#(not me because I don't have the consistency or maturity to develop a script)

[oppitfs]

Okay, now I'm thinking of a florist itfs au where Mamagumi had a flower shop and when she died, Toji decided to take over the business so he could keep his beloved wife's memory alive. He also remarried Tsumiki's mother because he thought Megumi needed some family structure, even though he didn't love this other woman. But Miki's mother left, which left Toji with two kids and a business to take care of.

Then Meg and Tsumiki grow up and take care of the flower shop with Toji.

Then one day Yuji, who was from Sendai and came to live in Tokyo with UncKuna (who is a surgeon because in my head it makes sense), meets Megs and is so enchanted that he makes the flower shop his favorite place while he adapts to the busy life of the capital.

Oh, and Gojo is Megs and Tsumiki's meddling godfather who is in the story because Toji needs to yell at someone other than his childrens.

Junpei and Yuji are online best friends who finally met, and Nobara is the gossip queen who will smile mischievously at Megumi whenever Yuji shows up.

[poetryandbloods-blog]

I have seen you reblog and like some of my HP posts so I wanted to say Hi!

And I have a question for you. I know you love Drastoria so I wanted to ask what you love about it? I never read CC so I don't know Astoria well but the little I do know, I am not very impressed. I just have a lot of small hangups about Drastoria.

What initially drew you to it? Why do you think she is a good match for Draco? How do you feel about Astoria dying off? Are there things you dislike about the ship?

Hi, I really like your Tumblr!

First of all, I have to say that I don't like CC and I don't consider it canon, because it wasn't written by J.K.R., and also mainly because most of the characters are completely different from the personalities in the original books, including the Epilogue, so blatantly that not even age can be an excuse (I always wonder how much money they offered her to sign on for that atrocious story).

That said, I do like some of the characters there, particularly *Delphini*, Draco, Scorpius, and Astoria.When J.K.R. described who Draco married (a pureblood witch who rejects her upbringing and raises her son in a much more tolerant way, I fell in love with Astoria). And Scorpius is a captivating character who demonstrates a loving upbringing.

Astoria permeates CC like Lily should have permeated the books (but unfortunately she only appears at the end). The two seem like a functioning, adult couple who love each other and have overcome many obstacles (like Draco's questionable upbringing) to be together.

If you like Dramione or have read any of his fanfics, you will notice that they always follow this pattern (the girl who makes the former villain realize that his upbringing was not ideal).

Astoria was clearly not fragile if she stood up to her in-laws and didn't let her pureblood ideas contaminate her son.I think Dramione is more popular than Drastoria simply because we don't know about her in the books, Hermione is an important character in the story and the muggleborn/pureblood thing has more appeal than two purebloods together (I'm not knocking this couple, because there are great stories about both of them and Draco's development is often wonderful to read, I just want to point out that according to J.K.R., this development existed and we can prove it in CC).

I hate the blood curse thing and that she died, to me it was a form of punishment for Draco where a supposed villain can't really have a happy ending, and it's something I personally tend to ignore.Another point is that to me their relationship feels mature and healthy, in a way that the other couples in the books never did. I've said a few times that I hate Ginny/Harry (Ginny in book 6 is a walking Mary Sue) and Ron/Hermione seem like a hot couple that would break up after two months of dating.

But I'm going to give them a break here because when it comes to romance J.K.R. is not a good writer and her most believable couples are the ones we don't follow as much (Fleur/Bill and Tonks/Lupin, I'm thinking of you).

We don't have 7 books to learn about her, just a script for a play that reads like a really bad fanfic, but over the years I've created my own idea of ​​who she is and how this couple works, so much so that I've become very attached to both of them. @blvnk-art makes incredible drawings of the two of them (which I love to follow) which only made me like them even more.

They, along with Fleur/Bill and Lucius/Narcissa, are the only couples I have no criticism of in the books, as they seem very consistent together.

