Irish music and instruments, and so full of life!

Wolfwalkers here are people who turn into wolves when they fall asleep - their sleeping body remains behind, as their soul takes a tangible form of a wolf. It's pretty rad!!

And this song, it's Moll, the wolfwalker mother, probably singing this "lullaby" to her daughter, the wolfwalker Mébh (and one of the main protagonists, the red haired little girl in the art above!).

Maria Doyle Kennedy is the one voicing Moll and singing this song, she has such a pretty, soothing voice! I love this song so much, and with the context of the movie, it makes me teary-eyed almost every time I listen to it kjdfhkjdf, ahhhh <3

The wolf will leap from child asleep The wolf will run 'til rising sun The wolf will guide you in your dreams Run free! Wolf, wolf, howls the wolf Wolf, wolf, run free!

Hope you also like this second part!! And it's really cool to see your suggestions in the tags, too <3

[janetkwallace]

Every media has its ups and downs.

Every season has that episode with dubious quality, every movie has that one scene that makes you go "but that makes no sense", every comic book has that one confusing mess of a retcon... Nothing is perfect, that should be clear. A friend of mine once said that Final Fantasy IX, the game I'll be commenting on today, also one of my favorite games ever, is the "perfect imperfection", and that somehow sticks to me. I'll always think of that quote whenever I think about this game because... It fits so damn well with the way I feel about IX as a whole. 

I was 12, 13, I can't remember very well, but I was young and studying at middle school when I first got to play this game. IX had an impact on me, that I can't deny. I was hooked in by the first moment, from that ominous "dream" Princess Garnet has in the opening to being introduced to each characters (you even get to play as some of them, that's a novelty), the kidnap the princess plot that follows to exiting Alexandria, I wanted to see where Zidane and the party would go next.

Seeing more and more characters being introduced, the plot thickening, the story showing a darker side in contrast to the first hours of comfort that were given during the short stay at Alexandria, it was fascinating, like opening the pages of a book and, on each page, something happens and you wonder what will happen next, only to discover that things do happen, but not in the way you often expect them to. And boy, does this game have lots and lots of dark moments you were not expecting, they come all of sudden, like the scene where you witness Black Mages falling from a cargo ship like liveless dolls or the Burmecian genocide that occurs at the end of the first Disc or a woman who got blind during the battle of Lindblum.

See, this is why IX is a favorite of mine, it's not afraid of doing these things and more. It takes risks by going from a lighthearted mood to utterly soul-crushing moments. Sure, there's darkness, but not without hope, or a silly element in between. It's not a bad game by any means, it still holds up despite being made two decades ago, it's got a great cast of characters, an interesting world, a magical feel right at the start, yet there are things that can be said that are not done well or that are a source of complaint.

There's the battle system that some find to be slow, the lack of difficulty that makes the game a cakewalk for some, the age of the graphics, the unfinishedness felt during the last segments of the game... It's not a perfect game by any means, and to be honest, criticism can't be avoided, even for the things we appreciate and care about. Today, I'm here to comment on that one scene that stood out for me as an example of what makes Final Fantasy IX the "perfect imperfection", that one scene that is one of my least favorite moments in the game. Not a character, or a location, or a musical track, but an event in the main story that, in a way or the other, changed me forever.

Said event happens during the Alexandria Castle segment on Disc 2. For a bit of context: There's war going on Burmecia, and Alexandria is involved. Garnet goes to Alexandria to confront her mother head on about the massacre unfolding, Brahne replies something like "oh but the Burmecians were planning to attack us first and I had no choice but to attack them before they did", you're given a choice to believe or not believe her (which really doesn't do much of a difference), then Kuja comes in and casts a spell on Garnet to make her fall asleep. Soon after, Zorn and Thorn extract her eidolons, which Brahne uses to conquer the nations through Disc 2, a prime example being Odin's summoning that lead to Cleyra's destruction, but not before Beatrix manages to steal the desert star gem as part of a subplot about a super duper eidolon stronger than everything else that Brahne never got hold of because she died in a conflict at the end of Disc 2.

And that's the backstory, my folks. Anyway... The party arrives at Alexandria Castle through a teleportation device (which's oddly never brought up again, go figure), you're given a time limit to rescue Garnet before she dies and this is where it feels like all of the current characters and their plot lines converge at a single point. It's where the game says "we've got to give a conclusion to these character's current arcs as we move on to the next big thing", and it doesn't do that very well. To begin with, Steiner, Freya and Beatrix, as well as the Tantalus folks, are no longer seen until the beginning of Disc 3, so you think "well, they're side characters, and the game wants some room to breathe and it can't do that when there are so many plot lines going on at the same time, so the solution is to give a conclusion to them right here and then it'll focus on them later again".

