#we got fan content for a reason

[wolvertooth]

kinda tied to my previous post -> feels bad sometimes being like ‘ugh this comic artist drew this sooo weird’ as an artist myself, so i should probably. stop that actually.

like i just now had this wake up moment where i was like ‘right. hired artists are still artists.’ like i wouldnt say that shit about fanart, so why say it about comic art? just cuz they got paid for it?

ig a part of me is like ‘well im the one (hypothetically) paying to see my fav characters, shouldnt it look appealing?’ buddy. they cant appeal to everyones unique tastes all at once. just be lucky theres anything at all.

now writers on the other hand…….…..well. i shant say. <- (joke)(partly)

[welcometogrouchland]

[ID in ALT] I've made posts before about Talia/Dick co-parenting Damian moments (will never happen but let me dream) and this came to me in a vision. Took me ages to finish for some reason 😭 and then even longer to post

[angelsdean]

I need people to understand how S&P (standards and practices) works in television and how much influence they have over what gets to stay IN an episode of a show and how the big time network execs are the ones holding the purse strings and making final decisions on a show's content, not the writers / showrunners / creatives involved.

So many creators have shared S&P notes over the years of the wild and nonsensical things networks wanted them to omit / change / forbid. Most famously on tumblr, I've seen it so many times, is the notes from Gravity Falls. But here's a post compiling a bunch of particularly bad ones from various networks too. Do you see the things they're asking to be changed / cut ?

Now imagine, anything you want to get into your show and actually air has to get through S&P and the network execs. A lot of creators have had to resort to underhanded methods. A lot of creators have had to relegate things to subtext and innuendo and scenes that are "open to interpretation" instead of explicit in meaning. Things have had to be coded and symbolized. And they're relying on their audience to be good readers, good at media literacy, to notice and get it. This stuff isn't the ramblings of conspiracy theorists, it's the true practices creatives have had to use to be able to tell diverse stories for ages. The Hays Code is pretty well known, it exists because of censorship. It was a way to symbolize certain things and get past censors.

Queercoding, in particular, has been used for ages in both visual media and literature do signal to queer audiences that yes, this character is one of us, but no, we can't be explicit about it because TPTB won't allow it. It's a wink-wink, nudge-nudge to those in the know. It's the deliberate use of certain queer imagery / clothing / mannerisms / phrases / references to other queer media / subtle glances and lingering touches. Things that offer plausible deniability and can be explained away or go unnoticed by straight audiences to get past those network censors. But that queer viewers WILL (hopefully) pick up on.

Because, unfortunately, still to this day, a lot of antiquated network execs don't think queer narratives are profitable. They don't think they'll appeal to general audiences, because that's what matters, whatever appeals to most of the audience demographic so they can keep watching and keep making the network more money. The networks don't care about telling good stories! Most of them are old white cishet business men, not creatives. They don't care about character arcs and what will make fans happy. They don't care about storytelling. What they care about is profit and they're basing their ideas of what's profitable on what they believe is the predominate target demographic, usually white cis heterosexual audiences.

So, imagine a show that started airing in the early 2000s. Imagine a show where the two main characters are based on two characters from a famous Beat Generation novel, where one of the characters is queer! based on a real like bisexual man! The creator is aware of this, most definitely. And sure, it's 2005, there's no way they were thinking of making that explicit about Dean in the text because it just wouldn't fly back then to have a main character be queer. But! it's made subtext. And there are nods to that queerness placed in the text. Things that are open to interpretation. Things that are drenched in metaphor (looking at you 1x06 Skin "I know I'm a freak" "maybe this thing was born human but was different...hated. Until he learned to become someone else.") Things that are blink-and-you-miss-it and left to plausible deniability (things like seemingly spending an hour in the men's bathroom, or always reacting a little vulnerable and awkward when you're clocked instead of laughing it off and making a homophobic joke abt it)

And then, years later there's a ship! It's popular and at first the writers aren't really seriously thinking about it but they'll throw the fans a bone here and there. Then, some writers do get on the destiel train and start actively writing scenes for them that are suggestive. And only a fraction of what they write actually makes it into the text. So many lines left on the cutting room floor: i love past you. i forgive you i love you. i lost cas and it damn near broke me. spread cas's ashes alone. of course i wanted you to stay. if cas were here. -- etc. Everything cut was not cut by the writers! Why would a writer write something to then sabotage their own story and cut it? No, these are things that didn't make it past the network. Somewhere a note was made maybe "too gay" or "don't feed the shippers" or simply "no destiel."

