#especially after leading a whole season with those viewing numbers..?

[jack-ackles]

i swear to god i'll riot if i don't see nicola coughlan at every award and red carpet events like met gala, cannes, oscars, emmys, golden globes and every after party... MY GIRL DESERVES THAT!!

[knickynoo]

Hi there! Me again.

I’ve been rewatching Family Ties (thanks again for showing me where!) and noticed something about Alex’s character that i don’t care for/think you have touched upon.

What are your thoughts on his views of women?The advice he gave Jeff on his date with Mallory appalled me. Do you think it’s just a product of the time- how right leaning people were expected/did to treat women? Or is it something deeper? I don’t understand how he thinks this way after seeing how amazing Steven and Elyse are toward each other. (Even if the kids are disgusted every time they kiss lol)

I would love to hear your opinion!

Hello! Nice to hear from you again :)

Yeah, so, a lot of the words that come out of Alex's mouth regarding women are 😬😬😬

I can't recall the exact advice you're referring to, but I do know it's bonkers. Something about how women want a man to make all her decisions or something? Boss her around and take charge? It's honestly not only some of his worst advice, but I also think it's one of the more outrageous things he says in regards to women out of the whole series.

It's especially weird considering he's giving advice on how his sister should be treated by Jeff! And we know that, while Alex isn't always the nicest to Mallory, he loves her very much and wants to protect her. I mean, there's an entire first season episode centered around Alex losing his mind over Mallory going out with a guy who Alex doesn't like or trust. He's so worried about this guy taking advantage of Mallory and not treating her right, then he goes and gives bananas advice to Jeff. So...what's the deal?

Honestly, I don't know, lol. If I had to guess, there are probably several different factors at play that contribute to those moments Alex says Horrible Things.

1. He operates with a set of standards and values from way before his time. The thing is that Alex isn't even a product of his time—a lot of the opinions he holds would be considered outdated in the 80s by the majority of people, regardless of political leaning.

I can't for the life of me remember the episode or the exact quote, so I'm going to butcher it I'm sure, but there's a scene where Alex is lamenting how no one holds the same values he does, and he and Steven have an exchange like this:

Alex: "I should have been born in the 40s."

Steven: "Even then, you'd be a little conservative."

Alex: "The 1740s."

Steven: "....Even then, you'd be a little conservative."

It's something like that. If anyone knows what episode this is from or what the exact line is, lmk because it's one of my favorites.

2. Alex is an extreme black and white thinker. I think this is the number one trait of his that impacts him the most across the board. So many of his problems boil down to him just not seeing nuance. It's not that he's unwilling to. The guy just can't.

It makes Alex very rigid in his thoughts on things, and that absolutely spills over into situations like when he gives advice to Jeff or voices any other wild opinion. He's going to automatically go to the extremes because that's all he can wrap his head around. In a relationship, men should have all the control. They should make the decisions and say specific things and so on. It then leads him to make generalizations about women and their roles.

I think he also finds some security in these thoughts, honestly. Alex clings to facts and things that he feels are concrete and reliable. We also know that he has a very hard time processing and acknowledging his emotions. Putting people into two neat piles is comfortable for him, and anything that doesn't fit into either of those piles is too overwhelming. Alex's world needs rules for it to feel stable to him. Unfortunately, a lot of those rules are...not so great.

3. Shock-value: This is more about Alex the TV show character rather than the "real life" in-universe Alex Keaton, but still. A good deal of his character, especially in the earlier seasons, hinged on him saying or doing things that got a reaction from the audience. You can't have a show about ex-hippy, progressive parents without someone for them to knock heads against. The early episodes in particular seemed to really lean into this, and I feel like he gets toned down slightly as the series goes on? Don't get me wrong, it doesn't go away, but he does grow.

• The "Ladies Man" episode has him realizing that, while he may not support a particular movement, he absolutely respects the rights of the women in the movement. Him jumping up to defend the woman being heckled by a guy, and then his little speech to the women at the end are two of my favorite Alex moments.

• After a very difficult adjustment period when he gets a new job and learns his boss is a woman, Alex ends up really respecting her and becoming friends with her. (Wow, this ep is uncomfortable for the first half, though!)

• Ellen in particular has an impact on helping Alex to see those "in-between" areas, in my opinion. Some heart to hearts with Elyse help as well, and it's clear through the series that Alex loves and respects his mother a great deal.

Idk if this response was coherent, but there you go, haha. Alex is such a complicated character, and whenever I write about him, I feel like I'm trying to untangle a gigantic mess of yarn. But I do love him! Sometimes he is a menace, though!! He should, perhaps, simply keep his mouth shut a lot of the time.

(Also, Steven and Elyse don't discipline him ever, so it's partly their fault if we're being real here)

What? Who said that?

Thanks for the ask!

[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!

[nix-whythisfilm]

15 Fantasy-based shows that I would recommend to anyone interested

As a hardcore fantasy buff, I cannot remember the number of Fantasy shows, movies and books that I have hoarded through the past two decades. The shows range from a variety of genres, but they all have some levels of fantasy fiction in them. Do let me know your thoughts in the comments!

The Witcher (2019)

The show is based on the books and the video games, unclear which inspired the other, written prominently by Andrzej Sapkowski and Lauren Schmidt Hissrich. The first season was directed and played out in a haphazard style that kept the suspense going, inspired by Christopher Nolan's Dunkirk. This high fantasy show is set in a pre-technology era with magic, magical creatures and plenty of violence. The show stars Henry Cavill as Geralt of Rivia for the first two seasons, with news of a changed actor in the coming seasons. The witcher has numerous perspectives that make it a compelling watch, along with the complex issues of that time addressed independently with the heart of the story being steady.

Having watched it belatedly, I found the direction of the first season mind-blowing, the details brought into the screen, and the storyline finally making sense with each episode. The characters are shown various levels of growth and evolution throughout the two seasons and so many little things that we can hook into. Not wanting to spoil much of the show for potential audiences, I would safely say it is a strict adult show but has numerous life instances shown that makes it one hell of a watch. Do look out for the ladies of the show who are all stunning and leave you wanting to see more strong female leads!

The Shadowhunters (2016)

Again, this is another show based on the book series The Mortal Instruments, written by Cassandra Clare. As someone who hoards her books, I was deeply upset about the show. But once I read up on why the show ended up that way, it made sense. The show was juggled around by channels a lot, with each season being directed by different people, but the story as a whole was approved by the author.

So as someone who read the books and then watched this show, I would say that the show can be viewed as an alternate reality of what was in the books. And as someone watching the show with no prior bias or idea about the Shadow world, it is a good watch. The show has vampires, werewolves, demons, mentions of angels, and especially angelic warriors. The main character is pretty stereotypical, but the others absolutely steal the limelight as the story progresses. Though it is not accurate to the books, the characters have been woven very well to not disappoint about the show's end. As a special mention, Harry Shum Jr. was an absolute stud in the show, as was his character in the books.

Stranger Things (2016)

As a running show in 2022, this show had an elaborate fanbase for the various trends in America over those years that have been very neatly captured though it is unrelated to the main story. The story involves a missing boy in the first story, with the following seasons covering for the various repercussions that come after that first season. While the show has no touch of modernity and is very era specific with everything, it is set in a small town facing so many things that it was not meant to. With numerous characters, all teenage and those who act their age, the show's fantasy foundation is based on Dungeons and Dragons.

As someone who watched the show only this year, I deeply regret not having watched it earlier. It had an excellent storyline, genuine characters and sensational direction by the Duffer brothers. This show felt like a throwback after the many shows I have watched, with it being old-school style. With so many characters barely in their teen years, the performance on screen is astonishing and unimaginable bearing in mind the storyline of the show. With Millie Bobby Brown as one of the main characters, this show is a strong recommendation.

Game of Thrones (2011-2019)

This show has been all over the internet since it began and the fandom brought together fans from every possible age. The merch is everywhere, and the drama about the last season was everywhere too. And as someone who mostly watched completed series to avoid the anxiety of waiting for the next episode, this show was a lot. It spanned nearly a decade, and we can see the growth and the decline of some significant characters in the show. The unprecedented fantasy element in this show was the dragons, tree spirits and the main antagonist, the night king.

Is the show as good as the hype? In my opinion, absolutely. The story is so well written with such requisite considerate details for each individual in the story. George RR Martin's story was followed as closely as possible till the second season, however, the following seasons were shot with the novels as a whole rather than one novel per season. I believe that the reason most people were upset by the end of the show was that the story was given an outline by the writer, but written by different directors. While stories have been continued by different people in many instances, the ending felt like it went in an inexplicable direction, considering that the story was built with high expectations of a climax. In all honesty, the show spoke of a lot of things, but something that changed it for me was the amount of nudity. Unexpectedly, it did not seem vulgar after some time, as people like to assume but rather normalized bodies of every kind and did not discriminate against people in general. It even helped my body dysphoria and made me feel human.

Teen Wolf (2011)

The show is old news, I know. It was such gossip for a long time about being a chick show with mainly teen girls watching it for the good-looking guys as some of the main characters. Does this rumour have substance? Yes, it comprises some good-looking actors focussed on the previous era's standards for beauty and trends. But is it baseless and unentertaining? Lord no. It was such a surprise when I watched the show, that issues far more advanced from that time were normalised, and that it was not mentioned anywhere. It speaks of family relationships, friendships, and the importance of trust and diversity. And for once, the characters that were homosexual were not used for queer baiting.

The humour was my favourite bit of the show, and it rarely had any toxic positivity or toxic relationships. The show had genuine characters who were not brought in for the plot and then ripped off; they even had a credible plotline with varieties of antagonists. The characters were not specifically black or white. The fantasy elements were werewolves (obviously), mutated versions of other transforming creatures, banshees, dryads, kitsunes, and so many more. Thankfully it had no vampires because I cannot fathom how they would fit into this show. Honestly, this would be a 10/10 show, with no regrets of watching it after finishing the series.

Chilling Adventures of Sabrina (2018)

Honestly, this is a highly adult-rated show, not just for the explicit scenes and heavy gore, but also for the questionable morality shown throughout the seasons. I don't refrain from much, but this show was dark and pretty explicit in terms of violence both physical and mental. The plotline seems simple and apparent in the first few seasons, but if we pay attention, it speaks of many things. The show deeply spoke of family relationships, attributes of trust and how most societies work. They're not simple, but they can be functional. The fantasy elements are highly based on satanic beliefs with witches, demons, angelic believers, eldrich terrors and more.

The show was different for me but also familiar. It is attached to the Archiverse and has mentions of Riverdale, with this show set in Greendale. The story has its uniqueness of the main character being half-witch and half-human. It was interesting how all the characters were inherently petty and childish but were also mature and deeply self-aware. There are innumerable instances of redemption and many morally grey arguments. P.S. the black cat was my favourite character.

Shadow and Bone (2021)

This series too was based on a book series Grishaverse written by Leigh Bardugo and is very well directed. The show stars Ben Barnes and numerous actors who have done excellent work in the first season. The second season is yet to come out, but the cinematography is beyond imagination. Often, people who read books feel that the show wasn't as good, but then the characters might be up to it, but the CGI is a letdown. But this show has a CGI enough to compete with The Witcher. The characters are varied, with one society being excessively civilized in a pretentious form of government, and the other is chaotic but thriving for hustlers. And when they all come undone, the characters work to find their place.

The book, when I attempted to read was extremely challenging. In truth, it was a little everywhere and made little sense when I tried the first few chapters. While the show is much quicker, the confusion is evident in the series as well in the beginning. The show, in a change of pattern, inspired me to read the book series. It also showed elitist attitudes, racism and discrimination very well. The roots of the show give an aura of being set in Russia. The characters are challenged with their belief system, which I liked because that is something about the youth years that is rarely highlighted in many shows, morality and personal values.

The Vampire Diaries (2009-2017)

Telecast a little over half a decade, this show became news due to the never-ending drama and the wave of memes it brought on that still runs. The show prominently has three prominent characters-Elena Gilbert, Damon and Stefan Salvatore. Yet another show based on books, the series was ten times better than the books. Does it have a lot of drama? Yes, but the story gets more nuanced and actually interesting after the first few episodes. The drama never ends, but it has substance and even gets entertaining after a point. And for the people who like drama, this show is a gold mine. The fantasy elements don't stop with vampires and werewolves but also have witches, hybrids, sirens, and psychics.

It's a lot, and not for the light-hearted, to go through all the seasons and still have the interest to watch through the sequel series. But for people who are into series and long-standing shows, it unquestionably gives you something to hold on to. As someone who read the books, about three series written by the original author L. J. Smith. The books were widely different from the show but had most of the same characters in the show. The book began to irk when there were endless deaths yet they kept coming back to life through ridiculous circumstances. The show, however, made it a little more credible, even though it is highly fiction.

The Originals (2013)

Aired over half a decade this show is a sequel to the Vampire Diaries. It has continuation stories of characters initially antagonists in the previous show, featuring mainly the Mikaelson family. It has pretty much the same fantasy elements but also covers some more nuances into the witch world, exploring nature spirits and more. This show is more into the detailed family drama of this complex family and doesn't require having watched the vampire diaries. While the show is much drama, it also has a lot of violence with the main character being extremely questionable with his morality.

In some ways, I liked this show way more than the Vampire Diaries, considering how it was not based on characters surviving in high school with ridiculous supernatural challenges. While watching the vampire diaries is entertaining, this show had many contradicting core values that stuck. Their values and beliefs on what a family is and the constant struggles they face together. But the evolution of the main characters was the palpable part of the show, which became much more evident and intriguing. A little spoiler, with some of the main characters being centuries-old vampires, the perspectives are always gripping and plausible.

The Legacies (2018)

Another sequel to the series, this series is a direct sequel to the Originals. While the plot is based on teenagers in an unusual school for supernatural folk and people of this decade. The characters are direct descendants of the previous two shows, so fair warning to not watch this before those two if you like no spoilers. This show is quite different compared to those two, with a different pace and drama. But it does have a ridiculous amount of fantasy characters. This show decided to bring in the history of nearly every myth possible and question its reality. While the storyline is questionable with so much going on for the new audience, the base stays constant while connecting to people who watched it after watching the prequels.

While this was a completely different scene from the intense prequel shows, it covered a lot of good current issues in the series that were not given much importance in the previous shows. The importance of mental health is given a huge priority in this show, with various characters facing so many issues and taking it positively that they require professional help. The ending of the enormously lengthy story was a little questionable but as someone with a penchant for fantasy, this show covered a wide spectrum from greek muses to gargoyles. It was wild, but it was given a full circle ending with so many plots that began through all the previous seasons and shows.