But that doesn't happen.

As a matter of fact, it's an anticlimactic cliffhanger we got here, a sort of "To be continued" scenario that never gets to be continued the way it should've been. Think about it... Steiner, who once had a black and white view of the world at large, now questions whether Alexandria was always right. At first, he showed disapproval to Zidane's behavior and methods, but now he came to respect him, a thief who's far more honest than the Queen corrupted by greed. Freya saw Burmecia in ruins and thought she had a chance to save Cleyra, but she did not, she failed with both but is still fighting for what she believes in rather than give up so easily. Beatrix, who's been an unbeatable warrior fighting for Alexandria, now joins forces with the party and stands against Brahne, who she used to be loyal to. The Tantalus members are there to help the three knights out during Garnet's escape, and suddenly, you find yourself outside of Alexandria, and those who stood behind are not heard or seen until Disc 3.

During my first gameplay, I wondered if I’d see those characters again, be it in a cutscene or a side quest, but no, we don’t see them again. Zidane briefly mentions them and that’s it. Disc 3 is yet to happen while you move to another continent to find out about Kuja. The rest of the game, after this point, feels like it’s about searching for Kuja’s whereabouts, to the detriment of the subplots. Do we see more of Steiner’s new attitude? We do, but only a few times. Do we know how Freya feels after the tragedy of losing her people? Only in a few scenes, but with no further detail. Do we see Beatrix doing something to show her change of heart means something? Well… No. I mean, if you count her supporting the party on the Iifa Tree battle that occurs on Disc 4, then yes, but when it comes to apologizing to the people who were injured in the conflict, she never does that. She asks for the citizens of Burmecia to forgive her at one point, but not in the face of the survivors themselves.

I'll admit that, back then, I felt betrayed. It left me sour, with a bad aftertaste in the mouth. It felt wrong, retrograde, unnatural, all kinds of things. This is the moment where the game doesn't take risks, it takes the easy way out by sidelining those characters. It felt like reading a book and flipping the page only to realize they were torn off at the last minute or that they never came to be. Those characters, their personalities, their storylines, it felt like they were taken away. They’re still there, but it’s not like they’re that important, which feels wrong. The game outright says those characters do matter, that you should care for them, but then Freya doesn’t have anything else to comment on about Burmecia or Cleyra? How does that affect her or how she stands up despite having every reason to give up, a thing she never does? Or what about Beatrix being complacent of Alexandria’s atrocities, why is not that brought up again? Not even by Steiner, who has changed a lot since his first appearance. 

I'm older now, but to this day, I'm still figuring out why, of all Final Fantasy games, or any games in general, why IX had to be the one that made me join a fandom. Why I draw fanarts, why I write fanfiction, why I'm writing this right now about IX. I wonder who I would be if I never played this game, would I still be myself? After all of these years, I’m still disappointed by how things are, and although spite is a fuel for creativity, it can’t be the sole reason you do the things you do whenever something in canon doesn’t feel right for you. Like, I came to appreciate side characters and the potential they hold for storytelling after I played Final Fantasy IX, and I saw it happen in other media as well, characters whose stories are fascinating yet little is explored about them.

What do you do in this case? Do you wait for a possible person who happens to share the same thoughts as you do to write everything down about the characters you like? I certainly don’t, because if there’s only one person who can flesh out characters, as well as settings that are characters by themselves, the way you want... It can be only you and nobody else. 

[mr-geargrinder]

Star Trek Rewatch Thoughts

Finished my rewatch of DS9, Voyager, and TNG. I've lost count of how many times I've rewatched TNG and DS9, but this was only my second time going through Voyager, because it just didn't click with me the first time through. Anyways, here's some thoughts.

TNG is fascinating to me because you can see them assembling the show as they go. They change plans pretty drastically, remove and bring back characters, and try to salvage others with a few last minute episodes. That left a permanent mark on the way I think about storytelling.

TNG is a pretty goofy show, but it takes itself seriously and there's a lot to be said about how dedication to the bit and some really charming actors doing their best can totally overshadow cheap sets and silly technobabble... and even when it doesn't, those goofy moments are still very charming too.