**I actually need to make an addendum here, I like the idea of ​​Delphini, but not the execution of the story or her personality, there was a huge potential to make her a parallel to her own father (orphan, unaware of his origins), but with a choice for the good, proving that blood is not always more important, but this was clearly wasted, or of course it could not be done, as it could affect the epilogue of the original books (but now I digress, as this has no point with the original question).**

[zalrb]

“Very westallen of them “ is very funny lol. Speaking of the bear can you do an acting rank like you did with GOT

Well, honestly. I just remember feeling like I was taking crazy pills because I said that I could appreciate what Candice Patton said about antiblackness in Hollywood and still think she and Grant don't have chemistry on The Flash and a bunch of anons screaming NO YOU CAN'T at me, it was fucking wild.

In terms of The Bear, I think the entire cast is great, like the supporting actors are really strong but I feel you can only really do rankings between Jeremy Allen White, Ayo Edebiri, and Ebon Moss-Bachrach because they consistently have the most meat to their scenes, the most room to breathe and play, the most development and everyone else is still snapshots, we're getting more Marcus now but nowhere near the same way. In fact, I think Syd is just getting to the same amount of space that Carmy and Richie had since season 1. I can talk about what strengths the other cast members have, like Liza (Tina) is really good at unspoken vulnerability, her face every time she receives encouragement?

but to rank her or to rank Fak, like it just doesn't seem like I can.

And even with Ayo, Ebon and JAW, these three aren't really rankings.

I think JAW is first. I think he does the most passionate performance, he has this well of emotion, he is adept at performing with a kind of alarming urgency and desperation and then performing with alarming numbness and a kind of disassociation, he can be soft and vulnerable and can access this painful rage, the dynamism is incredible and he was very good in Shameless but I see the maturity in his acting from then to now and that's really fun to watch.

And then I think Ayo and Ebon are both on the same level.

Every character on The Bear feels like a real person, everything about The Bear feels natural, feels like I've been dropped into this restaurant, this life with these people, all of them are great at making me feel this way, but Ebon? It really feels like he's just this guy, it really feels like I'm just watching him talk, I'm just watching him operate, like I know this guy,

I've met this guy, I've been annoyed by this guy, he is so natural in this role, with this dialogue in a way that surpasses the others who are already excellent.

And then there's Ayo who executes her realism very differently to me because she doesn't have the same blend-in quality as Ebon or the others, where she doesn't necessarily feel comfortable. In a lot of ways, no one on this show is comfortable because they're all searching for something, improving themselves, or self-destructing etc. but they're lived in characters and Ayo is awkward (to the point that sometimes I feel like her gestures are a little too put on) but it all works so where Ebon makes me feel with Richie like I know this guy, Ayo makes me feel like I could be Syd and she does that through micro expressions

and her comedic timing -- everyone on the show has great comic timing, everyone has some dialogue or some action that showcases how funny they are as actors and how funny the script is -- Ayo does it in away that makes it a part of her character, Syd is funny, that's a personality trait of Syd's

[hellsbellschime]

I was rewatching some TO and Buffy snippets recently and then went back to reread some of your posts. something that stood out to me aside from the general characterization of Klaus changing is how stiff and formal they made him? I wasn't sure if you ever specifically touched on that but it's something I noticed more strongly now.

he was always appreciative of art and culture in general but they seem to have translated that into him being way too stiff and formal and his dialogue is so wordy. he had a type of charisma on tvd that balanced well between worldly and well cultured but also casual and relaxed. in tvd he wasn't above going to a high school dance or a greasy dive bar and seems to take it all in good fun. im curious about whether this was an intentional change since the originals wanted to be more 'adult'.

a lot of the criticism of his character change is excused because he was going to go through a redemption arc but that doesn't make sense if you account for his general vibe completely outside of his 'bad' character traits. his whole vibe was different, how he spoke the way he'd interact with people, and you can see this in his clothing to which was always casual but not sloppy.

Buffy stands out in contrast a lot because I think spike is a good example of a character who was still the same at his core. his values might have been different but he still felt like the same character, with the same personality, sense of humour and style. Klaus' whole vibe was off and a version of him trying to stop being immortal dickhead wouldn't act like that. Same with Rebekah honestly, she felt way more mature instead of the codependent, lonely, bratty little sister she was in tvd.