The Wheel of Time (2021)

Having just finished watching this show, I am still in awe at how spectacular the show is and cannot wait for the following seasons. Based on the books written nearly three decades ago, the series is mind-blowing having the characters woven so neatly (pun intended). The show is based on magic and involves the fight against darkness. It is a classic storyline, light against the dark, but the interesting facet is that magic users are only allowed to be women. Something magnificent was the way the music albums were made for this series. Sure, many shows make music for the show specifically, but this show has music that feels like music for the soul of the story. The cinematography also has graphics of such detail and beauty whenever magic is shown on screen.

Something I deeply liked in this show was the characters and the music which synced with it. The way their fates are all intertwined is fascinating to watch through the episodes, and it is understandable how they closely depended on each other with their various backgrounds. The colours and architecture in the show are beautiful beyond imagination, and the story is quite compelling. It has chosen one trope that seems cliche, but it also has things in the story that are not cliche, and bonds that are heart-wrenching.

Merlin (2008)

It is an old show, and the fantasy elements are a little over the head, but it is a long and tedious watch that is worth it. It's a one-time watch, especially if you want to watch something half distracting and half interesting. While there are many versions of the story of King Arthur, Merlin and Morgana, this show gave a plausible story in a way the story came together. The show starts with the characters all in their youth, new to each other and not having known each other. There are classic English fantasy elements in the series that are dragons, magicians, dryads, and nature spirits.

It was taxing in the beginning, with it being an old show and particularly slow-paced. But once I adjusted to the pace, the show was good. It was thorough with the plot, all the characters are given a detailed perspective and storyline and have very old-school story narration. Though personally, I believe some of the characters were signed off unfairly, the show went in an unexpected direction after a point. It was not until after I finished the show that I missed its familiarity, its antique theme music, and the slow life that is shown on the show. We rarely see any shows today that are slow as a whole. Something I have repeated but will say again is that the old-school characters and the lack of toxicity in their personal lives and twisted relationships are very light and good for the heart and mind.

Wanda Vision (2021)

As a huge Marvel fan, this show was my first watch of this era of the Marvel Cinematic Universe. It is the story of Wanda Maximoff after the events of Avengers: Endgame. It begins off-key and makes no sense in the beginning as to why the narrative is as it is going. But as someone who has been into Marvel for over a decade now, I cannot guarantee what this show looks like to people who have no idea about Marvel and the main character. But then again, a lot of the background is given in bits to the story. The fantasy and CGI are mindblowing with the entire power play that comes into focus at the end of the show. While the show is mostly fiction and fantasy, it has a lot of science fiction as the basis.

While I have my prejudice against the characters in the fandom from previous movies, Wanda was a personal favourite with the potential her character has in the comics. Her fashion sense stuck with me, and so did her spirit. With the number of tragedies in her life, this show gave a lot more perspective into her story than any previous movies could have. She was a strong woman, and I significantly looked up to her.

Loki (2021)

This was one of the few shows on Marvel that was more mythology and fantasy than science fiction. While there is plenty of science fiction in the show, Loki was one of the favoured antagonists in the fandom, with many who admired him for his never-tiring spirit and mischief. He was the God of Mischief in Viking mythology but also someone with an explanation of his existence in science fiction. The story moves in a direction that no one predicted him in, where he gets incriminated as a criminal by the time authorities. It is a fascinating narrative for him to be in the situation that he is in. With not much that can be said without spoiling the show, I will say that it is witty, humorous, brilliant, and thoroughly scary at the ending it leaves you with.

As someone who thought Loki was brilliant, an idiot in his circumstances for the things he wanted, but brilliant in his own style, this show was highly entertaining. The god of mischief trying to do right by the time authorities is ironic but a good watch. Does this show need any information about the Marvel Universe for new watchers? Not really, but it helps to make sense of his morality and understand his character that evolved through the eras. All the shows in Marvel Phase 4 are stunning, but this was one personal favourite.

Moon Knight (2022)

This show was entirely alien to me when I began, with no previous introduction to the characters or this supernatural universe. This show is highly based on mythological fantasy rather than science fiction, but not as fantasy based as the other shows in this list. The show stars Oscar Issac as the main character, and it is quickly revealed that he is enduring a mental health condition, which he uses to his benefit. It is set in Egyptian mythology and modern adaptations of what those myths could mean in today's world.

The show was different from anything that was previously in the MCU. It had a struggling main character, phasing in and out of his episodes and through situations. In all honesty, this show was a little above my head. Not very believable in my eyes, but a good watch nonetheless. It could be the various Egyptian mythology stories I have devoured through the years that were nearly not covered sufficiently in the show.

[lesbianakaashi]

The Forgotten Shounen: Katekyo Hitman Reborn

This is not a “Why you should watch/read khr” or anything like that. This is just me going into the deep dive and throwing my findings at you. I’m making this because khr used to be my favourite series when I was 15 (I had plushees, posters, tradingcards, the art book etc) and now as an adult I constantly find myself baffled at how unknow it seems to be.

1. Okay first what is khr?

Katekyo Hitman Reborn! or just Reborn! is a series by Akira Amano which was published in Weekly Shounen Jump from 2004 to 2012 (with 42 volumes) and got an anime adaption which run from 2006 to 2010 on Tv Tokyo (with 202 episodes and one OVA).

2. What’s it about?

Khr is a parody of the italian mafia and plays in a world where the mafia is heavily influencial. The protagonist is the japanese middle schooler Sawada Tsunayoshi who is known as “No good Tsuna” because of his failing grades, general weak and cowardly personality and weak physics.

He becomes aware of the mafia world when a 2 year old baby called Reborn arrives at his house claiming to be the greatest hitman and declaring himself his home tutor. Reborn was send by the 9th head of the Vongola famiglia who is ready to retire and looking for a new heir. Which of course, is supposed to be Tsuna and now it's Reborns job to shape him into a worthy sucessor.

Tsuna rejects the violence of the mafia world and refuses the position as the 10th. Thanks to Reborn and his general craziness Tsuna meets different people and starts to make real friendships. Reborn wants 6 of those friends to be Tsuna's future guardians, basically a group of people which will be closest to him in the vongola famiglia. Tsuna might have no interest in those positions but the friendships he builds with them become really precious to him.

Reborns arrivial also brings in the enemies of the Vongola family which leads to Tsuna being forced to engage in battles. Generally Tsuna openly avoids fights and prefers to run away but will put himself in danger for his friends' sake or because of something Reborn did.

Through out the series Tsuna matures and gains strenght but he never becomes a power fantasy. He's just a guy with many flaws who grows through the human connections he makes.

Personally I think the relationship between Reborn and Tsuna is one of the best student teacher reltaionships in all of manga only topped by Mob and Reigen from Mob Psycho 100. Especially the last arc really underlines their unique relationship to me.

Furthermore, khr offers a new and unique battle system: The flames. I'm not gonna go into to too much detail but the general idea is that one fights with their dying will flame which basically turns off your the savety switch so you can fight with everything you have. The flames are seperated into different categories such as: sky, storm, mist, rain, sun, lightning and cloud and have different attributes asigned to each one. Tsuna's use of the sky flame and his transformation when using it is still one of my favourite shounen transformations to this day.

3. What happened?

The series did really well and then not so well over the course of its serialisation. After the manga got an anime adaption it increased in populairty and video games, light novels, and other products such as CDs were created based on the series. Reborn is one of the best selling series of Weekly Shōnen Jump and has sold around 30 Million volumes overall. It was and still is very popular in Japan but rather unknown in the west.

According to the article "The Rise and Fall of Weekly Shonen Jump: A Look at the Circulation of Weekly Jump" khr was the 10th bestselling series in Weekly Shōnen Jump, with a total of 7 million copies sold in 2007.

This number increasing to 15 milion in 2008. Which placed khr into the 4th best selling series of 2008 in Japan.

Between 2008 and 2010 those sales declined but still kept strong with khr as the 6th top selling manga in 2009, 8th best selling in 2010 and then 24th best selling in 2012.

In November 2014, readers of the Da Vinci magazine voted khr number 17 on a list of Weekly Shōnen Jump's greatest manga series of all time.

After the anime came to an apprupt stop in 2010 for unknown reasons the manga sells took a visible hit. (Apparently the studio wanted to put the anime on halt because they were busy with other projects and give Akira Amano time to develop her story but I couldn't find any source for this claim) Furthermore, the rushed last chapters of the manga in 2012 declined the popularity of the series even more. There's no offical statement as to why the manga was ended in such a way but it's reasonable to assume that Jump either cut it considering the decreasing sales or Akira Amano choose to end it for personal reasons.

Nontheless, Tsuna not being included in Jump Force (a fighting game where you can play as different characters from Jump) in 2019 even tho he made it in earlier Jump Stars games also underlines the decreased interest in the series.

Rumors on a reboot or anime adaption of the last two arcs surface from time to time but are genereally unlikely. Artland the studio which made khr has gone bankrupt around 2015-2016. It might be taken on by another studio but rather uncommen especially with such an old series.

4. Art style

The khr anime ended over 10 years ago and the old art style might not be appealing to newer audiences.

Especailly because the anime adaption follows Akira Amanos old art style which heavily developed within the years. Here a picture comparing characters in the new art style:

A modern anime adaption in the new art style would be aesthetically pleasing. It would probably look similiar to Psycho Pass since Akira Amano did the concept art for this series.

(My personal art student hot take is that both art styles are unique and fun. Up to this day Akira Amano still has my favourite art style and even if the amount folds in the characters clothing is a little extreme I love it dearly.)

5. Criticism

The show is not without flaws and even if I greatly enjoy it it wouldn't be right not to adress them.

Daily Life Arc:

A lot of people view the first 20 to 25 episodes as fillers and quickly lose intererst in the series. This is due to the fact that Akira Amano inteded the series to be a gag manga and focuses the first chapters on world building, character introduction and comical narratives. It's rumored that the decision to develop the story into a battle shounen was made because the sales weren't doing well enough at first. So the first chapters/episodes may seem titidious but are necessary for the story and the development of the characters. The tonal shift from a more gintama like gag manga to a darker battle focused story can also be offputting to some viewers.

Either way a lot of people blame this arc when discussing why khr never got an english dub or didn't end up on Toonami. I've also read that the manga never finished serializing in the north america. However, it finished in other western languages like german and spanish.

Censoring:

The anime censors A LOT. From Gokudera's smoking habit, Yamamoto's whole character arc which deals with heavy themes such as depression and suicidal thoughts. The general bloodiness of the manga was censored and sometimes whole chapters and characters were left out even if those were important to the devolopment of others.

Filler episodes:

Out of the 202 episodes the anime has around 29 filler episodes which makes roughly 14 %.

Sexism:

Even if Reborn was written by a woman most female characters are rather flat and their storylines often tied to a male character in one way or another.

Genereal things:

Khr, like many other long running series, is sometimes criticised for a lack of world building or unpopular narrative choices.

6. Hope?

Khr isn't exactly dead. As stated before the series is still very popular in Japan and still gets new merch pretty regulary. There are also petitions floating around for a reboot or a new anime season but those never get a lot of traction. Furthermore #Reborn2期アニメ化 (#Reborn2ndAnimation) used to get some traction on twitter not too long ago. Last year the Anime News Network did a poll on which anime the readers would like to see a rebooot of and khr placed second.

Either way here's a collection of recent khr things I could find.

- In 2018 a new bluray set was released in north america

- The khr stage play reached yet another new season

- A mobile game was released last year

- Currently ongoing anime cafe event called "Concerto di Vongola"

- Last month there was an event with the former VAs and stage play actors where they discussed their favourite khr episodes.

- There has been an increase in blind reacts to the openings on youtube which might bring in a new fan base. The biggest one I could find had around 90k views and was made in 2019. On this note check out the soundtrack. The first openeing Drawing Days by SPLAY still makes me go insane (but I'm biased of course)

There also renewed hope for a new season/reboot because Shaman King, Inuyasha and Bleach got anounced for new seasons after a long hiatus. It's important to keep in mind that the circumstances for those series are differnt tho. For example bleachs new anime is often tied to the immense success of the gatcha game.

7. Conclusion

Khr is a series which used to be a flagship for Weekly Shounen Jump and is deeply beloved by it's fans, especially in Japan. It influenced other shounen series like bnha. It would be nice to see it gaining a bigger fanbase in the west :)

[earlgreytea68]

Tagged by @setting-in-a-honeymoon​!

1. How many works do you have on AO3?

An even 200!

2. What’s your total AO3 wordcount?

Um. 3,328,002

3. How many fandoms have you written for and what are they?

Six:

Inception in the lead with 67 fics

Sherlock with 56

Fall Out Boy with 36

Doctor Who with 14 (this number is incorrect, I have written waaaaay more than that, they just live on LJ and DW)

and then one each for Sports Night and The Office (UK)

4. What are your top five fics by kudos?

Nature and Nurture

Saving Sherlock Holmes

Working on the Edges

The Radovljica Apicultural Museum

John Watson’s Twelve Days of Christmas

5. Do you respond to comments? Why or why not?

I try to! Sometimes I get busy or depressed or sick, etc., and I fall behind, but I try to respond, for a number of reasons - they give me so much joy that I want to acknowledge that they have brought my joy; it is so wonderful to see what people to respond to and love and laugh at and cry over, it definitely makes me a better writer, and so I want to acknowledge that, too; and comments when I’m in the middle of posting a fic are especially helpful to me because they often result in me tweaking what’s coming next in response to questions I see people have that indicate I’m not being clear enough, or maybe I’m not hitting the tone I want, etc. And so I like to respond to be like, “Thank you! You have no idea how important and wonderful this is to me!”

6. What’s the fic you’ve written with the angstiest ending?

Oh, wow. While I actually think I can write good angst, when I do it I try to have it in the middle of the fic, so that it gets properly resolved to give you a nice, happy ending. I’m sure someone’s going to be like, YOU ARE FORGETTING THIS HEART-WRENCHING THING YOU WROTE, but all I’m coming up with right now is that, in my long Doctor Who ‘verse I wrote, I did a fic in which their family dog died. That was pretty angsty. (omg I just scrolled down to see how I ended this story and OH MY GOD ahahah I forgot that I wrote this after I’d broken up with the Tenth Doctor and so it ends with Brem being like, “Plus, my father is useless so I have to hold the entire family together all the time” hahahaha what an extra-angsty ending, Brem, my love lol)

7. Do you write crossovers? If so what’s the craziest one you’ve written?

I do sometimes! I feel like most of my crossovers make some amount of sense. Like, okay, maybe you wouldn’t think to cross Inception with Fall Out Boy (this was a special request) but I think the premise of the fic makes total sense. And I once crossed Oliver with Brem, but those were my first two beloved precocious fic songs, so that made some sense, too. And I still think Inception and Sherlock crossed together made SO much more sense than actual seasons of Sherlock lol. So I guess if I had to choose the craziest I would go with the Doctor Who/Gossip Girl crossover I wrote lol. But wait, that one actually also made sense as I wrote it, I think, so I’ll go with the Sherlock/Fall Out Boy crossover because that was just bonkers.