I only skipped a handful of episodes and most of them were Troi or Wesley episodes, for obvious reasons. Troi got a lot of bad episodes and Wesley is... Wesley. Someone who kind of embodied all the worst parts of Gene Roddenberry's silly utopian wish fulfillment fantasies. One of the things that I never noticed before was how the last season was filled with so many bad episodes, followed by one of the best series finales ever made.

Voyager was less bad than I remember. I found myself liking certain characters a lot more and hating others much more intensely. Janeway, Tuvok, and Neelix really clicked with me this time. I recall Neelix being hated for being the silly comic relief character, but he's got some depth! He's a sincerely, genuinely good person who is trying his hardest for the people around him and that really resonated with me this time around. Especially his interactions with Tuvok (minus the Tuvix episode).

Tom Paris ended up being the guy I liked the least because his three traits are "pilot", being a general shithead, and reminding Harry about every single time he messed up romantically in a list, over and over, and none of that really helped them sell him as a roguish hotshot with a heart of gold, or whatever. He's just a shithead.

Skipping episodes helped me to enjoy Voyage a lot more. Almost anything to do with Chakotay was skipped immediately. His bullshit tribal mysticism, literally made up by a con-artist who convinced Hollywood he was a Native American and an expert cultural consultant, did not endear him to me in any way. Robert Beltran did his best to portray the character with dignity and wisdom, but Chakotay just suuuuucks. The inclusion of the Maquis subplot was also a pretty big waste of effort, but the fact that it gets ignored for most of the series makes it easy for me to ignore.

Anything to do with the Kazon got skipped too. They're just lamer, dumber, more irrational Klingons and they have nothing of value to add to any story they're featured in. That also meant skipping a lot of the Seska plot, which was Chakotay heavy anyways, and I don't regret that. Seska was not compelling at all.

Likewise, the Vidiians got skipped without hesitation. Not only do I hate the body horror aspect, but they were an attempt to create a sympathetic monster faction in Trek, but they're just.... irredeemably bad. There's no reason for anyone to allow the Vidiians to keep living. Not because of their disease, but because they are organ stealing monsters who hack random people to bits to extend their lifespans a tiny bit, so they can keep stealing more organs. No thank you. Fuck off. Go away. There's a reason no one talks about you.

DS9 remains my favorite Star Trek. It's got some rough episodes, and it struggles at time between being a planet/anomaly/random-space-threat of the week and a smaller scale, single-location focused kind of story, but the entire cast does a fantastic job of switching between the two without skipping a beat.

I don't think there's a single character on DS9 that I can say I dislike and the few I could complain about are mostly ones who were there for a single episode or just didn't have the benefit of a few more seasons to develop them as much as we got with characters like Jake and Nog. Speaking of which, Jake and Nog are such a perfect example of how you can have kid characters in a trek show and have them work and develop naturally and feel like a natural part of the story.

One of the things that struck me that never occurred to me before is that DS9 is a show that is very, very much about the concept of "home" and all the complex ways the character interpret and grapple with that concept. Quark and Garak have a fantastic scene towards the end of the series where they both commiserate about how their home planets are changing rapidly and how they'll never be able to return to the planets they once knew. It's kinda there in nearly every character and plot and it's really fascinating.

I think the only episodes I skipped were a few of the "It's time to make O'Brien suffer!" episodes, and that one specific episode where they meet that insane lady who forces her anti-technology beliefs on everyone by lying to them and abusing them, and the moral of the story is "actual this is good and she's right!" -- Fuck that episode. I'd rather watch the board game episode.

The last stretch of the Dominion War is a little uneven, but it's still a strong arc overall. Could've maybe done without the Pah-Wraith stuff, and the Ezri and Bashir subplot is a little weak, but those are nitpicks.

Anyways, go watch Star Trek.

[ahb-writes]

Book Review: 'Ascendance of a Bookworm' #17 (4.5)

Ascendance of a Bookworm, Vol. 17 (Part 4, Volume 5) by Miya Kazuki

adventure

fantasy

magic

library science

librarian

royal academy

My rating: 3 of 5 stars

An intriguing pattern has emerged in terms of Lady Rozemyne's tendency to demand change, as well as of the authority of those who recognize the significance of the change she demands. Notably, the individuals who attune themselves to Rozemyne's wild ideas, and rightfully discern her curiosity as worth revering, are usually two or three degrees removed from positions of high authority. Meanwhile, most people who scoff, disregard, or glance askew whenever the young woman's ideas come to the fore are usually those with the power to make change happen.