So, "no destiel." That's pretty clearly the message we got from the CW for years. "No destiel. Destiel will alienate our general audience. Two of our main characters being queer? And in a relationship? No way." So what can the pro-destiel creatives involved do, if the network is saying no? What can the writers do if most of their explicit destiel (or queer dean) lines / moments are getting cut? Relegate things to subtext. Make jokes that straight people can wave off but queer people can read into. Make costuming and set design choices that the hardcore fans who are already looking will notice while the general audience and the out-of-touch network execs won't blink and eye at (I'm looking at you Jerry and your lamps and disappearing second nightstands and your gay flamingo bar!)

And then, when the audience asks, "is destiel real? is this proof of destiel?" what can the creatives do but deny? Yes, it hurts, to be told "No no I don't know what you're talking about. There's no destiel in supernatural" a la "there is no war in Ba Sing Se" but! if the network said "no destiel!" and you and your creative team have been working to keep putting destiel in the subtext of the narrative in a way that will get past censors, you can't just go "Yes, actually, all that subtext and symbolism you're picking up, yea it's because destiel is actually in the narrative."

But, there's a BIG difference between actively putting queer themes and subtext into the narrative and then saying it's not there (but it is! and the audience sees it!) versus NOT putting any queer content into the text but SAYING it is there to entice queer fans to continue watching. The latter, is textbook queerbaiting. The former? Is not. The former is the tactics so many creatives have had to use for years, decades, centuries, to get past censorship and signal to those in the know that yea, characters like you are here, they exist in this story.

Were the spn writers perfect? No, absolutely not. And I don't think every instance of queer content was a secret signal. Some stuff, depending on the writer, might've been a period-typical gay joke. These writers are flawed. But it's no secret that there were pro-destiel writers in the writing room throughout the years, and that efforts were made to make it explicitly canon (the market research!)

So no, the writers weren't ever perfect or a homogeneous entity. But they definitely were fighting an uphill battle constantly for 15 yrs against S&P and network execs with antiquated ideas of what's profitable / appealing.

Spn even called out the networks before, on the show, using a silly example of complaints abt the lighting of the show and how dark the early seasons were. Brightening the later seasons wasn't a creative choice, but a network choice. And if the networks can complain abt and change something as trivial as the lighting of a show, they definitely are having a hand in influencing the content of the show, especially queer content.

Even in s15, (seasons fifteen!!!) Misha has said he worried Castiel's confession would not air. In 2020!!! And Jensen recorded that scene on his personal phone! Why? Sure, for the memories. But also, I do not doubt for a second that part of it was for insurance, should the scene mysteriously disappear completely. We've seen the finale script. We've seen the omitted omitted omitted scenes. We all saw how they hacked the confession scene to bits. The weird cuts and close-ups. That's not the writers doing. That's likely not even the editors (willingly). That's orders from on high. All of the fuckery we saw in s15 reeks of network interference. Writers are not trying to sabotage their own stories, believe me.

Anyways, TLDR: Networks have a lot more power than many think and they get final say in what makes it to air. And for years creative teams have had to find ways to get past network censorship if they want "banned" or "unapproved" "unprofitable" "unwanted" content to make it into the show. That means relying on techniques like symbolism, subtext, and queercoding, and then shutting up about it. Denying its there, saying it's all "open to interpretation" all while they continue to put that open to interpretation content into the show. And that's not queerbaiting, as frustrating as it might be for queer audiences to be told that what they're seeing isn't there, it's still not queerbaiting. Queerbaiting is a marketing technique to draw in queer fans by baiting them with the promise of queer content and then having no queer content in said media. But if you are picking up on queer themes / subtext / symbolism / coding that is in front of your face IN the text, that's not queerbaiting. It's there, covertly, for you, because someone higher up didn't want it to be there explicitly or at all.

[tytoalbatross]

god damn i do not post often but can i talk about intentionality for a second?? one second please

i'm gonna be talking about bg3 but this really applies to any fandom space. people will, surface-level, agree that a Black character is not getting enough content compared to their white counterparts because it's. obvious . take wyll, who is several hours behind on voiced lines compared to other origins despite being one of the original five (before they added karlach and whiteified her too but that's another post). it's hard to deny cold hard facts

but then instead of engaging in content that uplifts Black characters and creators, they'll go right back to pumping out more and more content of just their white faves. on its own, it's not actively harmful, but here's what the implication is, whether they acknowledge it or not: yes wyll has less in-game content, yes his writing didn't get the attention it deserved, therefore i don't like him as much. it only perpetuates wyll's lack of content by contributing to his sidelining in fandom spaces

what i would love for fans who claim to be allies to do is to step out of the comfort zone of their initial favorites (which can, in fact, be biased!) and start pursuing content centering Black characters with intentionality. like all things, anti-racism (actively pushing back against racism rather than simply "Not Being Racist") takes practice and effort. you can't really agree with us that wyll needs more content, then in the same breath say that it's because of that that he's not interesting to you . the point was right in front of you doing a jig and you still missed it

[meepmeep19]

The First Time Tetchou placed Jouno above Justice:

The Airport Scene TM is so significant for SGK cuz it marks the first major instance of Tetchou placing something above justice (Jouno). And while it is a 🤌 of a scene, I actually think this was the SECOND time Tetchou prioritized Jouno instead of justice.