8. Have you ever received hate on a fic?

Yes. I wrote a fic that was really horrible to Mary in “Sherlock.” I hate Mary. I feel like I can say that now. I haaaaaated Mary. But in those days “Sherlock” was an incredibly tense fandom to be part of and if you didn’t say that you loved Mary all the time forever and always then people were like !7@((!*(@(!& at you. I have a million massive warnings in all caps all over the fic, like, DON’T READ THIS IF YOU LIKE MARY, and people still would leave rude comments on it lololol. And then we wonder why I left that fandom lol. (I mean, many people in the fandom were wonderful, and I don’t always have REASONS why I leave fandoms, it’s not like anything is that logical or rational. But it wasn’t a very fun time to be in Sherlock fandom. ¯\_(ツ)_/¯

9. Do you write smut? If so what kind?

I do. My smut almost always has to be advancing some kind of emotional beat in the characters’ relationship. I’m never super-explicit because usually the whole point of the scene to me is what the characters are thinking and feeling, not really what they’re *doing.*

10. Have you ever had a fic stolen?

Sometimes my fics show up somewhere without my knowledge. People are really good about letting me know when that happens.

11. Have you ever had a fic translated?

Yup!

12. Have you ever co-written a fic before?

Yes!

13. What’s your all-time favorite ship?

This is like asking who my all-time favorite child is.

14. What’s a wip that you want to finish but don’t think you ever will?

I have this high school Peterick AU that I started at the beginning of the pandemic. For some reason, when schools shut down, all I could think about was all these bands that wouldn’t get formed because the kids couldn’t go to each other’s houses, like Pete Wentz couldn’t just show up at Patrick Stump’s to hear him play. So I started this story where Pete and Patrick meet right before the pandemic hits, and then everything locks down and they’re stuck Facetiming each other and coming to the realization that their soulmate is on the other side of the screen.

Anyway, I actually think this fic is super-hot?? And I never think I write hot things, but it’s got a hot phone sex scene and I’m really happy with it and I would love to finish the story...except that the pandemic turned out to be...this. And in my head, Idk, I thought there’d be this triumphant moment where everyone would be like, “Yay! We can see each other now!” and Pete and Patrick would reunite, and instead everything petered out into, “Can we see each other now........????? ¯\_(ツ)_/¯ “ and I didn’t know what to do with that in my fic, it made it not as neat as I was wanting it to be.

But I hate to lose that hot phone sex scene hahaha. And also after the hot phone sex scene Patrick adds “Hotline Bling” to his and Pete’s shared Spotify playlist they’ve been working on and I’M SORRY, I FOUND THAT SO CHARMING, PATRICK STOLE MY HEART WITH THAT MOVE, anyway, as you can see, I love so much about the fic and I really want to find a way to make it work and maybe someday I will the end.

15. What are your writing strengths?

My dialogue.

Also I think I write the same story over and over (person realizes that they’re deserving of being loved for exactly who they are), but I think I’m REALLY GOOD at that one story lol

Also I like to think that I write family relationship stuff fairly well, like, Idk, I love doing that stuff, whether found family or biological.

Oh, and I think I usually get the ratio of angst::happy ending pretty good (in my view for my personal preference lol).

16. What are your writing weaknesses?

I don’t think I’m especially good at smut. I’m terrible at paying attention to things like setting, what the characters are wearing, what the characters even look like, etc. As mentioned above, I tell the same story over and over and over, and I’m okay with that, but yeah, I’d be bad at telling a story where people aren’t, like, nice people who you’re rooting for.

17. What are your thoughts on writing dialogue in other languages in a fic?

I think I couldn’t do it, because I don’t speak any other language, but I’m always happy when people translate my fics!

18. What was the first fandom you wrote for?

Doctor Who. Although maybe, like, New Kids on the Block self-insert stuff counts from junior high??? But Doctor Who was first published.

19. What’s your favorite fic you’ve written?

Please see above re: favorite child lol

I tag every writer who wants to do this and I hope every writer does this because I always think these are fascinating!!

[therealsaintscully]

Mary and butterflies - the inevitability of death, murderous calling cards and collectors

Some ramblings with links to other people’s excellent meta, in which I suggest that butterflies (and/or moths) symbolize Mary as Moriarty’s reincarnation and or calling card, while also hint at her inevitable death.

Disclaimers: credits are below the cut. I’m not an expert in any of these topics. Thank you, @thewatsonbeekeepers​​ for the beta. In this post I’ll be using moths and butterflies interchangeably, apologies to any entomologists.

Mary’s appearance in the show brings with it new imagery we haven’t seen prior to The Empty Hearse - butterflies. Once Mary’s in the picture, there are butterflies in some very strategic locations, all are either visually or subtextually leading to her. The show has done that previous to season 3; Moriarty is connected to some well established symbols like magpies, apples and IOUs. 

When I first started reading meta I used to think these themes were a bit of a stretch, but I’ve since accepted  that this is a show that puts barely noticeable phoenixes in a restaurant scene that shows us Sherlock rising from his death.

Here are some of the butterflies I spotted so far:

Butterflies (and in the case of this piece of meta, moth) symbolize most commonly resurrection, change and renewal. Behind the symbolism stands the transformation of a small, ungainly creature into something full-grown and unbound. In that case, in the simplest way, one could argue that butterflies were chosen to symbolize her because the ‘Mary Morstan’ persona was a stillborn’s identity that was stolen and used ‘reborn’ to create a new person.

But more than this simplistic idea; butterflies carry multiple symbolisms. When it comes to Sherlock, I and many others tend to look at Victorian symbolism, considering the detective’s Victorian roots. 

I find the appearance of butterflies interesting in Mary’s context, much like I find the skull interesting in Sherlock’s. The skulls, in Sherlock’s case, serve plenty of purposes, but one of them is the idea of memento mori.

Memento mori (Latin for 'remember that you [have to] die') is an artistic or symbolic reminder of the inevitability of death. These are representations that can appear in any form of art such as paintings, literature, poetry etc. It’s a concept that existed in many ancient cultures but is also deeply rooted in early Christianity. It serves to remind people of the inevitable; that even if we choose to ignore it, not think about it, it’s always there lurking, and the purpose is not to scare us but to encourage us to make good use of our time when we’re alive. Memento mori was the philosophy of reflecting on your own death as a form of spiritual improvement, and rejecting earthly vanities.

Victorians were obsessed with the concept (weren’t Victorians obsessed with everything?). They would take photographs of the dead and keep locks of hair of those who died in mourning brooches. It is said that they found these practices comforting. 

Another expression of the ‘remember that you must die’ concept was vanitas art;  vanitas is a symbolic work of art showing the transience of life, the futility of pleasure, and the certainty of death. The Latin noun vanitas (from the Latin adjective vanus 'empty') means 'emptiness', 'futility', or 'worthlessness', the traditional Christian view being that earthly goods and pursuits are transient and worthless. It alludes to Ecclesiastes 1:2; 12:8, where vanitas translates the Hebrew word hevel (הבל), which also includes the concept of transitoriness. 

This concept reminds me, most especially, of the skull used in The Abominable Bride, which is actually Charles Allen Gilbert's 'All is Vanity' Illusion art.

Back to butterflies - butterflies are a staple component of vanitas art - paintings executed in the vanitas style were meant to remind viewers of the transience of life, the futility of pleasure, and the certainty of death. They also provided a moral justification for painting attractive objects - in a way, it’s a justification for the vanity, or the human need of enjoyment of beautiful things.  Below is a vanitas by Jan Sanders van Hemessen:

But butterflies are also considered an omen of death: 

“Butterflies and moths were associated with death, sometimes merely as omens, sometimes as the soul or ghost.” These butterfly omens came in many ways.  For example, in the nineteenth century United States, some people thought that a trio of butterflies was an omen of death.” [x]

Oh.

But I also think there’s more to the butterfly symbolism than Mary’s imminent death; I suggest that, in keeping with @loudest-subtext-in-tv​ M-Theory (suggesting that Mary was planted in John’s life by Moriarty), they symbolize Mary as Moriarty reincarnated following his death in TRF. That Moriarty had indeed not disappointed Sherlock - there was a posthumous game after all! That Sherlock was supposed to understand that while one form of Moriarty died on that roof, another had emerged, continuing the mission of burning Sherlock’s heart. Mary is Moriarty’s calling card, left behind in the crime scene. They’re different, but not separate, which is why Sherlock is so obsessed with Moriarty between HLV-T6T; he’s both wrong and correct at the same time.

So far, what I’ve suggested is that in Sherlock, skulls are Sherlock’s symbolic memento mori - the skulls are associated with Sherlock in some very significant ways. 

However, Mary’s character was doomed from the start - she dies during Sherlock’s hiatus in ACD canon. I believe many fans assumed Sherlock’s Mary expected the same fate when she was introduced to the show. Although the story of Samarra is told by Sherlock, who expects his own death in T6T, Mary is the one who ends up dying. 

Butterflies in ACD canon

Searching for the significance of butterflies in the ACD and BBC canon led me to a number of interesting directions in meta written by others. 

The first and probably the best place to start is this meta post by @tendergingergirl​​, which I strongly suggest you read in full: Butterflies, Sexual Deviancy & The Bloodline Theory in The Hound of The Baskervilles. 

Stapleton also has a hobby. He collects bugs…Butterflies, to be exact. This can often be seen as purely academic, but depending on the actions of the hobbyist, they can indicate more disturbing things. That of holding something vulnerable captive, treating it as your hostage, pinning it down. The torture of animals has come to be a good indicator of someone who would do this to a human. He had already shown callousness by laughing as he recounts to Holmes of ponies wandering onto the Moor, becoming trapped, and dying. In 1974, there was a release of a new edition of Sherlock Holmes stories, with the forward of The Hound of The Baskervilles written by British author, John Fowles. He is responsible for several well-known works, including The French Lieutenant’s Wife. Another, was a novel that Mason finds himself wondering why Fowles doesn’t mention in his introduction, since the villain is such a close parallel to Stapleton.(but as we have learned through the study of ACD, most writers will not come right out and say where they got their inspiration. They like for you to guess!)

A lonely young man, works as a clerk, and collects butterflies, becomes obsessed with a pretty young girl, Miranda, an art student. He chloroforms, and kidnaps her, taking her to his cellar basement, to add Miranda to his collection. That book was called The Collector. But what else does it sound like?

“So yes, I googled. From an article on the release of the movie’s Documentary. "The docu proves a poor reference point for anyone who wants to understand the literary and movie links for “Lambs.” There’s no mention, for example, of how Harris partly based the butterfly-loving Bill on John Fowles’ kidnapper in “The Collector” …And here I thought Mofftiss added allusions to Silence of The Lambs into Sherlock just for fun. SMH.”

@tendergingergirl​ also added this photo to their post:

So what we have here is a chain of metatextualities/inspiration, starting with ACD’s THOB, where Jack Stapelton inspires a book about a disturbed butterfly collector (The Collector by John Fowles), which inspires a the author of Silence of the Lambs in creation of his character Buffalo Bill, a serial murderer who inserts a death's head moth into the victim's throat because he is fascinated by the insect's metamorphosis. Silence of the Lambs served as inspiration for Sherlock  as analyzed by @garkgatiss​ in Bond, Hannibal, and Holmes (I suggest you read the whole Hannibal section) . 

Let’s look again at some imagery from His Last Vow. Mary shoots Sherlock’s heart, essentially burning his heart out, and who does Sherlock meet in his Mind Palace in a very cocoon-like straightjacket? Yes, the dead dude who encourages him to die already (“one more push, and off you pop”).

What’s the next thing we as an audience see once Sherlock opens his eyes? Mary coming to the hospital to hear that Sherlock had, in fact, survived. And what is she wearing? Her butterfly scarf, one which will another appearance later in the episode, during the tarmac scene.

I also find it interesting that in the context of Sherlock and Silence of the Lamb, there’s an element of gender-switching between Moriarty and Mary. Buffalo Bill, the murderer from Silence of the Lambs, skins bodies of women to create himself a woman’s 'suit’; in Sherlock, Moriarty is a man-villain who transforms into a female-villain in the form of a bride and/or Mary. 

By the way, who else is obsessed with his suits?

Also, let’s not forget the worms, maggots and other such crawlers in the grave scene:

Now, let’s go over some of the photos I included in the beginning of this post a bit further.

Mrs. Hudson’s butterfly tea set is first shown in TEH - she uses it to serve John tea when he comes visiting her and tellis her about Mary. We also see it near John’s chair on the day of the wedding. This isn’t Sherlock’s set - his set is different, featuring the British Isles. Moriarty drinks from it in TRF. The next tea set we see, now that Moriarty is dead, is the butterflies one. In TLD, Mrs. Hudson uses Sherlock’s tea set - the butterflies are gone.

Mary’s bedroom wallpaper is very feminine, with flowers and butterflies, both complementing symbols while also very common in vanitas art. Much like Mrs. Hudson’s wallpaper in Baker Street, Mary’s wallpaper is supposed to show the contrast between Mary’s flat/Mary and Sherlock’s flat/Sherlock.

There’s an interesting moth reference in The Empty Hearse, which in my opinion, is Mary & Moriarty related. In short, in a previous piece of meta I wrote, I suggested that the Jack the Ripper case in TEH is subtext alluding to Mary’s skeletons, which Sherlock ignores because he’s upset by his reception by John. And what’s one of the first things Sherlock notices about the skeleton? New mothballs smell, hinting at an attempt to get rid of moth/butterflies - maybe a hint to  the fact that Sherlock has a chance to discover the truth about Mary but misses it. Also, in the context of Mary and the Jack the Ripper case, notice this transition:

Transitions are important on Sherlock - they’re nearly always there to draw our attention.

This, I think, is perhaps the most telling about a possible connection between Mary and Moriarty: we have both magpies (a Moriarty hint) and butterflies together here. This isn’t the only hint of Mary’s past we get in the wedding; there is, after all, the telegram from CAM.

Mary’s scarf is colorful, and it appears by the time Sherlock’s subconscious suspects Mary. Mary’s black butterfly dress - an ominous dress, I’d say - is the one she wears during the labour scene in the car. The third photo is a behind the scenes photo uploaded by Amanda Abbington, although I’m unsure whether this necklace is AA’s or Mary’s (but I couldn’t pass on including this).

Interestingly, the butterflies do not appear in Rosie’s context - either because it’s a telling sign that Mary won’t be with us much longer, or because Rosie is spared being considered a part of the ‘burning Sherlock’s heart’ plan. Sherlock, on the surface, seems to love Rosie and accepts her.

