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What Season 6 did to Nick AND June

Yeah, I’m never going to get over this. Now in the past when I’ve not been entirely happy with series finales I’ve been somewhat soothed by time to ponder and follow up press from Show runners and cast that had something constructive and generous to offer. Here, we received the opposite and as a result I’ve been left to stew in the delicious juices of my hatred and resentment.

After all of the push back, it’s pretty evident that Blaine was unjustly dealt with in season 6, particularly in comparison to the rest of the Gilead Four. Not only that, but there’s a resounding consensus that Nick and June’s relationship was callously spat on and set on fire with an almost gleeful hatred. Last but not least, June now seems to look unsympathetic and opportunistic….and THAT is not her fucking fault. Please, let me elaborate.

The writers had several options to chose from to cast as the villain but they found Blaine the most convenient to go with for a multitude of reasons. They also wanted to make a political statement, so there you go. They weren’t really concerned with all the rest of the “sense of justice”, “out of character” element because they could always fall back on deniability and off screen character history. Unfortunately the audience WAS concerned with these things and have considered the show runners dismissal of their opinion as let’s say, quite rude. They’ve unfortunately chosen to paint Serena in a positive light and, cast the core message of the show about motherhood instead of female autonomy, which undermines basically all of it’s feminist values. Essentially it simply re enforced Fred Waterford’s philosophy about women’s greatest purpose being as a walking womb. Yet they somehow managed to undermine their OWN themes of mother hood by having June running around Gilead constantly bleating about Hannah, while treating Holly like an inconvenient after thought.

They missed their chance to utilise that love triangle as a demonstration of a woman having the power to choose in her personal relationships, by determining Nicks actions be the deciding factor. Honestly, I’ve seen more autonomy demonstrated in the infamous Joey / Pacey / Dawson love triangle in Dawson’s Creek. I mean FFS….DAWSON’S CREEK! Because American writers are so stifled by traditionalist theological values, the idea of a woman actually leaving her husband because she dared to fall in love with someone else, remained absolutely inconceivable. The writers themselves commented “I don’t think the audience would like it if she just abandoned her husband”, yes that’s right ”abandoned”, like leaving him was tantamount to orphaning a helpless child. Like men are utterly incapable of looking after themselves, and women should feel guilty over wanting to end their marriage. It’s made no less offensive by the fact that Luke walked out on his wife and it was written off as “people change”. Once again, OK for a man, but not for a woman. Got it. I felt SO failed as a woman, by the moralistic, traditionalist messaging that occurred, I find it difficult to articulate. In order for the writers to disassemble the idea of Nick and June as the manifestation of an autonomous choice of collective rebellion, and jam these traditionalist ideals back into place, they had to flip both Nick and Luke’s character. They had to violate a text, destroy narrative symbolism and change the very core nature of characters. I’m wholly unimpressed that these writers idea of true love is that some man “waited for her”, like she OWES him something. It’s utterly archaic. Seems almost stalkerish considering the fact that the protagonist actually asked him not to, and yet here we are being told that it’s some sort of demonstration of undying love. Must be the same person who thinks that June and Serena’s relationship is a “love story”.

I personally RESENT being told by both these writers, and by default the fans that latched onto this ridiculous bullshit, that I have “romanticized” a “Nazi”, when the writers themselves built the character to play the dark romantic hero for 5 seasons, and then suddenly changed their minds. It’s insulting and worse still, it makes fans a target. No matter how many times these writers try to whack Blaine with this inflammatory label, historical fact dictates that it still doesn’t make it fucking so. They previously ran promos for him being a part of Mayday, made continual distinctions between Blaine and the rest of Gilead’s foul regime and then suddenly decided to run around screeching that he was an unholy, irredeemable war criminal. They can fuck right off with that 180 self righteous, holier than thou, bullshit.

Everyone was all on board for 4 09 and 4 10. By the way, don’t think that I don’t remember those very same little Nick haters that posted comments relenting past hatreds during season 4, who are now proudly crowing about how “they always knew he was a war criminal and a fascist”, because I see you. Those writers aren’t fooling anyone; if it looks like a take back, and it smells like a take back….then it fucking is. There’s a REASON that the majority of the audience FEELS betrayed and no whining or mealy mouthed justifications by the writers, to their little press besties is going to fix it and magically make it go away. I also refuse to sit back and have their finger wagged at me for wanting the candy they dangled in front of me for 5 seasons, or at the very least adherence to the original source material. They can fuck right off with that shit too. These writers are the ones that violated a text and if they’re getting a mouthful about it, they should just fucking own it instead of acting like self righteous little brats.