When was the first time? It was during the first couple years after Jouno joined.

As much I absolutely LOVE current Tetchou’s unyielding devotion to Jouno, I honestly don’t think that’s how he’s always felt. In fact, I think that he originally hated him and that these two were actually enemies to lovers. This gradual shift marked the first time Tetchou placed Jouno above justice. Lemme explain.

Jouno was literally everything Tetchou stood against when he first joined. An unfeeling, murderous criminal who was allowed to basically get away with it all scot free. Not even JUST getting away with it, no, this filthy criminal actually got REWARDED with actual Hunting Dog status. In other words Jouno literally escaped justice. Ofc, Tetchou was gonna absolutely hate his guts. He swore he would never see this murderer as a Hunting Dog. In his mind, the only way this injustice would be righted is when Jouno finally paid for his crimes and faced capital punishment.

But then something insane happens; the ex-mafioso actually changes. Tetchou starts to see him casually risking his own life to save innocent civilians. He starts to notice the very faint, slightly flustered (and cute) smile on Jouno’s face whenever said civilians would thank him for rescuing them. In just a year, Jouno’s dedication to the HD manages to rival even that of his own. And that’s when Tetchou realizes he was wrong about Jouno and that somehow, this man has actually started to grow on him. (Don’t get me wrong; Jouno does still have his sadistic side that occasionally riles up Tetchou, but it’s rly more of a minor annoyance rather than anything serious anymore.)

But that’s when reality hits him. Jouno’s recent change in behaviour still does not erase his crimes. At the end of the day, he should still be on death row. Nothing about this situation has changed; in the eyes of justice, Jouno is still a criminal. Tetchou should still hate him. It shouldn’t matter that Jouno feels just so fun to be around despite because of his cattiness or that he has an utterly adorable smile, or that he never hesitates to protect the weak, or that he’s just become so stupidly endearing to Tetchou that it’s honestly overwhelming at times.

And yet… it DOES matter. Somehow the thought of Jouno dying has gone from something jubilating to utterly terrifying for Tetchou. Try as he might, he just can’t see Jouno as a criminal anymore; all he sees is a Hunting Dog; a hero. But again, he knows he can’t like Jouno and still claim to be a follower of justice.

And so, Tetchou decides to make an exception to his justice philosophy. Realizing that he just can’t hate Jouno anymore (and rly, doesn’t ever want to) Tetchou Suehiro, CHOOSES to place his love for his beloved partner above his love for justice, for the first (but definitely not last) time.

[raifuujin]

It's been more than 20 years and for some reason I feel that Gosho hasn't given Kaiao any development, how can more than 20 years pass and Aoko dynamics, relationship and feelings remain the same? At this point I feel like Gosho is just going to make them date because "they already liked each other" they remain in the same status quo

Hey, if we go by DC romance progress, they've been going too fast. We've already had suspicion of identity chapters, and that didn't happen until more than 400 chapters in DC. /j

Since heists have taken over any character development recently, I don't even know if Kaito and Aoko will even get any romantic progress. Maybe the actual identity confrontation will happen down the line, since that's thief drama, but atm, it really wouldn't surprise me if they only ask each other on a real date at the very end of the manga.

Like. I'm sure Gosho would love to make MK a love drama as well, but he writes MK so rarely, and usually as hype for something Kid related in other media. So the MK stories tend to be heavy on drama that can only take place at Kid heists. (To the point that the new chapters just. Use Kid as the plot device to show off a new character. Even Hakuba's never gotten so much 'look at this character being a detective' treatment in MK.)

-sighs- I just feel bad for MK as a series at this point. I like the characters, I like the general story idea, but. It's been going down a very steep hill with Gosho wanting things exciting, but not wanting any real progress in. Anything. But unlike old MK, the new stories aren't even nice standalone setpieces of story, they're... mundane. They could be high stakes, if you purely look at the scenarios on paper, but. We all know nothing's gonna happen to Kid. Nothing even happens to him when the actual bad guys show up, much less one-time antagonists.