Also, another BTS photograph I came across during my research which I’ve never seen before and ties nicely to the vanity topic is this one (found here):

The Death's-head hawkmoth and ‘Death with Interruptions’

You’ll recall that I referenced The Collector and Silence of the Lambs, both featuring butterflies on their cover art. 

The Silence of the Lambs cover features Acherontia atropos, otherwise known as the death's-head hawkmoth. It gets its name from the sinister-looking skull shape on its back. In many cultures it is thought to be an omen of death. In a bit of another coincidental but stunning piece of symbolism, all three species of the Death's-head hawkmoth are commonly observed raiding beehives of different species of honey bee; A. atropos only invades colonies of the well-known western honey bee, Apis mellifera, and feeds on both nectar and honey. They can move about in hives without being disturbed because they mimic the scent of the bees and are not recognised as intruders.

Anyway, the use of Acherontia atropos reminded me of the book ‘Death with Interruptions’ by Jose Saramago. Interestingly, this is another book about a deathly collector with a butterfly on the cover:

In Death with Interruptions death is a woman, and she falls in love with one of her future victims. She decides to spare his life: Every time death sends him his letter [notifying him of his imminent death], it gets returned. death discovers that, without reason, this man has mistakenly not been killed. Although originally intending merely to analyse this man and discover why he is unique, death eventually becomes infatuated with him, so much so that she takes on human form to meet him. Upon visiting the cellist, she plans to personally give him the letter; instead, she falls in love with him, and, by doing so, she becomes even more human-like.

It’s pretty common to read theories about Mary who maybe was one of the assassins due to kill John both at the pool and in front of Barts. So we have a death harbinger trying to kill someone twice and failing. She then falls in love with him.

But how does the butterfly fit in?

Well, at some point in the story, death (that’s her name, sans a capital d), contemplates that using the death head butterfly, instead of a violet piece of paper, would have sent a much stronger message to those whose death is coming for.

And here’s another last bit of coincidental reference to Sherlock: I’d argue shades of purple, among them shades of violet, are associated with Mary and her secrets. There’s the purple dress she wears in TEH, her bridesmaids’ dresses include various shades of purple (including what I would argue was a violet sash) and let’s not forget:

Oh and, by the way, remember the song Donde Estas, Yolanda from TEH, about a woman called Yolanda? Always thought it was a bit of an odd choice for a song?

Yolanda is a female given name, of Greek origin, meaning Violet.

:)

Thoughts?

Credits: thank you @lukessense​ for directing me to @tendergingergirl​ meta about butterflies. Episode screenshots are from kissthemgoodbye.net.

@sarahthecoat​  @tjlcisthenewsexy​ @devoursjohnlock​ @inevitably-johnlocked​ @shylockgnomes​ @possiblyimbiassed​ @raggedyblue​ @ebaeschnbliah​ @gosherlocked​ @waitedforgarridebs​ @helloliriels​ 

[kim-ruzek]

The unit beyond Hank Voight: or how Intelligence should look if/when Voight is written out

Finally, part two. This was very fun to write and I'm glad I actually did it before season nine airs (I'm cutting it late I know!!!). I've had how I'd want the show to do this in my head for the longest time-- although, I'll say, I technically get to the root of this further into the meta, after the second header. So if you don't want to read it all and just my general thoughts, you can just skip on down to that! But I hope you read it all!

In this fandom, as a whole, no matter what ship or characters are our faves, we've all be debating whether or not it's right to still have Voight as the lead, or if they should write out his character.

If we break it down, take out all the nuance and the external and internal factors, I say yes. But if we don't, it's much more complicated than that.

I watch Chicago pd primarily for Burzek, that is why I decided to emotionally exhaust myself with a new show. But I liked that it was set in Chicago, and it lent into all the bad/darkness of Chicago, and not just on the streets, but the cops (even if they can and should do better there, because it's still very much on the side of bad cop propaganda).

And like it or not, Voight is a big part of that. People call him an anti hero, and by definition, he is, but I struggle to like addressing him as such. But the way that he is, his characterisation, it is woven into the very essence if the show, into the unit, into their dynamics and group chemistry.

This is why it's a complicated matter, that should Voight be written out is not a simple question with either yes or no as the answer. Or, at least, not just a yes or a no.

Taking Voight out of the unit isn't like taking out Jay or Kevin, or any of the others. The other team members are easily replaced. Of course, their specific dynamics and chemistries will never be replaced, it's a sign of a badly written character and storyline if it is. But they are, in the grand scheme of things, replaceable. It is as easy as having Jay transfer one episode and introducing a new detective the next. (The only other exception, I should mention, is Trudy. You get rid of Trudy and you'll just get a desk sargeant as a replacement, with none of that chemistry in any way).

Voight is different. He's the lead-- and leads are always harder to move out a show without it crumbling-- and he's the literal leader of the unit. Every dynamic within the show is interlinked through Voight's character even if Voight has no impact on the dynamic. And so you can't just write him out one episode and then introduce a sparkling new sargeant the next-- especially if the sargeant is a pre-existing character.

A lot of this fandom wants Voight gone asap and Jay as sargeant immediately after. That's just unrealistic and honestly it would be a bad move on the show's half to do so. In general, I don't want Jay to be sargeant. Not even for the reasons I'm about to list-- well, not just them-- but for personal ones. However, if it's in a few seasons time, I'd be more up for that, if the show gave time to improving his character-- even if I'd still grumble to myself about it!

As I said, removing Voight's character and immediately replacing it would already be a bad idea because of how much the show's dynamics are mixed up in him. Jay being the replacement would fuck this up even more, because he's already got his own dynamics with his unit.

Jay is definitely a leader type character. He was brought in to be. I could see him being a sargeant, and he's definitely the 'big brother' of the unit, even if they're all around his age. He definitely can have a clear head and is tactical and has that aura that people would be comfortable following his lead.

But he's also ignorant, impulsive and selfish. People say he'd make a good sargeant because of his morals-- but they're very much surface level morals. It's actually why I can see what drew him to joining the military, not just that want to leave, but he's clearly got a good-bad black and white line drawn in his head and this is what makes the military attractive to him.

Jay always thinks he's in the right. And technically, on the surface, he is. But he misses the nuance and he gets very caught up in his black and white view. This is what also makes him impulsive. He mentally, clearly, orders people into the good and bad categories in his mind and then he's pretty rigid in them-- jumping to conclusions.

He's got a good heart, but he doesn't take much time to stop, think and learn. Like with the racial issues prevalent and blm, he's only got a surface understanding and he does not make any effort to get a deeper one. Mainly because he doesn't realize-- because he thinks a lot of himself, in his black and white view. He is "good" and he cares that people suffer and therefore he thinks he understands.

He does not.

Say what you want about Adam-- and I'll be leaving my own personal biases out of this-- but even if you say he has a worse understanding than Jay, he's better because he makes more of an effort. He gets that he doesn't understand, and he's brash and vocal when he shouldn't be, but he also listens. And he tries to learn, he really, really does.

Jay doesn't. And Jay's also from canaryville. He went to Catholic school, Catholicism was clearly very prevalent in his life growing up. His father was an emotionally closed off man. He went to war. He's got his own biases but he's got this basic understanding and thinks that's that.

It's not. And it's barely okay with his current position in the unit, and it would be definitely not okay if he was their leader. Especially if he did what the greater part of the fandom wants, and leans on Hailey. Which let's face it, he would, because Jay doesn't think he has anything to learn and what he may think he does he thinks he can do it on his own, that he doesn't need to ask Kevin for guidance.

And yeah, Kevin is "only" an officer (and I'll get back to this point). Jay's got the higher role. But Kevin has been a black man, living in Chicago... Oh yeah, all of his life. That trumps promotions and titles, especially when Kevin has also been a cop for a lot of his adult life and has raised two kids in this racially charged city.

And then there's the fact that-- and most of this is because the show refuses to show the team bonding-- he's actually quite isolated from the team. We rarely get to see his supposed friendships with them, and this would affect how he can lead them and how they can follow. The dynamics would be off and it would be filled with conflict and, at times, be like a herd of sheep without their shepherd.

So, Ree, you ask. How should the show move on from Voight?

The show has been incredibly short sighted when it comes to Voight. He's been a problematic character from the literal start, and now we're reaching a point that a lot of the fans want him gone. And since the most vocal are the upstead and Hailey stans, I do believe the show will be thinking of ways to do this.

In my opinion, this should've been built up from season five, from when the reform storyline began. Instead, the show just shaved some aspects away from Voight's character.

He has changed a great deal, has grown a lot. I don't see what happened with Roy as a sign he can't change, because everyone's journey has back and forths. Especially when Voight likes to have control when people are hurting his family, he sees himself as their protector, but not as a bodyguard, but as an executioner.

And so I think the show will do two things to eventually write him out-- either promote him, or have him retire. But even this isn't simple and needs a lot of build up and work.

The show should've seen that Voight's days are potentially numbered and set up things so it's easy to slot his exit in place. For example, they should've kept consistent with having a captain in the precinct, even a lieutenant. This would have pre-existing roles for Voight to slot into easily, so they can still have his character around but let other characters get promotions or take on more work.

This would also help set up for retirement. Because even if he just retires as a sargeant, we already have other leader characters in the show for the others to bounce off-- instead of just introducing someone new. This would also help a sargeant Jay storyline, because then he'd have bosses to report too, making it very much seem that he is just the next link in the chain and would help balance out those dynamics.

Although, in a way, I don't blame them for not having foresight in season five. For other reasons but also-- because back then we also had Antonio and Al. We had a more layered and diverse unit. Instead, now we have the dad and the five children. Antonio would've made a good next sargeant, especially if we introduced a lieutenant role. Because I can see him aiming higher and helping to groom Jay into his replacement. Especially if Al was still around as a nice wall to bounce off, although it'd still be okay if we didn't.

Antonio would also be a good stepping stone because he had well developed relationships with every member of the unit. Well, apart from Hailey, but if they went down this route, they could've nurtured a dynamic there.

It would've also helped if they replaced their characters when they wrote them out. I get why they didn't. Al leaving made the partners even numbered, Rojas was after Antonio. And I wonder if covid affected their ability for season eight. But it's still the massive problem-- they keep trimming the fat, when it's unnecessary and not believing that maybe they should fix that.

And of course. They're all young. Even when they did bring in others, they're still young. And officers. And that would be okay, if they actually bothered promoting Kim, Kevin and Adam.

The unit's dynamics and feel is already off because of the lack of diversity in characterisation, race and age. And the show is doing nothing to fix this, and Voight should not leave until they have. Especially when against popular belief, history actually shows that Voight doesn't like blank slates, but people whose core characteristics fits what he wants his unit to be.

So: what does life after Voight look like? Well, hopefully, a more racially diverse group, with more age differences, different dynamics and friendships explored, Jay (and Hailey) being called the fuck out on their biases, more out of unit bosses dynamics to stop it being so insular and a happy ending exit for Voight. Because let's be real here-- Voight is not going to be written out by going to prison.

Even if he deserves it because one-- the unit would not survive that and they'd be repercussions for all and two-- realistically, as he was in prison once, the brass would not let this happen because how it would reflect on them.

In this day and age, they'd rather force him to retire quietly than publicly admit they got him out of prison and now is putting him back in. It may not be right, but realistically, they'd cover their ass first.

[bartramcat]

CSI: GSR Way to Go Question

This is a serious question, aimed at those who watched CSI “live” and were perhaps privy to more contemporaneous interviews with actors, writers, etc.

Now, from everything I’ve read, the GSR “reveal” scene in Way To Go was not part of the original script and was done as a last minute add-on. Working on the theory that this is true, I’m a bit befuddled as to why the original intent was to leave GSR vague for an even longer period of time than they had done so already, especially since, apparently, the original plan had been to reveal their relationship by Episode 5 of that year.

I would tend to say that most of Season 6 lends itself to a kind of “are they or aren’t they” tease. Obviously, one views a number of their scenes differently when knowing that they indeed “are” as opposed to “maybe quite possibly but I’m not 100% sure.” As I said, most of Season 6.

Both the ending of Time of Your Death and the camera duel in Way To Go give us a whole other perspective. While I would categorize most of the flirting between Grissom and Sara for the vast majority of the series to be “between the lines” and more intellectual than erotic, these two scenes are unmistakably sexual in nature. Intentional or not, in retrospect, they seem to be leading up to a confirmation that they were indeed in a relationship.

I know it’s hard to imagine something not happening that did indeed happen, but I was curious how folks would have reacted after seeing the end of Time of Your Death and the camera duel in WTG had the show decided to postpone the “revelation” until sometime in Season 7.

There are times watching the entire GSR arc from the beginning until WTG where I did feel that the show really needed to “fish or cut bait” with their love story. (This will make sense to probably no one, but my first time through GSR from 1-6 was akin to listening to the Sibelius 2nd.) I also know there is a segment of viewers (of any romance) that enjoys the whole “will they or won’t they” scenario and are sometimes disappointed when a resolution (or consummation) is reached.

I am not one of those people. For me, the eternal tease as a dramatic construct unto itself eventually becomes redundant and boring, and I reach the point of no longer caring.

Had the show stayed the course and not confirmed the relationship when it did, do you think they would have done some kind of damage to the love story as a whole? That is, from a narrative perspective, would it have seemed they were going to the "tease" well far too often--with no payoff?

I don't know the answer to that, but I suspect, if even subconsciously, the folks calling the shots at CSI realized it was time.

[lokiondisneyplus]

For his entire tenure as an Avenger, Anthony Mackie had never been the first name on the call sheet.

In a galaxy of stars populated by Robert Downey Jr., Chris Evans and Scarlett Johansson, the actor was aware of his place in the on-set pecking order, but would never miss an opportunity to make his presence felt.

“Number six on the call sheet has arrived!” Mackie would routinely shout on films like “Captain America: Civil War” and the box office-busting “Infinity Saga” sequels, according to Marvel chief creative officer Kevin Feige.

It exemplifies the sort of winning tone that the 42-year-old actor has brought to his superhero character the Falcon, aka Sam Wilson, for six movies from the top-earning studio — wry and collegial humor, with the potential to turn explosive at any moment. Both Mackie and his character are set to burn brighter than ever when the Disney Plus series “The Falcon and the Winter Soldier” lands on March 18.

On that call sheet, “Anthony is No. 1,” Feige is happy to report, “but it still says ‘No. 6.’ He kept it because he didn’t want it to go to his head.” The series is essentially a two-hander with his friend and longtime co-star Sebastian Stan, the titular soldier. All six episodes were produced and directed by Emmy winner Kari Skogland (“The Handmaid’s Tale,” “The Loudest Voice”). The series, for which combined Super Bowl TV spot and trailer viewership earned a record-breaking 125 million views this year, is reported to have cost $150 million in total.

