#(((As we saw in the ending scenes!!)))

[poorly-drawn-mdzs]

At your side [End of Season 2]

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[heynhay]

scene from where the apple falls by @jupiters-junipers :-) wholeheartedly recommend any and all of her work

[sissytobitch10seconds]

I don't think that the majority of people being mad on the internet actually hate s4. I think that they're grieving something that they held very close to their hearts and are in the anger stage of the process. It'll be interesting to see in the next few months what the attitude around the season comes to be.

[mourn-and-watch]

i hope varric is not a part of the squad because bianca got fucked and he can't use any normal weapon without accidentally shooting himself in the foot so he has to sit this one out in shame

[chirpsythismorning]

El being *12 hours earlier* than the Cali timeline when she arrives at Nina. Will saying ‘it’s been 9 hrs’ in the scene following his monologue in the van.

We know that at some point their timelines merged when they arrived to save her…

But we don’t know when exactly those alignments took place when they were still apart… which just makes you wonder…

[charlieconwayy]

Movies That Made Me: Back to the Future (1985)

[vesperione]

Speaking as a complete Max Jagerman stan,, the way the fandom has completely butchered his character. Did we watch the same show where he has an established god complex making him believe he’s better than everyone else or ,,,

[ciderjacks]

just put something together

[batcavescolony]

Some of you are expecting show Percy to act like the Last Olympian Percy or Son of Neptune Percy. "why can't he use his powers?" He's hasn't them learned yet. "Why aren't their epic battle scenes?" He has no training. "Why is he so under powered" he's not at that level yet! Percy in the show didn't have a Luke training montage, he doesn't really know how to properly use a sword. He spent like what a week or so at camp? What do you want him to be OP right out of the gate?The second he knows he's has water powers to master them? You need to wait, he needs to progress and get more confidence. Then he'll get better and be able to fight and use his powers.

[watermel0ns-dumb-cringe]

These are same picture to me

[fromtheseventhhell]

It's crazy that people still uphold show!Sansa as a well-written character and pretend that liking her is the pinnacle of feminism when it would be infinitely more impactful to acknowledge her terrible and misogynistic writing. This is the same character who, while written by two men, was thankful for the abuse she suffered because it allowed her to grow. The same character who we had to be told was smart because the writers were too lazy to develop or show her intelligence. The same character who had to rely heavily on the men surrounding her and ended up accomplishing nothing on her own merit ( and no, thinking that she deserved to be Queen doesn't mean that she earned it). She is not well-written, she is not complex, and she is not a feminist character. Which is fine! If you enjoy her then good on you, but please stop pretending that she's something she isn't just because you feel the need to justify liking her character

[sulky-cabbage]

The sukugo fight can't get animated any sooner I'm craving sukugo tiktok edits

[apollos-boyfriend]

“my issue with the percy jackson show is they didn’t make have abusive!! they just made him a goofy asshole!!!!” have you stopped to consider that this may be a personal issue where you do not consider non-physical forms of abuse to be “on the same level” and “less intense” as physical forms. have you stopped to consider that abusers are not going to be at 100% all of the time and that most of the time is more convert and “toned-town” in this very way because most people do not instantly recognize it as abuse. some of you are telling on yourselves with this one i’m not gonna lie

[taehyungfirst]

The funniest part 😭

[firestorm09890]

FUCK what I said about the majority of significant changes to dialogue in Re:CoM being to adjust Axel's characterization, the most egregious change is actually this

(GBA CoM)

(Re:CoM)

if I had to guess, the reason for this change was because in GBA CoM, The Superior was a spooky, unknown being at the head of this Organization we had very little knowledge on, and for Vexen, the guy who runs his mouth constantly about how much better he is than the others, to be terrified of him, he must be some pretty scary dude. But then after kh2 we know him, it's Xemnas, he's very dramatic, he likes to talk to the moon, and the effect of your mind filling in the gaps about what "The Superior" must be like is gone. So it wasn't really necessary anymore, right?

(rest under cut because it's long)

Except... the way they changed it is so weird. In the GBA version, what's happening is pretty clear:

Marluxia tells Vexen that his project is a failure

Vexen demonstrates that he does not give a shit about Marluxia's opinion

he does care very much about The Superior's opinion, though, and Marluxia uses this to blackmail him into eliminating Sora- an action which is nonsensical, as the entire point of what they're doing needs Sora alive, making it clear to everyone in the room that he is deliberately sending Vexen to die

and then after that, when Vexen shows up to fight Sora, he goes "if you want to fight me for real you've gotta do it in the memories from the other side of your heart lol bye" and Sora goes "huh? other side?" and then it cuts to a scene on the top floor:

and then this gets more into subtext but here, Vexen has realized he's totally fucked and his only hope is to mess directly with Marluxia's plans (well, they were the Organization's plans, but it's pretty obvious by now Marluxia's abusing his power for his own purposes) by giving Sora more information than he should know. This does get the traitor gang worried enough to send Axel to go kill him (as opposed to just letting Sora take care of him, which was presumably the original plan)- he very specifically cuts Vexen off to keep him from saying too much (this is retained between the original and the remake)

Anyway, what happens in Re:CoM sort of follows the same order of events, but everything is changed slightly in a way that just makes things more confusing.