Daisy’s / Holly’s story line has essentially been removed from The Testaments TV series and the timeline shortened. It honestly feels like the audience is constantly having to point out to the writers, that they are not fucking idiots, that they don’t have amnesia, that they read the books and that they KNOW when writers are violating a text. This whole branch of the family feels like it’s been treated as if it was simply so inconvenient to these writers that it needed to be erased. As season 6 concluded, Holly was hand balled to her names sake, while June skipped off to rescue the family favourite.

The way that both Blaine and his relationship with Osborn were disposed of in The Handmaids Tale felt nothing short of personal. The writers weren’t satisfied with splitting the pair apart permanently, they wanted to do it brutally, they wanted to devalue their previous connection, they wanted to strip Blaine of his parentage and last but not least, have the love of his life kill him. Even his final words made it sound as though he’d had a gazillion chances to be with her and his daughter, and had greedily chosen power instead. It was like watching the writers beat Blaine to death and then gleefully kick his corpse.

It wasn’t just Blaine that Season 6’s schizophrenic manoeuvrings touched, it was many others including June. I’ve been hearing a lot of rumblings about June lately, and coincidently they started this season. They’ve not been flattering, frankly some of them have been a bit disturbing. I’d argue that if Blaine’s character wasn’t consistent this season, then neither was hers, particularly when it comes to the context of their relationship. June knows what it’s like to survive in Gilead, previous seasons have depicted her doing awful shit to either stay alive or for her cause. I don’t believe this character would suddenly develop some sense of self righteousness that would make her deaf to any of Blaine’s reasoning; including the fact that he told his demented father in law the girls at Jezebels had nothing to do with it, and that he had no idea he would kill them. Let’s just consider what happened with Eden and what went down at the Jezebels in season 4. June KNOWS what the deal is in Gilead. Audience’s should have no doubt that the writers changed the tone of their interactions, the nature of their relationship and as such they changed the character of both Nick AND June within it’s context. While it was not their aim to make her look unsympathetic, because of their rampant tampering in their relationship, it was an inevitable result. I’m actually surprised at audience members who DID readily gobble this up as sounding legit for their characters. Some of these people were actual critics who should have recognized a snack bucket of deep fried garbage when they saw it, but instead they chowed down on it, and then swore up and down they’d just eaten a gourmet 3 courser.

They’d attempted to paint Blaine as a villain but because of the sum of his past actions, most didn’t buy it and it simply made him look abandoned and June opportunistic. The fact is you can’t say that Blaine is not a liar and still say that June is heartless. If you want to say the story line is false for one, then by default it’s false for both. Changing Nicks character changes the genuine nature of Nick and June’s interactions and therefore changes her personality entirely in the context of their relationship. Essentially, if Nicks character construct is false, then in the context of their relationship, so is hers.….you don’t get to have just half of the pie. These writers wanted half and it was waaaaay too late, he was intrinsically tied to her as they’d painted them as soul mates from the very beginning. They’d spent seasons and seasons building their bond, demonstrating the constant tether that held them together despite the regime. Then they just simply wanted to get away with cutting it off brutally. These writers created an aura of timelessness between them, so despite their best attempts to sever them later, they remained tied together and the inevitable consequence was that when they attempted to drag him down, she went with him.

This eternal connection is something the season 6 writers never understood, and it’s why they thought they could simply decimate Blaine’s character, dispose of him and walk away with their protagonist intact. I want to be crystal clear to those who think that June is now some horrible ungrateful wench….these writers did these two dirty. Not just Blaine, but June too. These writers back peddled on their relationship and did just about everything to devalue it; they didn’t anticipate that it would make her look opportunistic and heartless, but it was bound to happen once they tried to make their connection look superficial. The end result was that these writers made BOTH these characters look morally bankrupt, they made their relationship look valueless, they destroyed their mutual bond as parents and they ruined an epic love story. On top of it all, they not only mocked their audience for caring for these characters and their bond, but appeared to despise them for it. I can honestly say I’ve never seen anything like it. These writers lured viewers into a cruel trap, wounded them and then got pissed off when the audience actually told them they’d been a bunch of arseholes for doing it. I don’t know about anyone else but I don’t really have any qualms about telling them that I fucking hate them for it. It was cruel, surprisingly vindictive and I for one won’t forget it.