For Mackie, though, the show comes at a critical time for both his career and for representation in the MCU. Sam Wilson is graduating from handy wingman (Falcon literally gets his job done with the use of mechanical wings), having been handed the Captain America shield by Evans in the last “Avengers” film. While it’s unclear if he will formally don the superhero’s star-spangled uniform moving forward (as the character did in a 2015 comic series), global fandoms and the overall industry are still reeling from the loss of Chadwick Boseman, who portrayed Marvel’s Black Panther to culture-defining effect. With this new story, Mackie will become the most visible African American hero in the franchise. And when asked whether he’ll be taking the mantle of one of its most iconic characters, he doesn’t exactly say no.

“I was really surprised and affected by the idea of possibly getting the shield and becoming Captain America. I’ve been in this business a long time, and I did it the way they said you’re supposed to do it. I didn’t go to L.A. and say, ‘Make me famous.’ I went to theater school, did Off Broadway, did indie movies and worked my way through the ranks. It took a long time for this shit to manifest itself the way it has, and I’m extremely happy about that,” Mackie says.

Feige says that, especially with the advent of Disney Plus and the freedom afforded long-form storytelling, the moment was right to give the Falcon his due.

“Suddenly, what had been a classic passing of the torch from one hero to another at the end of ‘Endgame’ became an opening up of our potential to tell an entire story about that. What does it really mean for somebody to step into those shoes, and not just somebody but a Black man in the present day?” says Feige.

Like many comic book heroes, Mackie has an origin story marked by tragedy at a young age — specifically around the loss of a parental figure. The New Orleans native is the youngest of six children from a tight-knit middle-class family, whose trajectory was spun into chaos when his mother was stricken with a terminal illness.

“It was unexpected and very untimely. I was 15 when she was diagnosed with cancer, and a few months later, she was gone. She passed the day before my ninth-grade graduation,” Mackie recalls. “If my mom wouldn’t have passed away when I was so young, I wouldn’t be where I am today.”

Mackie had already gravitated toward the performing arts before the loss of his mother, having enrolled at the pre-professional school New Orleans Center for Creative Arts. Like many young people grappling with trauma, Mackie says he began to act out. A core group of teachers helped get him out of trouble. Ray Vrazel, still an instructor at the school, personally drove the student to a Houston-based audition for the University of North Carolina School of the Arts, where he was accepted for his senior year of high school.

“Everything I did, I did for my mama. The idea of leaving home at 17 to go away to school would have never been an option if she was still around. She was my best friend. Losing her gave me a kind of strength, and a desire to succeed,” Mackie says.

Succeed he did. Spending that formative year as a minor on a college campus helped Mackie find his “tribe,” a misfit crew of artists and performers, which propelled him to acceptance at New York’s prestigious Juilliard School in 1997. There he was part of the breakthrough class of students of color to be chosen for the notoriously selective drama program, which Mackie says was liberating given the institution’s track record.

“Our year was a huge transition. There were hardly any Asian people in the drama program, maybe one or two Black people and hardly any Black women. In our class, we had three black women, two black men, one Native American, one Asian female, out of 20 people. Ever since then, the classes have been wildly diverse,” says Mackie, whose fellow students included stage and film star Tracie Thoms and actor Lee Pace.

Following his training, Mackie launched a staggeringly versatile career. He has played Tupac Shakur and Martin Luther King Jr. to similar acclaim, a juicehead bodybuilder in “Pain & Gain” and a homeless gay teen in the Sundance player “Brother to Brother.” He has exhibited remarkable staying power in an industry that often pigeonholes actors and has a pockmarked soul when it comes to inclusion.

“I was drawn to Anthony because of his electrifying ability to combine intensity with sensitivity, courage with compassion, and all of it comes across as inevitable, as if it could be no other way,” says Kathryn Bigelow, who directed him in the 2009 best picture Oscar winner “The Hurt Locker.”

Samuel L. Jackson, whom Mackie calls a mentor and has played alongside in several films, says he has “an innate quality that first and foremost makes everyone want to cast him.” On a recent idle Netflix search, Jackson came across Mackie’s latest sci-fi film, “Outside the Wire,” and it triggered a memory of sitting in the audience for his performance in the 2010 Broadway production of Martin McDonagh’s play “A Behanding in Spokane.”

“Watching him onstage, I thought, he’s a very adroit actor capable of putting on many hats. He’s fearless and will try to be anybody. Then, on my TV, he’s playing a nanobyte soldier or some shit,” Jackson says.

Though always humble about getting the next job, pre-Marvel Mackie was rarely offered pole position.

“There were certain pegs. My first was ‘8 Mile.’ It was a monumental step at the beginning of my career,” Mackie says of the 2002 Curtis Hanson film that elevated rapper Eminem to multi-hyphenate stardom.

“After that it was ‘Half Nelson.’ It blew up Ryan Gosling, so I was there to ride the wave. Then ‘The Hurt Locker,’ and it blew up Jeremy Renner. It was the joke for a long time — if you’re a white dude and you want to get nominated for an Oscar, play opposite me. I bring the business for white dudes,” says Mackie.

He remembers the sensation “Hurt Locker” caused during its awards season. It was a moment he thought would change everything as he stood on the stage of the Dolby Theatre with the cast and filmmakers, having just sipped from George Clooney’s flask while Halle Berry radiated a few rows away.

“I thought I would be able to move forward in my career and not have to jostle and position myself for work. To get into rooms with certain people. I thought my work would speak for itself. I didn’t feel a huge shift,” he says, “but I 100% think that ‘The Hurt Locker’ is the reason I got ‘Captain America.’”

He’s referring to “Captain America: The Winter Soldier,” the 2014 Marvel film that was the first to be directed by Joe and Anthony Russo (the current title holders for the highest-grossing film of all time with “Avenges: Endgame”). Mackie says that blockbuster not only gave him his largest platform to date but changed expectations of superhero movies forever.

“It was the first of the espionage, Jason Bourne-esque action movies at Marvel. After that, the movies shifted and had different themes and were more in touch with the world we live in, more grounded,” he says.

Bolstered by the words of another mentor, Morgan Freeman, Mackie feels no bitterness about his path.

“We did ‘Million Dollar Baby’ together, and when we were shooting this movie, I got offered a play. When you do Off Broadway, it’s $425 a week. In New York, that’s really $75 per week. I got a movie offer at the same time, and it was buckets of money. Three Home Depot buckets of money were going to be dropped off at my door,” Mackie says. “The script was awful; the whole thing was slimy. I went to Morgan’s trailer and asked him what he would do. He took a second and said, ‘Do the play. When Hollywood wants you, they’ll come get you. And when they come get you, they’ll pay for it.’ That blew my mind, and I left him that day with such a massive amount of confidence. He’s been a huge influence on me.”

He used the currency of that first Russo Brothers film and five subsequent ones to do what many creators and performers in Hollywood have done in recent years to help balance the scales of profit and representation in content: make things on his own.

Last year, Mackie produced and starred in “The Banker” — what would be Apple Studios’ first foray into original streaming film distribution and the awards landscape — through his banner Make It With Gravy. The film follows the true story of America’s first Black bankers and the white frontman they deployed to acquire the institution, all while supporting Black-owned businesses and communities in the process. A late-breaking scandal over sexual misconduct accusations involving the real-life family members of the film’s subjects delayed the release, overshooting awards-season deadlines and entangling the fledgling producer.

“It was a good lesson, and gave me a new perspective on the world around us. It’s very important to me that the women by my side are treated equally. It was a valuable lesson learned. I was very humbled by my sisters, for once not being mean to me,” he says.

Mackie is in development on the film “Signal Hill,” about the early days of lawyer Johnnie Cochran and the theater he brought to courtrooms long before the O.J. Simpson trial, and is hoping to secure the life story of civil rights pioneer Claudette Colvin as a vehicle for his directorial debut. Raising four sons of his own now, Mackie wants his off-screen work to make them well-rounded men.

“Look at Robin Williams,” he says. “He used to be crass and funny, and then he had kids, and he started doing all these family-friendly movies. Same thing with Eddie Murphy. I’m trying to curate my children’s experience with the things that I’ll be producing, rather than starring in. That’s what is most important. They know my job is my job; they know who I am. I’ve given up the idea of them ever thinking that I’m cool,” he says.

Jokes about the call sheet are among many of Mackie’s filming quirks. Jackson says that sets are often littered with hidden cigar stubs, to be fired up between takes or after long days. Bigelow says his rapport with crew has led to nights where the “clock was ticking but it was impossible to regain composure enough to shoot.” But according to Evans, no Mackie-ism is more famous than the phrase he bellows whenever his directors cut a scene: “Cut the check!”

Evans says this “will be forever associated with Mackie. I find myself saying it on sets all the time. I love it. But I’ll never be able to say it as well as him.”

As the man handing Mackie his armor, Evan says the Falcon’s “role within the Marvel universe has answered the call to action time and time again. He’s proven his courage, loyalty and reliability over multiple films. Sam has given so much, and he’s also lost a lot too. He believes in something bigger than himself, and that type of humility is necessary to carry the shield.”

The question of Sam Wilson’s humanity will be explored at length in “The Falcon and the Winter Soldier,” what Mackie calls a deeper showcase for both himself and Stan and their characters. It was a prospect that at first confused and frightened him.

“I didn’t think we could do on the television what we’d been doing on the big screen. I didn’t want to be the face of the first Marvel franchise to fail. Like, ‘See? We cast the Black dude, and now this shit is awful.’ That was a huge fear of mine, and also a huge responsibility with playing a Marvel character,” Mackie says.

He was quickly assuaged by the level of depth in the scripts from head writer Malcolm Spellman (“Empire,” “Truth Be Told”), especially when it came to the nuances of Wilson — a Black American man with no powers beyond his badass wings.

“Sam Wilson as played by Mackie is different than a Thor or a Black Panther, because he’s not from another planet or a king from another country,” Feige says. “He’s an African American man. He’s got experience in the military and doing grief counseling with soldiers who have PTSD. But where did he grow up? Who is his family? Mackie was excited to dig into it as this man, this Black man in particular, in the Marvel version of the world outside our window.”

Mackie celebrates Sam’s relatability in a universe full of mythological gods and lab-made enforcers. “I’m basically the eyes and ears of the audience, if you were put in that position where you could go out and fight alongside superheroes. It adds a really nice quality to him, that he’s a regular guy who can go out there and do special things,” Mackie says.

While bound by standard Marvel-grade secrecy, the actor confirms there have been no discussions of a second season for “The Falcon and the Winter Soldier.” As the majority of domestic movie theaters remain closed due to the coronavirus pandemic, he is equally unaware of the theatrical prospects for his Falcon character — or the Captain he may become by the end of this Disney Plus run. For now, he’s content to take up the mantle left by Boseman, a quietly understood pact of responsibility to Marvel-loving kids the world over.

“For Chad and I, [representation] was never a conversation that needed to be had because of our backgrounds. There was a hinted-at understanding between the two of us, because we’re both from humble beginnings in the South; we have very similar backgrounds. We knew what the game was. We knew going into it,” he says.

Outside comic book movies, Mackie is not done searching as a performer. There is a particular genre he would very much like to cut him a check.

“My team gets mad at me for saying this, but I would love to do a cheesy old-school ‘When Harry Met Sally’-type of project,” he says. “One of those movies where I’m working outside and have to take my shirt off because it’s too hot. I want a romantic comedy. I want to do every movie written for Matthew McConaughey that he passed on.”

[creativeashproductions]

Instant Connection // Male!reader x Alex

Summary: Reader finds the blonde-haired drummer from the surprise performance at the spirit rally to be cute. So cute he gained your full attention at a school function you could barely tolerate, especially when Carrie and her clones performed some over the top number.

Warnings: Tooth rotting fluff, this is a male!reader

Words: 1.3k

Pairing: male!reader x Alex (JATP)

A/N: For all the guys that don’t get represented enough in fandoms. I really hope I did this justice and didn’t insult anyone because that wasn’t my intention.

TO BE TAGGED SEND AN INBOX PLEASE!

Masterlist

Blasting music from your phone bought with the hard-earned money you sketched out a new season concept. Feet kicked up on the bench your focus on your hand smoothing over the paper in the latest sketchbook. Music was as loud as it could be to block out another performance by Carrie and the Mimics or whatever they were called. A tap on your shoulder brought your attention to one of your best friends, Nick.

“Hey, man. Guys are meeting up after school?” Nick spoke leaning down from his bench level, “I know it’s been weird with your switching to baseball but-“

“Don’t you have a new leash to pick out with Carrie? You should get pink to make her pop culture rip off.” You spoke, pushing one hand through your short locks of hair settling your gaze on Nick, “Besides Jason just doesn’t like that I’m into guys.”

Jason was a close-minded pig that had harassed you after seeing you miss another guy like it wasn’t 2020. You didn’t regret leaving the lacrosse team other than losing time with your best friend. Nick was by far the most accepting out of everyone.

“What did you think?” The bubbly tone asked, leading you to see that Carrie had snuck into the general vicinity of you. You had nothing really against the girl, you were flattered when she had pursued you romantically before clicking with Nick, “Hey Y/N.”

“Carrie.” You spoke, placing your art tools into the opened backpack at your feet. Climbing to your full height, you started out the door with the bag slung over your shoulder.

You were halfway to the door when the keyboard came to life on stage, unexpectedly causing some students to slow their movements. Turning to the stage, there was a girl nervously sitting scanning the room. Julie Molina was a childhood friend with a passion for music, although it was locked away after she lost her mother.

“C’mon Julie.” You breathed stepping closer to the stage just as she gained the confidence to play. The pride was growing, but It altered with the sudden appearance of three very attractive guys playing alongside her.

“Whoa.” Nick spoke, stepping up beside you in complete surprise, “Julie’s playing again.”

You mutely replied, meeting the gaze of the blonde-haired drummer having the time of his life with energy so breathtaking. God, you had a thing for blonde guys. The drummer met your gaze with an electric gaze that you swore caused goosebumps.

“Of course it’s the blonde guy.” Nick snickered shoving his shoulder against your side as you were taller than the lacrosse player. The entire school crowded around the stage as everyone lit up more than they had in years. Music wasn’t like this anymore, and you actually enjoyed it.

“Damn they are good.” You breathed scanning the three guys boosting Julie into performing, “It’s about time.”

Nick nodded, “It’s nice to see she’s getting back to normal.”

“Go, Julie!” You shouted with cupped hands earning a surprised look from the Latina girl having the time of her life on stage. Julie hadn’t realized how much she missed performing until this moment where everyone connected to the music.

You, like everyone else, gasped when Julie walked right through the guy in the cutoff muscle tee with the arms of Adonis. Yet no matter how attractive the guitar players were, you couldn’t help but gaze at the blonde.