We need actual character focus and development, not heist drama. Badly. Not even romance, though that'd be a nice change. Just any character expansion of our limited cast of characters. Gosho wants big, all the time, meaningless big stuff, when small would be so nice.

[polyamoryprincess]

I know people are upset about Izzy being killed (I am too) but the truth is I don’t think it was bad writing or even them diminishing Izzy’s character, I actually think everything about the last episode has to do with production and I think Izzy lovers will feel a little better about it if they see it like that (it helped for me).

Basically, if you look at it like this, I think 2 important things came into play. Budget and how the showrunners assumed this would play out. Which is to say that they probably assume HBO will either renew them for season 3 and cut their budget again or they’re going to be cancelled.

Both are very likely, so assuming they had this in mind, removing Con, who I’d guess is the 3rd highest paycheck after Taika and Rhys was probably their best budgeting move, especially if they’re thinking of having an all out war in the final season that they probably want to be a visual spectacle, so each season feels like it’s getting consistently larger in scope.

On the other hand, if they do get cancelled (which they probably will because the HBO CEO is a weird little conservative goon), they left the ending in a way that could be considered an ENDING while still being prepped for a 3rd season. So in the time they had left (which was 2 episodes less than their first season) they gave Izzy an entire completed character arc.

I 100% understand the sadness and anger, especially after all the shit he went through during the beginning of the season, I felt gut punched when I learned he died and was bitter as hell through my whole first viewing of the season even though I’d had more than a month to process it. But after having thought it through, I genuinely don’t think it’s simply them treating Izzy as just an extension of Ed’s character growth and I sure as shit don’t think it’s because they wanted to conform to Izzy haters.

I think if they had all of the resources and episodes they wanted, had a guaranteed season 3, I think we would have gotten the character growth we got with better pacing and he probably would have at minimum made it to season 3 (I also think he would have had a love interest, but that’s just what I wanted for him tbh).

I think they did the best they could with what they had, allocated a lot of budget and screen time towards his character despite having less of those 2 things than the first season, and at least let Izzy have a completed story and arc, even if the ending was deeply disappointing.

[kyouka-supremacy]

Mmmhh...

[illdothehotvoice]

Words cannot express how little I actually care about Magia Record btw.

[derpinette]

this year i really had a module called "british culture" &i got my best grade on it out of all of them this semester

[skrunksthatwunk]

yesterday i was talking with my friend who reads a lotta kindle unlimited het romance novels (ok girl live your truth) and apparently the sports romance market is like 80% about hockey players and she was like "I wonder why that is" and i, a little too fast and a little too loud, went

oh it's the violence for sure

and then had to pretend that was a conclusion i came to from a place of cold impersonal logic and worldly wisdom and not literally anything having to do with me as a person

[confusedcheeseparrot]

Me who hasn't watched good omens season 2 yet looking at every artist I follow post and/or reblog fanart, fan theories, headcanons and gifs from/for season 2:

Don't know exactly what's going on there but you go guys ( / ´∀`)/.

[toziers]

had a bad dream and now im in a bad mood. hate how that accidental cranial self-sabotage works

[ishipmutualrespect]

-

[youmakethelight]

OBSESSED with this scene between them. 🥺🫶

Also, she is Sooo beautiful.

And side noteee - ezekiel out here calling his full ex-wife and mother of his adopted child and woman who he "will never stop loving" his friend. Bc you don't have to be one or the other - someone tell the spinoff showrunner.

I have to admit, though. It feels special. After all we’ve been through, as close as I came. I got a fresh start. And it was important to me that my friend know just how much I appreciate her. It must feel really really good.

[rottakone]

Alright so cold take, the Minecraft Movie looks fucking horrendous. It looks like a parody or an advert, not an actual movie people would want to make or watch.

Many others have said the same thing, but why the fuck isn't it an animated movie?? There are so many beautiful fucking art pieces made by fans or just look at the official Minecraft concept art!!

The world of Minecraft is so pretty and you could have so much artistic freedom to make a really fucking cool stylistic animated movie!!

But no.. We get white zionist Steve and in general just an irl cast for some reason, and ugly ass CGI.

Why can't it follow the minimal story Minecraft already has? The main character, whether it be Steve or someone else, wakes up with no explanation as to how they got there, and they juat have to survive. Minecraft has all these mysteries baked into the different worlds and structures, it would be so cool to have the movie explore them in some way!

I'm assuming this movie will just be "Hey, I'm white zionist Steve and I'll help you guys get back to your world" and the main content of the movie is gonna be the group of people experiencing Minecraft things, that we've already seen and know everything about, for the first time.

Idk man. I think people should boycott the movie because of the zionist in the main role and I don't think that'll be too difficult. Thanks if you read the whole thing <3