ASCENDANCE OF A BOOKWORM v17 completes the remainder of seasons in-between Rozemyne's first and second years at the Royal Academy. She visits the northern region of Groschel, to further establish the paper-making industry, and she tends to myriad events at the castle, including the welcoming of two ladies of Ahrensbach, whom have now married into the family. But Rozemyne's standards for industry growth are high, and her tendency to forget her directives and chat up suspected enemies on tangential topics gives everyone an ulcer. In short, the usual.

The current volume is another collection of awkward and interwoven castle affairs. Naturally, many such events threaten to spiral out of control but never do, which speaks well of the author's sprawling network of subplots, but doesn't do much for readers interested in some decent drama.

For example, when Rozemyne goes to Groschel, she leans on her attendant, Brunhilde, who is native to the area. But their visit is replete with problems: the lower city is deeply impoverished, the nobility is stiff and uncompromising, and the local water supply is polluted. Will the paper-making industry forsake setting down roots in an area with so little social progress? Brunhilde doesn't see much of a problem with simply ordering the commoners to do the tasks and then blaming them when things go wrong. But Rozemyne, careful not to offend but conscientious of the need to be truthful, sets the young woman straight: The people are responsible for the work, true, but the nobility is responsible for the people and their environment; it's all connected.

ASCENDANCE OF A BOOKWORM v17 reinforces the novel series' most essential emerging theme: egalitarianism. Quintessentially Japanese though not without other cultural precedence, the equal delegation of opportunity, the equal expectation of good work, and the shared consequences of failure are fundamental convictions of this novel series.

Counter-navigating an ambush during a wedding ceremony? Appeasing the anxiety of a newlywed woman who once felt trapped in her own home? Staying mindful of the watchful gazes of the surrounding duchies once the new school year begins? In each of these scenarios, Rozemyne must rely on her own wits, as well as the untested virtue of individuals who do not always have the station or authority to make a change. When Lady Aurelia of Ahrensbach marries into the family, will she be bitter and ambitions, or will she be uncertain of her position? When Adolphine of the Duchy of Dunkelfelger keys on Rozemyne at the Royal Academy, is it because she's upholding a promise to the now-graduated Lady Eglantine, or is it because she spies value in the tiny blue-haired girl that no one else sees?

The number of scenes that lend one the impression of foreshadowing are high, but the number of scenes with legitimate action or drama are minimal. Readers may have to wait another volume to see if Philine's brief military training comes in handy, or if Ferdinand's warning about the conflict between the old factions' children usurping their parents ever comes to pass, or if Lady Adolphine's role swerves from pleasant nuisance to legitimate knave.

❯ ❯ Light-Novel Reviews || ahb writes on Good Reads

[arbitraryreveries]

My Ranking of the Bridgerton NOVELS

From someone who read all but the last two. I can't read the last two yet. But this is the first six.

The Official Reading Order Is:

The Duke & I

The Viscount Who Loved Me

An Offer from a Gentleman

Romancing Mr. Bridgerton

To Sir Phillip, With Love

When He Was Wicked

But I Read Them:

The Duke & I (after I watched the show)

When He Was Wicked (because everyone said it was sexy)

The Viscount Who Loved Me (after I watched the show)

Romancing Mr. Bridgerton (because everyone likes Polin so much)

To Sir Phillip, With Love (because I was curious)

An Offer from a Gentleman (because I was at last willing to have Benedict ruined for me since everyone said he was a jerk in the books)

Now, here's my list IN ORDER OF ENJOYMENT from LEAST to MOST (discounting all factors such as the amount of sexism and quality of plot and writing, etc., because there are some wild things in these books, BUT for the sake of the ranking, this is just HOW MUCH I LIKED THEM with no other factors involved):

Romancing Mr. Bridgerton

The Duke & I

To Sir Phillip, With Love

The Viscount Who Loved Me

An Offer from a Gentleman

When He Was Wicked

I didn't actively HATE any of these, though there were moments in most of them that I hated.

And here's why they are in that order.