“What the hell?” Carrie’s preppy voice demanded with her closest backup dancer right beside her enjoying the show more than Carrie.

“Just let it go for now.” You told the dirty blonde haired girl pleading she let the moment be precisely how it should be. Not stained with jealous, toxic and pitiful feelings as it had also been with Carrie on the subject of Julie Molina.

“Seriously? Y/N, you’re my friend! My best guy friend! You should be on my side!” Carrie demanded crossing her arms as the song started to come to an end.

“Uh, no. I’m Nick’s friend, and you happen to be part of the package.” You snorted crossing your arms stretching the denim jacket with some paint marks. You found Carrie to be amusing but over the topmost of the time.

Ignoring the scoffs and words from the popular Wilson you took in the last bit of the song before they bowed and the band disappeared. Your eyebrows raised as the startled expression of Julie’s face while the school whispered among itself.

“Holograms?” Nick spoke, shaking his head as he joined his lacrosse friends in heading to the hallways of the school.

Catching the tail end of Julie getting back into the program, you waited for her, “Congratulations, Julie.”

“Thanks Y/N.” Julie murmured with a content smile that slowly faded as Flynn came into her view, wearing a sullen expression. Reading the room, you fled to your math class across the school, leaving the best friends alone.

Around the corner you found three guys lounging, guys from the performance which was odd given they were supposedly holograms. You could confront them, but if you were late Mr. Bryan would have your head, so you pushed it to the backburner.

“Stupid fucking calculus,” You muttered walking around the trio barely looking at them on your walk. Your shoes slapping the linoleum flooring the cool janitor had freshly waxed before the school year; he was a tap dancer too.

You could, however, feel the gaze on your retreating back.

“He was eyeing you up.” Reggie poked Alex as they watched you turn a corner from their view. Alex jolted out of his thoughts with a faint blush and feeling awkward that Luke had seen that.

“Oh shut up.” Alex rolled his eyes glancing to where you had left his view. Luke had a smile at the apparent crush Alex had on a guy in a denim jacket with paint splatter, “I’m dead. He’s not.”

“He might be dead inside.” Reggie supplied earning deadpan looks from his bandmates already done with his jokes, “Okay time to shut up.”

Even as Julie came around the corner startled at the sight of them as usual, you couldn’t leave the blonde drummer’s head.

Alex was excited with the new revelation in his life following playing The Orpheum; they were taking a small break. Julie and Luke were still writing songs, but Alex was exploring the city. He was humming when he bumped into a person. Standing close to his height was you. A guy that made his heart flutter and his palms sweat; it wasn’t like this at the beginning with Luke.

“Hey Alex.” You grinned amusedly as his cheeks matched the pink shirt he wore, “I was wondering when I would get to see you again.”

“Uh…you wanted…to see me?” Alex stuttered blinking at your sentence taken aback at the straightforwardness you had.

“It’s that not okay?” You trailed off. Your eyes then widened, “Oh god, you aren’t gay, are you.”

“No! Gay! Me!” Alex practically shouted frantically shaking his head further embarrassing himself in front of the way he was almost in love with as this point. You thought it was adorable, “I mean, yes, I am gay.”

“Cool. Wanna go out sometime?” You questioned nerves coating the sentence as you waited to hear his response. The adorable, shy smile appearing on the blonde drummer’s face before he hesitantly grabbed your hand.

“How about now?”

“I’d love to.” You replied tugging him after you with your hands intertwined just as much as your hearts were starting to. Alex would figure out a way to tell you about the whole ghost thing, but for today he wanted to be a regular guy on a date with a cool dude with a paint-splattered denim jacket.

Tag List (PLEASE SEND AN INBOX TO BE ADDED!)

I’m just tagging those who asked to be for Luke just to get this out there since there is no little fics for Alex 🥺

@safehavenmuse​ @siennanoelle01​ @whiterose291​ @mell-bell​ @blackhood5sos​ @ficrecsideblog​ @ifilwtmfc​ @deadpoolgirl23​ @crappy-unicorn​ @sunsetcurve-h​@elioelioeli0 @lovesanimals​ @popcrone818​ @lolychu​ @deepsleepnat @tenaciousperfectionunknown @aunicornmademedoit​ @just-a-writer-here​ @simp4reggie​

[sparklingdisneyprincess]

Having Amber know for weeks affected fans view of her and why it was not done well.

In the tags on a reblog of one of my posts, someone mentioned that the scene where Amber tells Mark she knew he was a hero was bad writing and I low-key agree. I plan on doing an analysis on that specific scene later, but today I wanted to get into why the way the writes handled that situation just wasn’t great.

Keeping in mind the context of who the writers are can somewhat explain the  thought process behind the decision. The creators of the comic book said themselves that's the comic book very often pokes fun at superhero stereotypes and tropes. One of the main stereotypes in superhero comic books is the main non-super female love interest being upset with the male superhero love interest for constantly flaking on her/being unavailable trope. In this trope the conflict is typically resolved when the female love interest is told or discovers in the moment usually by so accident that the male love interest was the superhero the whole time and the revelation is suddenly supposed to negate all the negative emotions that the female love interest was put through and everything just ends up fine. 

In today's time it wouldn't matter if he was a superhero or not. He still made her feel terrible, he still lied. I do think women today wouldn’t allow that to excuse all the hero’s behavior especially when it was evident that said behavior was hurting them. 

We know the writers like to poke fun at stereotypical superhero comic book tropes and plot points, and a good way to do that it to utilize trope subversion.

Trope subversion definition:

A subversion has two mandatory segments. First, the expectation is set up that something we have seen plenty of times before is coming, then that set-up is paid off with something else entirely. The set-up is a trope; the "something else" is the subversion.

Pure trope subversion vs Partial trope subversion:

Executing a “Pure trope subversion” means to follow the blueprint for “Trope subversion” to a tee. The writer sets up the story with essentially no hints that the outcome will be anything but traditional, and then proceeds to suddenly turn the outcome on it’s head in a way that was unanticipated. In the case of the “Partial trope subversion” it’s the opposite. The writer will drop subtle hints and clues teasing that the outcome will not be traditional for the trope. The hints must be subtle because the writers goal is still to trick the reader into believing that the traditional outcome will occur.

The main problem with them writing it as a pure trope subversion is that Amber ends up looking really bad and that people already didn’t like her as they wanted Eve to end up with Mark.

The set-up of the secret identity relationship trope leads us to believe that the female was mostly if not completely unaware that their male love interest is a hero. They often times are suspicious, but the dots don’t usually get the chance to connect before it’s all revealed. Going with that type of trope set-up leads the audience to believe that it’ll end like it always does. The girl will feel sorry for her actions and completely forgive the hero (even though I don’t find think that’s realistic), so instead of it going in that direction they subvert it. They have the female love interest (Amber) figure it out herself and silently not be in the dark for a period of time till it’s revealed that she knew. This is fine unless it’s written as a pure trope subversion because the traditional trope buildup includes anger over canceled plans, late arrivals, and feelings of neglect. That anger makes the female love interest look completely irrational in the case that she knew! (Though perhaps she was not truly angry over those things after she discovered the truth, but she was angry with him lying and couldn’t tell him that without saying she knew, so she expressed her anger through those situations instead of the main reason??? Hmm, I just thought of that and that’s an interesting theory for another time.) Anyways...

I found that the trope subversion making Amber look so bad to be a glaring issue that should have been weeded out in the writing room. They had to have known how it would be perceived. There’s no way they wouldn’t. The only logical reason they’d do this is if they plan to go through with what I suspected was happening at the beginning of the show, which would be that the writers are telling us that Amber is not Mark’s endgame and that she’s just taking up space until Mark and Eve eventually get together. The only problem with that theory is that they had Mark and Amber get back together at the end of the season which is another trope subversion. In the usual love triangle bait-and-switch trope the first female love interest the male superhero chooses gets booted out to make room for the second girl in the love triangle who he was apparently supposed to be with the whole time, however the writers didn’t got through with that trope. They instead subverted it (whether purposely or not) by having the original couple get back together and setting it up in a way that shows the couple potentially growing stronger, rather than him staying single and eventually ending up with female love interest number 2. The writers even took the subversion a step further by setting the outcome up in a way that showed potential for female love interests 1 and 2 to actually start a beautiful friendship instead of a rivalry. 

I’m honestly confused by what the writers wanted us to perceive. If they wanted us to root for Amber and Mark why set them up like that? To prove that they can move past it? But who will support the relationship after everybody now hates Amber? It is contradictory, so I’m very confused. I did write another post speculating that though Amber knew Mark was a hero, she did not know he was Invincible. The theory does shed more light on the situation and it resolves a lot of issues, but it still doesn’t negate the fact that the use of a pure trope subversion in this instance made Amber look really bad. Especially when people would sooner find ways to cancel her, rather than attempt to understand why she did it. To understand someone does not mean to agree with or support them, but it reminds you to humanize the other person, a value we are all owed. 

If the writers had not done a pure trope subversion and instead decided upon a partial trope subversion the fallout would not have been nearly as bad. If they had done a partial trope subversion they could’ve allowed Amber to be more patient in some of the later scenes, while showing that even though she’s patient, she’s also very upset. It would show more understanding on her part, however I think Amber was actually already understanding of his situation. What she did not understand was the lying and how it seemed that he didn’t even care enough to lie well. She was hurt that he didn’t trust her and during their relationship she was constantly questioning whether or not he was serious and if he actually cared about her and honestly we questioned it too as an audience! Imagine how frustrated she must’ve been those 5 months out of 6 when she didn’t know why he was lying to her. 

Amber and Mark didn’t have any relationship issues that I noticed aside from his secret identity. Their dynamic was interesting to watch in my opinion because Mark wasn’t phased by Ambers weird sense of humor and her having essentially no filter, in fact he embraced it and was also snarky in return. He liked that she has strong core beliefs and clearly enjoyed spending time with her. Even though Amber is sarcastic and pokes fun at Mark she finds his enthusiasm to be endearing and often laughs with and smiles at him. Heck, she even approached him first! They’re just two teenagers dating and it’s nothing too exciting like it’s usually portrayed in media. They text, go on dates, make out, enjoy the others presence without really needing to talk, it’s just nice normal dating stuff and it’s realistic and lowkey, and I really liked seeing it. Upon my first watch of the show I liked Amber and Mark together, but I didn’t see the chemistry. I think it’s because everything about their relationship needed to happen in the span of 8 episodes, but also that the reasons why their attracted to each other are very subtle. They don’t shove it in our faces, they just place it there and if you caught then you caught it, if you didn’t then you didn’t. It took me re-watching the episodes a second time to realize why Mark and Amber enjoy being with each other. The body language speaks volumes when you also pay attention to the little things that go on between them. I’ll probably make a whole other post about it because I think it’s something to talk about, but yeah.

In conclusion either the writers truly didn’t realize the outcome of their choice, the writers knew the outcome and did it on purpose to set the audience up to root for Eve and Mark, the writers knew and set it up in order to later on grow/redeem Amber and strengthen her and Mark’s relationship by having them over come it, or they didn’t think it’d be a big deal due to assuming that the trope subversion would take everyone by surprise and that we’d like it.

(If you made it to the end, I’m impressed cause this was long. Also, shoutout to the person who first brought up this topic in the tags. I didn’t realize I felt some kind of way until I started typing and couldn’t stop. It was honestly kind of cathartic😄 I didn’t tag you cause I didn’t know if you’d like that but, thanks for unintentionally giving me the motivation to write this!) 

[zrtranscripts]

Season 9, Mission 1: Cry For Help

Security breach detected

~

[alarm blares, crowd of soldiers rushes around in response]

GENERAL BAKARI: [over intercom] Dispatch is green, green, green. I repeat, this is General Bakari reporting from guard station 39. Security breach detected on my monitor. Access violation at east loading hangar. Full response dispatch is green, green, green.

[gate slams, crowd noise dissipates, alarm continues, GENERAL BAKARI approaches 555]

Sorry about the din, soldier. Hell of an alarm on the base. I know you're wondering why I asked you here. It's 555, isn't it? That nickname of yours. After your service number, I assume. 639555 is a bit of a mouthful.

I've noticed you're a quiet one, soldier. Always liked that about you. We haven't spoken much, but I haven't forgotten saving your squad from those mountain bandits. You owe me, and everyone says you're the honorable type. I need a favor. I want you to take something to the transmitter tower on the west side of Red Scorpion base. It's a portable data drive. I'll explain more when you're en route.

You know what security's like in the complex, soldier. If anyone gets caught out of place, it's shoot first, shoot second. Neither of us is cleared to access the tower, so this has to be done on the QT. I've set off a fake alarm to keep all the guards busy on the other side of Red Scorpion base. I'd go myself, 555, but I'm an old man with a bad leg, and the fake alert can't last.

I've reviewed your performance logs. You're faster than me. This is essential business, soldier. Trust me, lives are on the line. Head down that corridor toward the west side hangar door. I'll be on your comms set guiding you. We have to be fast, before someone clocks the false alarm. Run!

~

[alarm blares, drone whirs]

GENERAL BAKARI: Don't worry about the camera drone overhead, 555. I've commandeered it so I can follow you. Keep going through the storage bay past the metal crates. [running footsteps] Duck behind the crates, quickly!

FIRST SOLDIER: Three more storage bays to go.

SECOND SOLDIER: [speaks foreign language]

THIRD SOLDIER: Keep those eyes open, people.

GENERAL BAKARI: Six soldiers across the bay from you. Must be a stray patrol in the area. [a soldier whistles, running footsteps fade away] They're moving on. Keep going straight, soldier, quick sharp.

You know, 555, I'd rather not be doing this. Breaking the rules. Before I was here, I was in the UK for a long time. Had children there, of sorts. Jane and Tom. Adopted them after their parents died. I did my best to rear them. There was a lot of trial and error, I admit. They turned out difficult, disruptive. Got me in trouble with a local government, left me needing to flee the country.

This place seemed like the perfect escape. Isolated, secure, nothing unauthorized in or out. A bastion of routine willing to take an old soldier. At least, willing to take one with knowledge of certain UK research programs.

[sighs] It's been a sanctuary. I wish I could leave it undisturbed, but there's something here that needs to get out into the world. The thumb drive I've given you holds an encrypted message. Link it to the base's comm tower and the message will upload and send. The tower's just beyond the west hangar door outside the compound, but once you're there...

[gates rattle shut]

Damn! All the base exits are locking down. New orders from the head of security. The west hangar's been secured, 555. We need an alternative route. Stay calm! There's a fire exit near your position, needs to be locked manually. You can reach it before anyone else. Opens to the wrong part of the base. No choice. Down the stairs on your right, run!