Minghella commented that you definitely couldn’t accuse the writers of pandering. I’ve no doubt this statement is actually a politely pointed jab at the writers brutality. It’s atypical coming from a Brit, a razor sharp insult disguised as a cleverly worded complement, that you only get wise to about 3 days after the fact.

The rating difference on this season, between critics and audiences is suspiciously large. They’ve submitted to the Emmy’s, but you just KNOW that Severance and Adolescence are going to take virtually everything so good luck with that. Awards aside, it won’t make one iota of a difference in terms of viewership. The truth is no one really gives a fuck. This is GOT all over again. Current audiences will tell ALL their friends that they loved the show but the last season was shit and it totally ruined everything before it. Then people won’t watch any of it because well, who wants to waste their time watching a show that effectively self destructs in the last season? Yep, fucking no one. Who wants to watch a spin off of that? See previous answer.

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me completely by myself in my room: alright everybody just calm down

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Turn the music down please. I need to say something. I just wanted to say they sang this on glee

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Pulled together more of my rambling train station of thoughts together on the THT/Nick matter (as so many of us are still trying to do to in order make sense of the trainwreck that THT ended up being in the end🥂)

You know...I've deeeeply disliked characters before but never once have I felt compelled to track down their fans just to preach about how morally superior I am for misreading the plight or arc of those said fictional characters. That kind of self-important grandstanding usually built on vibes and not receipts - imo, just screams "projection" and certainly not principle.

And that crash landing ending? (lol didn't intend the pun but certainly keeping it) - that wasn't nuanced critique or character work; it was a loud, lazy display of “performative political solidarity” that read well to people who didn't/don't/won't engage with the work beyond a superficial "what happens next week" basis.

Meanwhile, detail-obsessed fans were left blinking in confusion while watching Nick Blaine, a canonically subversive character, get rewritten into a narrative scapegoat. And this all coming from the Hollywood bubble, wrapped either in moral absolutism or in Dianetics/LRH’s bottled sweat/imaginary alien overlords (I mean…I guess ¿porque no los dos?).

But none of it touched the reality of how real-world resistance actually works.. successful resistance efforts rarely include heroic bull-in-a-china-shop suspend-your-belief-in-logic singular action moments. Success is yielded from teamwork, working together in perhaps a few big ways but many more small ways towards reaching the common goal of true equality. This last season also did no favors as it pertains to increasing the awareness about current human rights atrocities nor in increasing the awareness about the slippery slope that the US was beginning to find itself in even at the time that Season 6 began filming (FDT hadn't "won" yet but the writing was clearly on the wall.)

All it was was glass mansions. With a megaphone. Expecting applause.

(And btw, record yourselves applauding please!)

The accusation that us as fans “just didn’t understand” is exquisitely rich, because it became painfully obvious once the existing source material ran out around the end of Season 2, that the creatives themselves didn't even understand the show they were making. Season 3 was my early warning sound off (wish I’d trusted it), and by the start of Season 5, it was crystal clear- this team was wildly underqualified to develop an original narrative that could even begin to touch what Atwood set them up with. I voluntarily turned in my "loyal viewer, tune in right at 11pm cst on Tuesday night" card around Season 5, Episode 1- as Game of Thrones gave me trust issues, and I didn't even care half as much about those characters as I did for most of the characters in the HMT.

Additional clarification about the characters I cared about: NOT SERENA, NOT NAOMI

Let me be clearer: NEVER SERENA AND NEVER NAOMI 

But I digress...

When you have even the actors (hey Max Minghella) side-eying their characters' choices and wondering if there perhaps were darker sides to them that over a span of six seasons/8-9 years, that they were never told about..or in retrospect now perhaps feel a little insecure about, like they magically should've diduced that darkness from nothingness..?

Well, in that case, we're no longer talking about art, and instead discussing the glaring slow-mo narrative malpractice that's been taking place since Season 3.

This series ending/"landing" really could have been their (writers/showrunners) big shot at successful critical longevity. Instead, they turned an open-book test into a public implosion. The bones of Atwood’s world were right there, mapped out and ready, but instead of following them, the writers/showrunners/actors-turned-directors misunderstood and eventually betrayed them.

Honestly, in retrospect, The Testaments feels like a deliberate course correction. A softspoken “no, actually” from Atwood herself, reaffirming where the moral core of this story lies. And yes, that includes Nick. The show had the source material in addition to the reinforced narrative/additional insights provided by Atwood in The Testaments (released in September 2019, shortly after the television adaptation began airing its third season.)