Marluxia tells Vexen his project is a failure and Vexen demonstrates that he doesn't give a shit about Marluxia's opinion, as before

Marluxia threatens Vexen with a weapon, rather than threatening to tell the Superior

this, notably, does not seem to faze Vexen very much. he continues to run his mouth while having the scythe pointed at him.

Xemnas is still leveraged- Marluxia points out it was the Superior who entrusted him with the castle

...even though reasonably Vexen would already be aware of this, and has still demonstrated that he has zero respect for Marluxia despite it

the lines about betraying the Organization being a capital crime are retained, probably because it's super relevant later, but then that line of thinking is abandoned in favor of Marluxia and Larxene just taunting Vexen instead

The part where Marluxia says "do it. you won't" could be seen as a sort of threat... if not for Axel's line: "You give a challenge like that to Vexen and he'll seriously want to eliminate Sora." It frames it all as though Vexen went to fight Sora out of some sort of pride.

And look, Vexen may have a temper and a superiority complex, but he's not stupid. They're obviously baiting him. Plus, what happened to him seeing himself as above the others and countering things he doesn't like with "well actually I'm higher ranked than you and also you're an idiot"? Is he that insecure in his fighting capabilities? I could deal with characterization changes doing him dirty if it didn't also make no sense in the context of the plot.

So now we have Vexen going to try to kill Sora, something that really makes no sense to do, out of pride. What was the purpose of sending Sora to Twilight Town? Also pride, over the fact that he managed to get that information? Giving the writing the benefit of the doubt, I could say that these nonsensical actions can be explained as evidence that Nobodies can have hearts and people with hearts do strange and rash things, but that just feels like a reach, which is bad because what they had in GBA CoM worked perfectly fine and made sense without any reaching for the "idk emotions make you do strange things" explanation.

It continues. After Vexen gives Sora the Twilight Town card in Re:CoM and Sora wonders about what the "other side" means, this is that version of the conversation the top floor members have:

...what? "If Sora disappears, that would mess up the Organization's plans"? what are you worried about? the only reason Sora would disappear is if Vexen killed him. there's no way they think Vexen being in Twilight Town would give him an advantage, right? they know he's a pathetic fighter. "Vexen has clearly committed a treasonous act against the Organization" HOW? HOW IS IT CLEAR? they don't express any worry about Sora learning too much, up until Axel says "I came to stop you from talking too much" when killing Vexen- and that being there makes it seem like they were worried about Sora learning to much, but if that's the case, why would they replace the perfectly serviceable lines in the above scene? it's just... baffling that they would want to lean into the narrative that Vexen going to kill Sora (which he'd been goaded into doing) is the problem here, because it just makes so little sense compared to what it was originally.

once again giving them the benefit of the doubt: Marluxia's real plan was to take over the Organization, and he saw an easy way to pick off one of the members, so he took it. the motive for stopping Vexen doesn't actually matter.

buuuuut it's the same as with Vexen earlier. Marluxia may be too self-absorbed and power-hungry to notice Axel is scheming against him, but he, too, is an intelligent man. he's plotted for a while, getting into Xemnas's good graces in order to be put in charge of the Castle. this is incredibly sloppy for him. I guess it could be said that getting so close to his goal would make him sloppy, but again, if they'd just left things the way they were in GBA CoM, I wouldn't even have to be saying this

in conclusion: GBA Chain of Memories' intra-Organization strife subplot is so tightly woven with calculated moves on all sides that Re:CoM changing certain things without taking into consideration the consequences makes certain parts of the plot fall flat and become far more confusing than in the original story

[variousqueerthings]