~

[gate rattles open, alarm fades]

GENERAL BAKARI: That's it, soldier, you're out of the main compound and into the open. I've got my drone hovering nearby. Hell of a view, isn't it? Sand stretching off in every direction. It's easy to forget how alone we are out here, just a fence around a few gray buildings, surrounded by miles of empty nothing.

SOLDIER: Over here!

GENERAL BAKARI: Uh-oh.

SOLDIER: This way.

GENERAL BAKARI: That sounds like... Let me check my security feeds. Damn! Using the fire door triggered an automatic fire alert. The base knows someone's active in that area. Patrols are honing in. Look at that big greenhouse on your left, soldier. Guards are coming from that way. Turn right, 555. See the field of solar panels? Damn bright, aren't they? Reflecting sunlight like flares. Head towards them. The glare'll keep anyone from making visual contact. That's it, keep your eyes on the ground. There's dozens of those panels. Get lost in them.

Marvelous things, solar cells. Had to learn their workings to help Thomas with his homework once. Poor boy. Good at taking orders, but could be slow sometimes. Often ran afoul of bullies, needed someone to look after him.

SOLDIER: Triple check the area. Sweep for movement.

GENERAL BAKARI: The guards are searching the area you just left. Two squads. Stay low. If you can sneak across the solar field, the tower is nearby. [exosuits whir] Hell! The troops are using motion trackers. They've detected you. And those are fire team mechs, fully powered exosuits with heavy gun turrets. They're breaking out the anti-zom gear. That's not good.

It's okay, 555. One thing I learned from children: always be ready to improvise. Cut northeast across the solar field toward the stellar observatory. You know, the building that looks like a golf ball on its tee? You can lose the soldiers there. They won't fire on you in the panels. Go!

~

GENERAL BAKARI: That's it, soldier. You're in the observatory foyer. You'll see a steel staircase leading up to a second floor balcony. Take it now. [footsteps on stairs] They won't be able to fit the exosuits through the observatory entrance. You know how strict Red Scorpion base is about protecting equipment. That just leaves the troops on foot. [soldiers shout]

All right, 555. You've crested the stairwell. The troops are crowding through the entrance behind you. Throw a grenade. Aim it for the middle of the stairs. Trust me, do it! [grenade pin clinks, grenade explodes, soldiers scream, stairs shatter] Good job! The explosion scrapped the stairs. The soldiers are scattering. That'll buy time. Head along the balcony through the double doors ahead.

[doors open and close] I've had to pull my drone back, 555. The soldiers might have noticed it. It's funny, most of them don't even know what they're really protecting here, just following orders. You should be in a large domed room with a mounted telescope in the middle. Go to the leftmost control panel and hit the green switches. [switches click] The switches will open up the observatory dome. [walls roll open] Head to the seam where the dome walls are parting.

SOLDIER: Stop them! [other soldiers shout]

GENERAL BAKARI: Damn! The guards found another stairwell. Get right up to the opening, 555, and look down over the edge. You'll see the observatory building beneath you. There's a metal maintenance gantry wrapped around it. Jump down onto the gantry, go! [boots clatter on gantry] You're down, good. The gantry spirals around the building. Follow it to the ground. You'll end up a short way north of the transmitter tower. The soldiers have reached the telescope room. They'll be coming down after you. Get down the gantry, then bolt south. You'll see the tower. Fast as you can, go!

~

GENERAL BAKARI: I've got you on camera, soldier. You're nearly there. See the transmitter up ahead? Looks like a huge radio antenna, doesn't it? You've performed incredibly today, 555. I want you to know this was essential. We are reaching out for help. Red Scorpion base is keeping secrets that must get out.

All right, you're at the tower. There's a touch screen on its base. Plug in the thumb drive, then hit upload. [computer beeps] You're probably wondering where this message is going, 555. I admit I'd rather not be reaching out to the UK, but I don't have anywhere else to turn.

It was my father who first got me into the service. He taught me what it means to be a soldier. You've got to have a code. Country, honor, family, hope. A soldier fights for all these things with whatever means they have. Damn fool wouldn't give up his cigars. Cancer got him, throat and lungs. Pneumonia finished him off. The way he just withered... He wouldn't have been proud. He didn't go out in uniform

[computer beeps] Ah, message uploading. It'll take a few minutes to send. Don't worry, soldier, I have an extraction planned for you. [soldiers shout, fire guns] The guards are catching up. Head to the southeast corner of the perimeter fence, fast as you can. I can get you out from there. Run!

~

GENERAL BAKARI: That's the way, 555. Keep following the barbed wire fence straight forward. I have a lot of respect for you, 555. You do your uniform proud. It means something special, a uniform. My father taught me that. It means being part of a whole greater than yourself, joining others to be strong enough to serve. You've served well, soldier, but I couldn't let them catch you near the transmitter. They might have found the message.

[over intercom] Attention, this is General Bakari, level three security adjunct. Emergency update to follow.

[over headset] I hope you understand, 555. Once the message is broadcast, the drive will wipe the data logs. Your mission is complete, and that's what really matters.

[over intercom] Source of security breach confirmed as soldier 63955, currently at perimeter fence southeast corner. Target is absconding with base secrets.

[alarm blares, soldiers shout]

[over headset] Put the gun down, soldier. You don't want to fight your own. It's okay to run, it'll look more convincing. I know this is a hard pill to swallow, but you're going out a hero. That message could save countless lives. We may not have ended on good terms, especially Janine and me, but I know the De Lucas well. They won't turn down a cry for help when there are innocents at stake.

[over intercom] 63955 is confirmed armed and extremely dangerous. Terminate on sight.

[over headset] That corner's a dead end, 555. Nowhere to go. I salute you, soldier. You've done our countries proud.

[armed patrol approaches]

SOLDIER: Open fire.

[gunfire]

GENERAL BAKARI: [very faint, over intercom] This is Bakari. Target down. Security breach resolved. All troops return to patrol positions. Repeat, return to patrol positions.

AUTOMATED VOICE: Data upload complete. Message tag: to Abel Township. Beginning transmission. Beginning transmission. Beginning transmission...

~

[darkspellmaster]

Sex and the Castlevania series

So you may have all heard by now that the new seasons of Castlevania will have more gore and sex involved in the series. And for me at least this is a bit of a surprise. Not because Castlevania has not had sex as part of its storyline, (how else are the Belmonts going to be born), nor that nudity would be shown (see the Succubus for example) but in how it’s going to be used. 

As a player of the games, one thing has always stood out to me about the Castlevania series and the idea of fan service and sexuality and sex itself, it’s never used as a means of just titillation. There’s always a meaning behind it. And the reviews have me wondering if this is going to still be the case with the show, or is it going to be used as an “Oooh look how edgy we’re being this season.” because that’s not what sex in Castlevania is about. 

Sex, or the idea of intimacy between two romantic partners, has always been at the heart of the backstory of the Castlevania series. From the outset there’s has always been a sense of family and love and devotion in Castlevania. Even with the Arcade edition of Haunted Castle in 1988, the addition to the story of Simon was that he was newly married to his bride Selena, who was taken by Dracula. Years later Selena and the Mysterious Woman in Simon’s Quest II were mixed to create Linda Entwhistle who was Simon’s girlfriend in the book series based on the games. 

Years later during the more story-driven games that came out, sexuality and intimacy became part of the game in how it was presented. Namely the use of sex as a way to pull the innocents to the darkness ala the Vampire Brides in the original Dracula, and the loss of innocence (as with Lucy in the novel) and the idea of devotional love that conquers that darkness and temptation. 

In this sense, we’re seeing the use of the deadly sin of Lust acting as a temptation to the heroes as a means of making them be killed for their wanton desires. Yet love and intimacy also plays a huge part in fixing issues in the story and leading to tragic and happy endings. 

So with that in mind, I want to do a quick walkthrough of the way sex and love is used in these games and discuss why the idea of sex and violence shouldn’t be on the table with Castlevania as a metaphor as much. 

Let’s start with the timeline, rather than the game order because it makes more sense that way. 

The story of the Belmont Clan and Dracula are intertwined for all time, this is just a fact of the matter and not just some random accident. And Love plays a huge part in this story as the cannon story stands right now. Prior to this, Castlevania was a fun romp through the idea of beating up Old Universal Monster Movie characters (every one of the main bosses in the first game was tied to some form of Universal Horror Monster and it even has some Hammer Horror connections as well). But with the growth of the franchise, it was clear that a story needed to be told, so over the years, that story had evolved until in the early 2000s we got the very first story in the Belmont vs Dracula timeline in the form of Lament of Innocence. 

Now Lament isn’t just a story about the loss for Leon and his world view that there is nothing lurking in the dark. It’s the loss of friendship and of love, but also it’s the reinstatement of belief of the good of people and that there are those that can and will stand up to the darkness and that even as one loses everything, you don’t have to lose your soul in the processes. 

But let me start from the beginning in this case. Leon Belmont was a knight templar in the crusade. He was best friends with and cared deeply about his fellow Crusader Mathias Cronqvist. Now Mathias was a man of science and of learning and of a lot of things, he wasn’t a fighter the same way Leon was, so he was more into spells and magics, something that his family kept mostly from the Church at the time. 

Both Mathias and Leon were in love and devoted to the women that they felt deeply for, that being Leon’s fiance Sara Trantoul, and Mathias’s wife Elisabetha. Leon’s devotion to Sara was known by everyone, especially Mathias and this is very important since it’s Leon’s Love of Sara that drives him to abandon his cause with the Crusades and pretty much take up Vampire Killing for the rest of his life, training his children and their descendants, on how to defeat the man that took that love from him. 

Mathias, on the other hand, was emotionally devoted to Elisabetha, and, given the way he speaks of her, it’s clear that the devotion and love was returned. So much so that his love for her basically poisoned his mind and made him into the monster that would later come to regret his actions. As it was, Elisabetha died due to illness and Mathias abandoned the Crusades, became ill, and holed up in his home unable to be reached by any of his friends, Leon and Sara. It’s only when he learned that Sara was in danger from Walter Bernhard that he was able to get out of bed and warn his friend Leon of the danger, but, by then, it was too late and Sara was captured and taken to Walter’s castle. 

Now one of the huge parts of the story of Lament is is that it deals with devotion, honor, and the choices we make based on love. So while Leon is trying to save Sara he meets up with an alchemist, Rinaldo, who had lost his daughter Justine to Walter and was unable to save her. 

Leon renounces everything; his baron title, his home, his lands just so he can cast off his duty to go and save Sara. His love for her runs that deep that he’s willing to go into the Castle of Walter with just a sword and prayer and god save anyone that gets in his way. Rinaldo is far more of a pragmatic person and in this way juxtaposes Leon’s love of Sara.  Whereas Leon is far more optimistic about his chances against Walter, Rinaldo knows the bitter truth, that Sara has no hope of making it out of the castle and not becoming a vampire in the process. 

This becomes an important part of Leon’s story as he traverses the castle to try to locate Sara and comes across a number of characters that play a part in the story and the idea of love. Medusa, though not a sexualized being in this one, mentions that the whip he’s using is far more powerful than that of the version that Rinaldo used to save his daughter. 

Now, why is that? One could speculate that Rinaldo lacked the will to save his child, or that he knew the truth and couldn’t bear to have to take his daughter’s life. His feelings, however, whatever they lacked, caused the Whip to fail in what it needed to do, and thus he was forced to kill his own daughter. Leon on the other side of things has nothing but the will and drive to save Sara, and his love for her and desire to bring her home urges him on. This love, this need to help her, is what makes that whip work. That need for protecting something, it’s why Trevor needed to find Sypha and Alucard to eventually come to a reason why the Vampire Killer came to him. 

Joachim is an interesting one in regard to love in this game and how it is presented. Walter seduced the young man with the idea of immortality and when Joachim gained his Vampire state he realized that Walter was above him and rebelled. This lead to Walter putting him in captivity and driving him mad, for his own amusement. But how is this love? It’s a very dangerous and bad form of it, as Joachim both loathes Walter but also seems obsessed with him. He hates him with all he is, and at the same time wants to overpower and control him. This same sort of hate and love is what drives Mathias as well in his story. 

Then there’s the Succubus, the one character that really hammers in the idea of desire/Sex and love in this game and the differences between them. So the Succubus in Lament is an actual boss, vs. just being an enemy. She has no name, but her role is critical in understanding what’s going on in Walter’s castle. This succubus had previously disguised herself as Justine for Rinaldo, allowing him to lower his guard and possibly may have harmed him in the process. His rejection of this form of his daughter may have to lead him to make some critical mistakes. Mistakes that Leon doesn’t seem to make. Namely, after a bit, he sees through the Succubus using Sara’s form to trick him. 

Leon recognizes that the woman isn’t Sara based on her actions and way of moving, showing that though his connection with Sara he can’t be tricked and lured in by kind words from a monster. This is the opposite of what happened to Mathias. 

As I said there’s a tragedy to the love and sex in this game and the use of it. Walter luring Justine away with his beauty and her desire for him lead to her downfall, which leads us into Mathias. (We will circle back to Leon, I promise.) For Mathias Elisabetha was his whole world and when she died while he was away it leads him to reject all of his desires for hope and love and feelings. He lost his way and decided to renounce God and live as an immortal as revenge for God taking away his beloved wife. In order to get what he needed, he made a deal with Death, and the two decided to use Sara as bait for Walter and Leon was to be his sword. Mathias’s own devotion to Leon, and some of his humanity as well, shows up later in the story where he sympathizes and connects with Leon in regard to his own loss. Showing that they’re the same and that Leon should join him, which Leon rejects. 

This moment in the game is interesting because by this point in the story Leon has learned about how to defeat Walter and that Sara was bitten. In a lot of Vampire lore, biting is used as a way to indicate, in some cases, a sexual desire or a need that is fulfilled in a more intimate way. After all the neck is a body part that is known for being very much something that can be used for erotic aspects of lovemaking or showing desire. Which brings us back to the fact that Sara didn’t want to be turned. This wasn’t a choice on her part, unlike Joachim, and it leads to her rejecting the idea of wanting to remain a vampire. She desires death over having to be a monster and leads to Leon, at first vehemently rejecting Rinaldo’s order to kill her, and then accepting Sara’s desires to become one with the whip. 

It’s an important moment because it shows that Leon is willing to ignore his own desires for that of Sara’s, again showing his selflessness in putting what she wants ahead of his own, showing his love and devotion in a more adult and complex way. Sara’s own love is what fuels that whip and her need to protect Leon are the quintessential factors of  Love (Leon) to the opposing one of Lust (Walter) and in this case. 

Trevor and Sypha come next in regard to the issue of love and sex and while the show is clearly going to be showing more of their romantic escapades, it should be noted that the game doesn’t really make much mention of it at first, as Sypha in the game has a bit of a love triangle going on with Grant and Trevor as the main choices, although it seems like she only had eyes for Trevor. We know the two eventually had children but Sex, or lust, in the game never was a thing. Their devotion to each other in the show is telling, and in other games, both do pair up frequently, even in Judgement there’s an underlying tension between them. 