And when the backlash from the final season hit shortly after the "betrayal," they deflected by calling loyal fans/viewers love-blind, shallow, or naive (especially women) for caring about a character who dared to represent subtle resistance (apparently you need to be on-the-nose and in-your-face defiantly obvious about your intentions or you too could be called a Nazi twice in the last season of a show based on a literary narrative that you've been a character/major part of in since the 1980s).

In their defense, they love to mention OC characters like Lawrence as if he's the beacon of proof of their creative genius, but here's the truth- Lawrence worked exceedingly well in spite of the writing, not because of it. That was thanks to Bradley Whitford’s interpretation and creative latitude. Same with Nick.. except Minghella had far less input, because Nick was/IS Atwood’s creation. Ultimately, both characters (one canonical, one not) succeeded because the actors did the heavy lifting when the scripts couldn’t.

The writers should not misinterpret this as a flex, because it more appropriately should be ready as a red flag warning at the beach, ultimately showing the dangers of what happens when performers understand the source material more deeply than the people that were paid to adapt it, and when writers confuse praise for their original characters as being praise for their writing vs it just being masterful performance by the actor themselves that makes the character work.

.. dangers such as, for instance, now you've got a nonsensical last season, and not to mention, a ticked off loyal fanbase, who started with the show back in 2017, absolutely refusing to even consider watching TT.

They are so smart you guys, like you don't even know.

In the end, they confused moral ambiguity with moral incoherence, flattened complexity into cliché, and mistook erasure for subversion.

I'll end it here although I could keep going: Nick didn’t need a redemption arc, he already had one published in 1985, and then Atwood doubled down on it in her 2019 Handmaid's "sequel," The Testaments, but sadly, neither he (Nick) nor Minghella were backed by writers, showrunners, or actors-turned-directors brave enough to commit to it.

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Elio (2025), dir. Domee Shi, Madeline Sharafian & Adrian Molina

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On Nick Blaine, Narrative Betrayal, and the Engineered Silence of a Fandom

This essay was originally posted on the private Osblaine subreddit. I'm posting it here in advance of the upcoming (final) AbovetheGarage podcast meta episode so it's accessible for anyone who wants to read the essay in full.

Spoilers for THT & lots of fan rage below the cut.

Sorry for the essay, but I feel so beside myself and gaslit by the whiplash of this experience that I needed to unload somewhere, and while it feels futile to even try to explain all of my thoughts at this stage, I feel compelled to share where I've landed. I'm so unbelievably down over this, guys. Gutted, as I know all of you are.

Nick Blaine wasn’t just killed, he was sacrificed on the altar of The Lesson™. An out-of-nowhere, contextually empty erasure of characterization, meaning, motivation, and continuity, all to teach the audience The Lesson™ we never asked for or needed to hear.

Nick wasn’t given a resolution. He wasn’t honored. He wasn’t even mourned! Not by the showrunners, writers, cast members, or other characters—and most painfully, not by the woman who we know loved him so deeply. Instead he was reduced to a message delivery device about evil MAGA Nazi incels or whatever buzzword is currently very popular on Twitter, in the most contrived and unearned narrative fashion possible. Once this utility was fulfilled for the whims of sycophants like Chang/Tuchman/Miller/Moss/Fagbenle et al these people just threw Nick in the trash where they claim he apparently always belonged.

And the worst part is that the show expects us to applaud. It expects us to look at Joseph "Pick three women June the rest die of radiation poisoning" Lawrence, and Serena Joy "But I never thought they'd take MY finger or MY child" Waterford with enormous pride and empathy and understanding. Don't even get me started on Lydia...I have PhD dissertations about that fascinating and deluded narcissist in my comment history, too.

To be clear, I love all these characters flaws and all, they engross me, and it's intriguing watching their dynamics unfold in this often hideous, violent sandbox. But in the end their arguably unnecessary redemptive arcs are heaped with praise and encouragement and the writers bait us with how terribly complicated and brave they are, while substantially less problematic Nick isn't offered the same consideration or forgiveness or grace (and now perhaps never will be) according to that very same moral framework. June herself generally gets a pass as the protagonist, even though she has long been a flagrant thematic and ethical mirror for all the considerable deficiencies we see in the antagonists. So who decides a character's worthiness for redemption or value then, and how? It is simply all SO INCONSISTENT. The framework gives everyone else the space to breathe, err and exist. Whereas for Nick, the framework is solely punitive. Why? Why is this?