I would get if you were sick of hearing about these shows but I just wanted to share lmao.

I don't know if I have discussed it specifically but you're not wrong. Frankly, TO had a lot of scriptwriting problems and certain elements of the scripts really showed that some of the writers hadn't written for the screen before, and I think this is obviously one of those issues. A lot of their dialog was clunky af and they had a hard time with character consistency, and when you contrast it with something like BtVS/AtS, the difference is noticeable. If you look at characters like Cordelia and Wesley, their development over the course of Angel was dramatic, but they didn't feel like entirely different people out of nowhere, and their character "voices" stayed the same.

[wearevillaneve]

Endgame.

Q: When is a good time to leave a fandom? A: When there's no future to look forward to and a past too painful to look back at. Welcome to the 2023 Killing Eve fandom and here's the latest news. There is no news. There is nothing in development. The stars of the show have parted ways and moved on to new projects and so have many in the fandom. But don't take my word for it.

Good question. What else is there to talk about Killing Eve? How long can you be bummed the fuck out by that ending? How many times can you watch that sweet kiss between Eve and Villanelle and wonder what kind of life they could have had together if only a better writer than Laura Neal was in command of their destiny? How many times will you think about a Season Four rewatch only to wonder why bother? Wine improves over the passage of time, but nothing's going to make that shitty ending better. Anger and resentment can only take you so far. After it fades into disgust and depression, it's just a grey cloud hanging over your head while it eats you up inside.

KE fanfics have helped me get through the depression and disgust I felt after the finale, but the seething rage at Neal and Sally Woodward Gentle though---that has not gone away.

I keep thinking there's something more to say about Killing Eve and how it went from being born for greatness before sliding into mediocrity before the bitter disappointment of the finale. I keep thinking that, but really what more needs to be said about it?

In the immediate aftermath of "Hello, Losers" the KE fandom went hunting for bastards to blame. The obvious targets were head writer Laura Neal and chief producer Sally Gentle and coupled with some truly awful interviews by the pair in Collider, Decider, and the Hollywood Reporter, they went out of their way to justify being cast as the villains. Afterward, more witches needed to be set alight, and some fans, including some I personally respect, settled on Sandra Oh as next to dragged face down over concrete for not openly denouncing the finale (Jodie Comer escaped the scorn by swiftly pivoting to her one-woman play, Prima Facie, and shutting up about Killing Eve entirely). I've never thought the scorn for Sandra was merited or justified. Most of it hinged on a vaguely worded "quote" from a Gay Times interview in 2018 that has been hung around the actress's neck as evidence she never believed in a same-sex relationship between Eve and Villanelle. I read it differently, but I admit to perhaps being biased on the behalf of a mature Asian woman cast in a role written for a much younger White woman. But mostly I don't think it's entirely fair to blame any actor for the failure or even give them too much credit for the success of any given show. Even in Prima Facie, there's still a playwright who provided the dialogue and a director making sure everything comes together to put Comer in the best light. In film, television, or plays, collaborating successfully with other talented people is the secret sauce that separates success from failure. This is a hard, fast rule and something any KE fan who watched the plunge from a Phoebe Waller-Bridge to Laura Neal can attest to. New Yorker film critic Richard Brody wrote in response to the 2022 Academy Award nominations, "It’s rare for actors to give performances better than the film they’re in. Actors, whatever power they may have as stars, are still, in effect, employees, working under the command of directors."