Romancing Mr. Bridgerton - #6

I think the thing that destroyed this for me was expectations. Y'all love Polin so much, but I just felt like their relationship wasn't developed AT ALL? Like, the story relies on them being "friends" to lovers, but I never felt the friendship. It felt like Penelope had a silly crush on him, Colin suddenly found her hot after she "grew up" (got skinnier, even?), and they started wanting to bone. Further, it wasn't that sexy, and y'all have been acting like it's SO SEXY. But even things like the mirror scene are just ... a fantasy Colin has but never actually does?? Like, that's so lame? And what they do do is off screen or not very hot, with the exception of the carriage scene which is kind of weird/creepy in the first place. Plus, Colin is a jerk, and Penelope is not much better if only because she refuses to communicate in a helpful manner.

The Duke & I - #5

They really did soften that non-con in the show, didn't they? Like, in the show, I really do think Daphne had NO IDEA what she was doing. She wasn't taught consent. In the book, she feels very much in control, and that's gross. That said, I get that in the era ... like, I know it's wrong, but I get it. Anyways, all this to say, it was kind of vanilla, and not super charming, and Daphne really is "not like other girls." I did like the sibling interactions, though.

To Sir Phillip, With Love - #4

I think because y'all like Eloise in the show, you have villainized this one, but it's actually pretty solid. There are some iffy bits, and like every single hero in this series, Phillip can be ... yeah. Wildly sexist and obviously dealing with issues that are never resolved. BUT that said ... I didn't think it was half-bad? I think it could have been adapted well, but show Eloise is more a jerk who feels like discount Hyacinth (I adore Hyacinth, but she's likable). So I was pleasantly surprised with this one as I expected it to be far, far worse, especially as I don't like show Eloise. But this Eloise is fine, if she does need a little more personality!

The Viscount Who Loved Me - #3

Not actually that good of a book, but I LOVE Simone and Jonathan, so that's why this is up to high. Since I watched it after watching season 2, I JUST. I CAN'T. HELP. MYSELF. Their chemistry has made the book better. Also, the book removes the annoying subplot with Edwina and all the wedding drama and just ... it makes it better. I wish they'd found a way to work it out without the pain that was that one really bad part of season 2 (where they carried on with the wedding with Edwina) while also giving Kate and Anthony the ability to choose each other/not have an arranged marriage. Like, surely there must have been a way!

An Offer from a Gentleman - #2

The only reason this is #2 is because my expectations were on the GROUND. I read this last because I just KNEW I was going to come out DETESTING Benedict, and I didn't want to. He's like my favorite character in the show (other than Kate who is absolute perfection ... oh, and Lady Danbury, though she's a much more minor character ... and Simon, I actually really like show Simon), and like, I wasn't ready to have my baby Benedict destroyed. But again, I dreamt worse than was true! I inserted more sexism and bullying and evil in the book in my head than was true! So because my expectations were so low, I really enjoyed it, and I thought Sophie was the SWEETEST (other than Kate and Francesca, she is my favorite book heroine - they're all tied for 1st place) and ... like, I even liked her so much that I went back to Eloise's book to reread her scenes because I LOVE HER. Benedict wasn't fantastic, but their sex was sexy, and I think Sophie deserves all the world. She is a gem. Protect my baby forever. <3

When He Was Wicked - #1

I LOVE THIS BOOK. Why don't you talk about it more? Francesca and Michael are GREAT. I can't wait to see the Fran/John/Michael trio in the show (I hope!!!). The chemistry, the sex, the tragedy and heartbreak, the angst, the longing for a child ... all of it touched me in a deep place. I also think it was better written than some of the other stories, though beauty may be in the eye of the beholder. Sure, there are some typical-of-the-books weird moments (Michael at times can be really sexist/angry/borderline playing with non-con in an unhealthy way when it comes to his "seducing", but it was less creepy than some of the other ones because Fran is always so into it, and it was clear that her regrets were entirely due to John, not because she felt violated or used by Michael, which is what really would have been disturbing). That said, I felt like I was sighing and suspending my disbelief less with this novel? And really, it almost made me cry several times, sometimes even during the sexy scenes, because I just FELT FOR THEM. Like, truly, I don't know if it's because I'm dealin' with some baby issues or because it hits my sexsy times tastes so well, but like, I was INVESTED. Anyways, I just thought this book was great (for a Bridgerton novel).

I know there are some unpopular opinions here, so I may get beat up, but hey, guys, they're just books! And a TV show! Let's not be mean to each other about tastes, okay? Even though I was snarky here a bit lol so I deserve it. OKAY have at me! BULLY AWAY. I'm sorrrrrryyyy.