VERY RAMBLY BUT I think rose and martha are like the inverse of one another in terms of narrative, in that they both meet a doctor who is deeply deeply hurt, but the doctor interacts with them about it so differently, because of where they're at with that hurt, and the doctor is like "hey, I'm suave and vulnerable beneath the surface, which is quite attractive, want to travel in space and time in my whimsical timeship?" and they both go "oh heck yes!" and then it's like splintered glass from that point on, like martha lives in a funhouse mirror of rose's story -- up until she makes it her own of course and she does call the doctor out on it relatively early on, although rose continues to have that haunting effect

so rose has this bubble created around her that is perfect and unchangeable almost, in which nothing bad can ever happen (except for all the times it does but huuush, we'll be together forever forrealsies don't look at that big ol hurricane hurtling our way), which then inevitably bursts, but is always there-as-memory, because rose becomes something of an impossible ideal to some extent

and martha isn't protected at all, and has all the badness spilling out on her because the doctor is unable to contain any of it (and maybe is relieved to finally give up on being strong), and subsequently all of the promise of wonder has an air of sourness to it, and the doctor will always feel incredibly guilty about how it all ended

but crucially there's a lot they have in common, that is quite different to, say, donna (who is woven in in her own, interesting, way) -- they both become attracted to this powerful, interesting, and suuuper traumatised being, they're both taken along on a journey of promised wonders, they're both incredibly reliable to the point that the narrative is retroactively fitted around how much the doctor's belief-systems revolve around belief in their companions, with many others from the past given their dues (starting with sarah-jane), and they both do see wonders beyond their comprehension (and so does donna, but again, there's something a bit different there to poke at in another post...),

except where for rose this wonder helps her break out of the path that was set down for her and become who she always had the potential to be in a way that is mostly framed as a positive (although with some -- I think -- under-analysed caveats...) and she will be forever thankful for the doctor arriving in her life, martha's is more like an awe that the universe is so hostile and so lonely and so heartbreaking, and so she needs to become more resilient and more ready to make choices that are terrible (from travelling the broken world for a year to the osterhagen key....), and so there's another story about someone who becomes strong and tough (just like rose) but it's because the doctor wasn't really able to be there for her, and while I don't think the show (from memory) ever has her totally regretting the doctor dropping into her life, there for sure is some solemnity to how her story ends, a bit of a dampener in comparison (even tbh in comparison to donna, who yeah, gets her memory taken, but is suggested -- now confirmed perhaps? -- to get more of her life in order/feel more self-confident, also partially because of that subliminal influence of her time with the doctor)

and this isn't to say that it's all-bad for martha! her working for UNIT and Torchwood has a lot of very interesting facets to it, and she is fulfilling her potential to be this impressive, capable person, but the ways all of this was built up to is so heartrending

rose coming in and "saving" the doctor, except it was a bit of a lie, because the second she wasn't there they crashed even harder than before, and martha coming in with the idea that she could save the doctor and walking away when realising what it was doing to her life, and both rose and martha irrevocably changed to the point that the person pre-doctor is barely recognisable in them anymore, both take on the doctor's self-sacrificial traits...

and also the idea that rose gets the fantasy, but it's the fantasy a-bit-to-the-left (funhouse again) because there's always something a bit disconcerting about the lengths the doctor goes to to maintain the bubble, to the point of offering up the alternate-him/tentoo so that she can still have it, even though the actual physical doctor that shared it with her isn't actually there! and martha gets the glimpse of the fantasy, and then has to come to terms with the fact that she's not the person it's "for" and reassess her relationship to the idea of a fantasy in the first place (it helps that martha is an incredibly practical, pragmatic person, but it's still so... ouch)

I don't think it was intentional, but this also fascinating from the perspective of rose as a white woman and martha as a black woman -- who is the fantasy for, to the extent that strange and universe-breaking events go into maintaining it, and who has to be practical and pragmatic and self-reliant?

and also, it's got more tragedy in both cases -- rose as a spectre/haunter of the narrative is always a little bit intangible when she's looked back on (even though in the story she's in she's incredibly real and well-rounded, every time I go back to s1 I am struck by how grounded she is in reality), and I think that's something interesting in terms of her mother's warning in s2, how if she travels with the doctor "forever" she'll become something else, something not her

and martha's mother warns her as well, although she's not completely sure of what, and in contrast to rose this warning comes into very painful fruition, harming her entire family (except, maybe her brother? I wonder if there's anything written about that), but where rose is so omnipresent, martha tries several times to take herself out

(also something about both of their mothers being their anchor-points)

there's something there that's at the centre of both rose's and martha's arcs:

is the change they're going through because of the doctor... good? good for them? good for their families? good as in they're becoming better people than before? good for the world they inhabit? is it good for the person they used to be? did they become better than that person? can they ever truly deal with or even begin to comprehend how these events made them who they are? can they even connect who they are now to who they were then? was this good?

they both become these larger-than-life people, somewhat without noticing on both parts (but the narrative does notice), one of them a ghost, and the other a soldier -- one of them an increasingly intangible, ever-present idea, and the other someone who has to fight every step of the way

it's just a bunch of things I've had going through my head that I can't quite formulate in coherent essay-like sentences, but for sure it's there

opposite sides of the coin, rose tyler and martha jones

I do wish they'd had space in the story for them to talk