I agree with Brody, and add when there is constant churn and turnover in the writer's room the actors can't act their way out of it. Indeed, the saving grace of Season Four is the consistency of Comer and Oh who often created the best moments out of the table scraps of Neal's uninspired and clumsy scripts. They succeeded in spite of Neal, not because of her. Very little blame has been directed toward Oh and Comer for the work they did as actors in Killing Eve's fatally flawed final season. They did their best with the little they were given to work with, but even these two accomplish award-winners could not redeem the damnable, disgusting mess of a last go-round that was Season Four. But it's not enough to sustain my enthusiasm or direct participation. It seems unlikely I will ever not be a fan of Oh and Comer, but what I'm not particularly interested in is turning a Killing Eve blog into a Sandra Oh or Jodie Comer blog. No disrespect to Big Swiss, The End We Start From, The Sympathizer, or the second season of Invincible, but none of those things have anything to do with Killing Eve. This is why this blog began years ago and why it will end days from now. Stepping away simply makes more sense than hanging on. There is nothing else to say about Killing Eve, but even if there is, I'm not the one to say it.

[zosonils]

Wait, no, actually, tell me about the Scribblenauts timeline. I must be real... I like it too. I love unifying timelines where things seemingly just happen, tell us!

scribblenauts fans rise up >:] to be clear this isn't an attempt to sort out the canon timeline [although if you asked i'd guess unlimited > scribblenauts > super > unmasked based on the few splinters of plot we get] but rather taking inspiration from the scraps of story available to build something new and coherent, although at this stage 'coherent' isn't super accurate lmao it's just islands of solid ideas amidst a sea of autism nonsense

basically i'm deciding that the doppelganger's presence in 10-5 of super counts as a plot and slapping that on top of the more consistently defined world and lore of unlimited and onwards [so kind of what unmasked and the subsequent comic did but batman isn't there], with an added sprinkle of the 'scribblenauts being an actual organisation that maxwell is involved in' thing that never made it past background details in the first game. while unlimited arguably has the most iconic and/or existent plot and for sure i want lily to be a deutragonist i'm not sure how much of it i'll retain because 1. turning your daughter into stone is bad parenting 2. let her tag along and be an actual character instead of a literal rock you cowards and 3. the more super-inspired storyline i have in mind with the doppelganger is probably enough to carry the emotional intensity of a mostly lighthearted story by itself and i don't want to bog things down with too many subplots lol

i'm absolutely reading too deep into this kiddie game but i think the doppelganger as an antagonist of maxwell's own creation reflecting all his worst traits would be super interesting in an environment that puts more consistent and deliberate thought into character writing, so that's the idea i'm basing this autism-powered rehash on. i don't think it's ever actually specified but when i was a little sporelet playing scribblenauts unlimited for the first time i somehow got the impression that starites grant wishes? which is cute so i'm using that as maxwell's motivation to join the scribblenauts and seek them out, that he wants to collect enough to wish for something cool and superficial that a 12ish [?????] year old kid would want. but then after lots of adventures and character development when he's in the dramatic final confrontation with his doppelganger and has matured enough to see him as a distressed kid in uniquely terrifying circumstances rather than just an annoying knockoff he instead uses his wish on giving doppelganger the chance to be a normal kid with a normal life because he wants to make kind decisions now. then i guess they all go home and nobody dies in a scripted ufo explosion

this post is getting toooooo long so i'm gonna try and wrap it up now but god i already have so many ideas rattling around my head for an autism reawakening that could be over in a week lmao. now i'm even sadder that my computer is busted because i want to replay unlimited and refresh my lore so badly..... there's a fandom page [breezewiki sweep though] for the series which has helped refresh my memory but none of the sources are cited it's a nightmare. what do you mean maxwell and lily are twins for the love of god give me a single screenshot or manual scan that mentions this

also i didn't have a good place to insert this but even though edgar and julie having 42 kids is obviously a Silly Joke and excuse to give unlimited some unique characters i am choosing to interpret it as them being experienced foster carers. i don't care to sort through every single character and decide which if any are biologically related to each other lmao but adopted/foster families are swag as hell and there should be more of them in media! it also adds a nice layer to the doppelganger plot - maxwell is more willing to reach out to him because he's seen 'angry bitter kid who will only get better with kindness' in a lot of his brothers and maybe himself, and it gives doppelganger an easy place to go for his happy ending because maxwell's parents are experts at taking in kids like him. didn't want to end this post without mentioning this because i'm already suuuper attached to the concept