It’s of interest that in the show, we get to see the two of them acting as a couple, much like how Lisa and Dracula were shown acting like a couple. But actual sexual acts are, as with Lisa and Dracula, put on the side and in the case of Trevor and Sypha it’s only hinted at and not a full on display. Which falls into the same idea that most Castlevania games seem to have, the hero’s love interest typically is not shown engaging in sexual activity, or rather, only after bad things happen. 

I’ll jump to Richter and Annette, because that seems to be the next one in regard to how sexuality is used heavily in Castlevania. So in Rondo of blood, Dracula has Shaft take Annette since she is engaged to Richter Belmont. In a scene with him during the game, Annette threatens to take her own life rather than have relations with Dracula who intends to drink her and turn her into his bride. For the original version there’s a dramatic moment where Annette is talking to Dracula and he tries to lure her into becoming immortal to stay with him. She says she will not fall in such a cheap manner, the implications there are more along the lines of sex and him taking her physically from her fiance Richter. In the PSP game, if you take too long or go the wrong route you get the bad end where Annette has been transformed into a vampire and is placed in an overtly sexual outfit, down to a thong and bodice. Her hair goes down rather than the updo she has when she’s not turned and she very certainly is meant to be a temptress and a signal that Richter failed to save her from the deviousness of the vampire. 

This idea of sex, or the sexual, being used as a temptation and a devious thing in Castlevania has been around for a long time. However for every moment of some devious succubus being in the way of the hero, there’s always a moment of love that shows the positive side of it’s nature vs. the lustful side. Again, looking at Annette and Richter we get a moment when he frees her of her embracing him and happy that he’s there to be with her. That she knew he would come and that everything will be okay. 

Sexuality plays a heavy role in tempting Gabriel Belmont in his game, Lords of Shadow. During the game, as he tries to get to see his dead wife with a specialized mask. During the game he meets the Vampire Carmilla who offers to him a chance to become a vampire and enjoy the idea of a lustful existence. Every inch of her in the game is designed to pretty much be a temptress and lure Gabriel from his path to finding a way to see his dead wife. Yet it’s in this moment that we get to see how deeply his affection for his wife runs as Gabriel rejects this offer even more violently than with other Lords of Shadow that he’s faced. It’s a pretty strong moment for him as a character, and shows a deeper feeling in regard to his connection to his late wife. 

The reason I bring all these moments up is because even in the games where there’s hints of the sexual, as Vampires now are associated with Lust and temptation, the show uses sex as a means of connecting it with violence and some pretty dark ideas. Which contradicts the idea of how Love is the most powerful thing to defeat the darkness in Castlevania. 

Take Hector’s story right now. In the show we have his sexual encounter with Lenore which is contrasted with Isaac’s battle with Legion. The idea here is to show that both Isaac and Hector are being used, one being brought to his knees via false affection and entrapment by a woman who doesn’t love him and is using him as her own pet, who later slips the ring on him to collar him as she would a dog or cat. While the Isaac, even though he’s doing a good thing in defeating Legion (and i’m still damn sure that woman is Death in a false form) was used to destroy the wizard in the tower, releasing the village. In both cases manipulation was used in order for the opposing party to achieve their goal. 

For Lenore it was to get Hector to trust her enough to trap him and use him in her own way and for her own needs. She controls him now, making it impossible for him to escape from them, or so we are told to believe. On the other hand you have Isaac who, while used, acknowledges that he was so, accepts it, but is free to move on as the use of him wasn’t against his will, nor was it something changing him down. Rather the manipulation was used to not only stop something terrible, but also show him that there were others out there that were worth saving. Thus, in the poster, we have Lenore holding onto a bound and trapped Hector, and Isaac not quiet twisted up in thorns. 

The use of violence that we see shows that there’s a thin line in this world causing people to become entrapped by their own desires. For Isaac it was his revenge, for Hector it was his need to feel human again. Which brings us to the point where Rosaly comes into play in regard to Hector’s story. In Hector’s game Curse of Darkness, we see how his life drastically changed when he and she connect. From where he was in the story she brought the idea of hope and light to him, vs the darker aspects in the game that hint at someone who was cursed to believe he is a monster. In this way, I hope that if they bring in Rosaly we can see the opposition to Lenore’s way of using him for gratification and chaining him to her. 

On the other side of things, and something a bit easier to get at, is the idea of  trauma through the use of sex as shown in Alucard’s story. In the show we get to see Trevor and Sypha in bed, but it’s clear what’s happened there and the idea is that it’s less about their sexual encounters with one another than about their growth as a couple and how they interact outside of the bedroom and how they show love for one another. We see also they have a sense of betrayal when dealing with the Judge and the idea of Sypha’s world going from it just being fun and doing the right thing, to realizing the world is not black and white, and that not all people are good. 

In Alucard’s case we see the idea of the twins (I’m using the term as it’s easier for me to call them this, it doesn’t mean I’m saying they are twins just that they look alike) as filling a void and clearly being a representation of Trevor and Sypha (They even share the first initial of their names) that Alucard is looking for. Through their interactions we see that Alucard is, like Sypha in the other town, trusting them regardless of how many red flags they raise. The whole issue comes to a head when, after sharing a lot of things with them, Alucard is seduced by the two while trying to sleep. During the scene, as with Hector and Isaac, we see the sex as being connected to the violence of the battle that Sypha, Trevor and Germain get into. The twins end up wrapping Alucard in iron rings, much like Hector is imprisoned by Lenore with the ring, so to is Alucard. We see then that like Hector he’s betrayed and harmed by the emotional aspect of the betrayal. But unlike Hector who feels trapped, Alucard now feels anger at those that hurt him. 

The sexual act leads into the idea of him no longer trusting humans, especially with his heart. This of course is being used to drive Alucard to decide to lock himself back to sleep until the time of Richter and Maria (the warrior and the Mage), three hundred years later. The idea here is that the physical act of it is being used to show people being harmed in vulnerable states, and that sex is used as a tool to harm or destroy others just as certain acts of violence can. 

Yet, part of the story line of Alucard is that Maria chooses to go after him even after he says he’s cursed. Again, like Hector and Rosaly, showing that love is more of a counter to the anger and hate that seem to embolden those that would do bad in the world of Castlevania. So then, I must ask, why is the sex in the show being used not as it should be, showing how love can change someone, but rather as a connector to the violence. That wasn’t the idea of Castlevania, so I have to wonder what Warren is driving at here. 

[mickeysmyheart]

I feel like with shameless storylines there is always “two sides to a story” like for example everyone was mad about that 87% thing with Ian but I feel like he didn’t want to hurt Mickey he just wanted to be honest with his husband but if you look at it from mickeys POV it seems like Ian doesn’t love Mickey as much as Mickey thought he did(or Mickey thought he had Ian’s whole heart and he realized he didn’t). I think Ian just wanted to tell him that ofc he loves him more than anything but he was with other people and he grew to like them and ofc they would have a small part of his heart which I think is only human. That being said Even after all of that I think that 87% thing was poorly written and I don’t think it should have been in the show but since it was that’s how I viewed it(sorry this was so long this Must be annoying to read long anons)😭When thinking about shameless storylines and things I feel like people have to go into every episode extremely open minded and willing to see things from different characters POV because sometimes the writers write things very poorly and that leads to storylines being poorly executed well anyways I’m sorry this was so long I just talk a lot😭

don’t apologize!! i agree with you.

it was poorly written and the writers are clearly fucking lazy when it comes to ian/mickey but with us knowing this, why can’t people just take it for what it was?? instead everyone is complaining and coming to me to hate on ian for it like mickey didn’t say something even fucking worse. 

ian saying that comment was literally him pulling a number out of his ass. he obviously loves mickey with his whole heart but he was in significant other relationships when he wasn’t with mickey.... its normal to still hold affection for your exes, especially if they didn’t all end badly. 

mickey, not being in any other relationship other than with ian, obviously was going to be hurt by the comment because he doesn’t feel that same way. he has nobody else to hold affection for, it’s always been and always will be ian. but that doesn’t mean that it hasn’t always been and always will be mickey for ian too.

there’s all this drama and complaining over these throwaway comments like at the end of the day, the episode was to show us how during a pandemic 50% of newlyweds split up but THEY DIDN’T. they showed us how even though they said shitty things to each other, they came back home to resolve it in the way they know how to.

i agree with everyones complaining about those lines but like ........ its been a decade of the writers/producers/etc giving us the bare fucking minimum when it comes to ian and mickey. yall say you’re not surprised but then continue to complain... i’m sorry but like its not the worst thing we’ve ever seen of them fighting lol. it’s the last season, we were SO close to never getting them back together before noel signed back on cause of cam, so like i just wanna enjoy it, even if shit pisses me off lol 

[pedanticat]

Five Things I want in a new Sonic Cartoon

When it comes to animated series featuring Sonic, it has been hit or miss. There have been series that are loved, series that are hated and series that are very divisive among the fanbase for a number of reasons. However, while I did grow up watching Sonic X, I truly grew to love the Sonic franchise when I discovered the Archie Sonic comics about six years ago. While I haven’t read every single issue of the series, the majority of what I read shaped the way of how I viewed the franchise and its characters with me using the comics as an example for how I believed  the characters and the game series should be handled. A series about compelling heroes and villains with layers them instead of them being them base selves, thrill-seeking, hair raising stakes and more. Now that’s not to say I don’t mind the series being goofy, after all, I really enjoyed the Sonic Boom comics and to a lesser extent the tv show, but I just have a view over how things involving the characters and franchise as a whole should be handled, especially in an animated series. So, in no particular order, these are the five things I would want in a new Sonic animated series!

Number Five: Evil Eggman

Ever since Sonic X, animated series of Sonic have opted for Eggman having a frenemy relationship with Sonic instead of the two being bitter enemies. While I do know they are Eggman fans who hate this more friendly version of Eggman, I don’t mind it too much since it does allow for some fun interactions between Eggman and Sonic, especially in Sonic Boom. However, I find evil versions of Eggman such as his Archie and IDW counterparts to be more enjoyable since underneath his goofy nature, he’s a monster who takes great joy in causing mayhem and misery. Not beating Sonic and his friends in a soccer game misery. I’m talking about putting chips into organic soldiers’ brains that will explode if they disobey him and turning people into robot zombies’ level of misery! Eggman isn’t a good guy nor does he have any good qualities. He’s a sadistic genius who shows no remorse and commits horrible atrocities with a smile on his face and that is what makes him both a great character and villain. Even when he has to team up with Sonic and the gang, he’s just waiting for the first moment to betray them. This version of Eggman comes off as a legitimate threat and can be downright scary due to how sadistic he is with him providing an actual challenge for Sonic and his friends. I don’t know why they’ve opted to make Eggman more of a joke in the last two shows and not make him an actual threat, but I would like to have a series with a sadistic and threatening version of the mad doctor.

Number Four: Action-oriented half-hour series

Now while I don’t have anything against 11-minute episode segments, the Sonic series as a whole is all about adventure and action and I think the nature of the series is what makes it perfect for a half hour series. Heck, even Sega must realize that considering how half of the Sonic cartoons are half hour shows. Furthermore, I want it to be like Sonic X and SatAM in which there’s an overarching storyline with twists and turns as all the episodes actually lead up to somewhere. I know there’s already a bunch of those kinds of shows currently airing, which you can expect me to talk about in another video, but Sonic really lends itself to that kind of storytelling because of the kind of series it is. It would also allow to give more character’s times to shine, explore the world and keep viewers engage since they would want to see what happens next in the show.

Number Three: Utilizing Sonic Characters

The Sonic franchise have a very large roster of characters with the roster only growing as the years have gone on. However, there are many characters from the games who have never made an animated debut which I think is a huge shame. Sure, a lot of them have been better utilized in the comics such as the Hooligans, Blaze and Silver, but I think having them be a part of an animated series would provide many interesting story possibilities along with fun interactions and getting more exposure. For instance, Eggman isn’t the only villain from the Sonic series yet he’s the only villain from the games that have ever been used in the Sonic cartoons. Now while I don’t have anything against new original villains being made for the shows, I think that a new Sonic series should use other villains from the franchise such as the Hooligans and the Babylon Rouges since it would serve as a nice change of pace of always having Eggman be the antagonist while also giving underutilize characters time in the spotlight. It certainly would have made more sense for Sonic speed rival who rode a hoverboard in season 2 of Boom to be Jet the Hawk instead of making a discount version of the character. 

I’ve also read many stories involving the Hooligans and I found them be an enjoyable gang of villains due to their dynamic. So I would honestly love to see them make the jump from the games to an animated series. Fun fact, originally, I thought they were characters exclusive to the comics until I learned years later that they actually originate from the games. So yeah, characters like the Hooligans really do need to be used more since the fact that I didn’t even know they originated from the games demonstrates how poorly Sega treats a lot of their character. Furthermore, having those characters along with others like Silver, Blaze and Marine, yes I like Marine, sue me, appearing in an animated series would allow for them to be fleshed out more and given more character since nothing of note have been done with them in the games for years.

Number Two: Exploring Sonic World

Despite many games taking place on Sonic world, very little is actually known about it and Sega don’t seem to have any interest in properly exploring it any of the games. They’ll flesh out more of the human world then they will with Mobius. Yes, I know it’s not officially called Mobius, but I rather I call it that instead of saying Sonic World all the time. The only times Mobius have actually been fleshed out are in SatAM, Underground, and the Archie Sonic comics. I think it would be a nice change of pace to actually explore Mobius in an animated series with viewers actually getting to know about the culture and lifestyle of the planet, all the different types of Mobians that reside on it and just make the overall world of Sonic feel more alive and lived in. I want to have that kind of world in a Sonic series instead of the characters traveling to our world or having them stay on a primary spot in the world and constantly reuse the same locations over and over again.  

Number One: Proper Characterization

If there’s one thing every Sonic fan can agree on, it’s that they hate it whenever a character they love is written very poorly. Now this is a bit tricky since everyone does have a personal preference for how a character, they love should but the best way to avoid that is to not flanderize the characters and have them act in a way that makes sense with the character. Like Amy having a crush on Sonic is fine and that trait has provided many funny moments in the comics and shows. However, if Amy is Sonic crazy like she was in Sonic X, that may end up annoying a lot of fans. Likewise, despite taking place in an alternate universe, Knuckles was made into a total idiot in the Boom series which many people hated since while Knuckles may not be the smartest guy in the series, he’s not an idiot. For me, I just want the characters to actually be recognizable for who they are with them being written in a way that makes sense for their characters while even adding layers to their character that aren’t often explored.