Nick's actual unforgivable crimes: folding under Wharton's wall threats three episodes from the finale after YEARS of repeatedly saving June + Nichole's lives and helping them escape, being a lifeline for finding out Hannah's whereabouts, gathering intel for the American intelligence agencies, smuggling contraband to the Jezebels and also to Luke over the border, delivering Fred on a platter so June and the other handmaids could rip him apart, executing other wicked Commanders for their violence against vulnerable women....just a sample of his awful deeds. Keeping in mind that all of thirteen and a half minutes ago in the show's timeline he risked it all and was forced to murder two teenaged boys in broad daylight during a highly scrutinized diplomatic event, to save June's fucking idiot husband.

I'm so utterly baffled that I don't even know how to unpack the stupidity of the choices these writers have made. We are all such brain-dead slop consumers that a recent magazine interview had Chang confirming Nick's many atrocities, none of which are ever shown on screen or even alluded to in the dialog but which she assures us DEFINITELY happened, A LOT (trust me bro). This little blurb is apparently sufficient evidence for the narrative to unceremoniously dispose of Nick, his legacy, and all he meant to us. Have you ever heard of a TV show whose narrative coherence literally requires supplemental reading materials? It's fine. Just eat the slop you fucking morons. Eat it and like it.

This isn’t tragedy, this is didacticism. This is when a writer's room decides that making a point is more important than telling a good story. When characters stop being human and start being metaphors. When you trade nuance for shock, ambiguity for ideology, and call it brave.

Nick Blaine meant something to me. I saw myself in him. I saw my own passivity in him—I also saw my capacity for great bravery and connection in him. He was kind, vulnerable, morally gray, emotionally grounded, deeply tethered to June and thus to me, the viewer, experiencing her world. He was human. His gentleness, his love for June and Nichole was such a vital counterpoint to the monstrous cruelty of Gilead. But rather than explore that complexity and offer him the obvious arc his character had earned, the show retconned him literally at the finish line, flattened him, eliminated all of his human dimensions. At the end I actually laughed—horribly, in grotesque & amazed outrage—like these writers were saying to me, Hey idiot, he was the real baddie all along, believe us that he deserved this, we're the experts. And thought I would just gleefully swallow this and lap it the fuck up. I'm not exaggerating: I legitimately don't think any of them watched the show in its entirety before they sat down to write this season.

Narrative cohesion and character continuity was clearly not their focus, why? Because message-driven media no longer trusts its audience to feel anything honestly. It has to teach us. To scold us. And if a character has to die in an embarrassingly hamfisted way so we can 'learn' something about the cost of love, or the futility of hope, or that there's actually NO GOOD MEN ANYWHERE unless they are played by Bradley Whitford, or the strength of a woman alone and any romance be damned, then so be it. Our fault. We watched it wrong. Silly females with our silly hopes and love stories and delusions.

This is not storytelling. This is narrative punishment, and poorly disguised moral performance art. I half expected the episode to be dedicated to All The Antifascists Out There On The Right Side of History Like Us when the end credits rolled. Story? Nah. Preachy lesson for dumbass audience who can't think for themselves? Hell yeah. Nick exits stage left as a convenient device for the showrunners to serve up as a pawn in their thematic chess game, designed wholly to teach the audience The Lesson™. He was the sacrificial lamb for their bizarre in-script anti-Nazi rhetoric (so overt it was cringe-inducing, and included for whom? all those Nazis gleefully tuning in to THT every week?) This conclusion is the final heart monitor flatlining after a long meandering decline of the show's earlier great writing.

It's not edgy or profound to gut a character’s arc for shock value. You’re not feminist or radical for flattening moral complexity into black-and-white symbols. It's an absolute mess of lazy, trite metaphors for THE CURRENT TIMES, this story is IMPORTANT and RELEVANT! And Hi, writers? We also live in the world???? God, it's so patronizing. It's so condescending. I'm so exhausted from this cheap process of demoralization.

And I looked around for the outrage and confusion and anger that should have echoed across the fandom and instead I saw silence. Sanitized comment sections. Applause from brand-friendly fan accounts with lots of emojis and lots of "OMG LAWRENCE PUTTING HIS HAND TO HIS CHEST 😭 !!!!!" The algorithm drowning dissent like it’s inconvenient noise. Entire social media posts being deleted out of nowhere.

This isn’t fandom, and hasn't been an organic one since streaming took over the market, or even before. It’s narrative control via PR management and we are all witnessing manufactured consent in real time. I'm not trying to be dramatic or cynical, it's just the truth. This is how it works now. Delivering twisty shock content drives up engagement on platforms, and tracking that engagement data is an enormous factor when OTT platforms are considering each season-to-season renewal. But man is it still disheartening and mundane to see it happening after so many years of stupidly giving a shit.

The emotional response to this episode should have been explosive fury and instead we get this eerie illusion of consensus, because anything that challenges The Lesson™ and inversely How Good They The Holy Virtuous Writers Are As People For Teaching It To Us Deluded Plebs gets buried or deleted. They want you and I to feel alone in our bewilderment, and to doubt our own perceptions of the show we've been watching and analyzing for an eon straight—it makes them feel better about the god-awful job they have done in the hopes they win some meaningless self-congratulatory accolades at the Emmys. And if you dare to feel betrayed or express that, you’re told you’re missing the point and somehow have been for an entire decade along with the majority of the fanbase with two eyes and a functioning brain in their skulls. It's so absurd it's almost satire. Someday it will be satire I think. But this is how it is right now, and I'm telling you, it's entirely on purpose.

To the writers, showrunners, social media managers + Hulu press interns:

I see exactly what you did, and what you are currently doing to manage the fallout.

You killed a beloved character not for plot or for truth or to honestly serve the story's natural conclusion, but for theater and for social media engagement. For a moral takeaway. For prestige TV applause. And worse—for the proud, smug, holier-than-thou sniffles of liberal feminists who require all media to pander to the current political 'thing' rather than just telling a good goddamn story. Congrats, the whole IP has been permanently ruined by this type of short-sighted shallow garbage and will never recover its early reputation. This could have been a timeless piece of television with some hiccups; now it will forever remain a preachy manipulative product of one particular era. An ode to our fragile cultural psyche and its associated political catchphrases and ego interference. It's limp and it's finished, like GOT was at the end. No one will care or remember or rewatch this trauma-porn soap opera when all its nuance and ambiguity and soft edges have been snuffed out in the most incomprehensible way. THT will be forgotten, like every other show before it that has gone on too long only to totally blow it in the last inning. The Testaments is probably dead in the water too, and will be canceled lightning fast without a doubt if this tripe is any indication of this team's ability to go meaningfully off-book. It gets proven over and over and over again with zero room for doubt that audiences don't like to be lectured and morally grandstanded to, but here we are yet again.

In conclusion, this absolute swill is what happens when writers try to write at the audience rather than for the characters.

Nick Blaine somehow became the worst villain amongst these brutal, sadistic people, all the social architects, economists, rapists, abusers, traffickers, slave-owners, murderers. Not because he was actually always that way 'off-screen' of course, but because the people who were compelled time and again to watch his complex character evolve and grow had to be taught The Lesson™. Nick Nazi, Nick Complicit, Nick Evil Forever, Nick Dies A Coward, durrrrr. Just stop. Stop caring! Just eat our slop. They turned a living, breathing character (who we loved and puzzled over for years and paid their bills to spend time with) into a morality lecture to tell you how goddamn dumb you are, they replaced his arc with a sermon and then expected us to clap.

But I’m not clapping. I’m grieving. Because it's all just such an awful, incredible waste.

I'm grieving the time and energy I've wasted on a product that the creators stopped caring about and lost interest in understanding. I’m grieving a character who mattered more than this, and a profoundly loving relationship that moved my heart amidst all of that darkness, and a story that once knew how to hold pain with complexity instead of turning it into hollow, curated shock.

They didn’t write an ending, they wrote a manipulative virtue signal to make fools out of all of us who actually dared to give a shit. I won't pretend that it's important art with something to say, and I will never again give them the benefit of my dollars, attention or engagement.

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Abbott Elementary (2021—) Strike (S04E11)

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i'm not saying people shouldn't be reading more books, but i do think it's funny how many people thinking "reading comprehension" is just about how good you are at reading books and not like. criticial thinking skills.

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Seinfeld – 8.22: The Summer of George

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What makes you different makes you special

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Young, broke, and in love, Nick and June manage the ups and downs of newlywed life on a sunny summer afternoon.

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She thinks I'm a fascist?! Barbie (2023) dir. Greta Gerwig

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it's fucking me up how tv shows, movies, and even video games can't be "niche" content anymore