#But it's the shit script version

[apossumwithapen]

Chapters: 1/1 Fandom: Good Omens (Movie Concept 1992) Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Relationships: Aziraphale & Crowley (Good Omens), Aziraphale/Crowley (Good Omens) Characters: Aziraphale (Good Omens), Crowley (Good Omens), Anathema Device Additional Tags: 1992 Movie Script Aziraphale (Good Omens), 1992 Movie Script Crowley (Good Omens), Minor Injuries, BAMF Aziraphale (Good Omens), Crowley Being an Idiot (Good Omens), Crowley to the Rescue (Good Omens), Aziraphale needs no rescuing, crowley is overdramatic, Banter Summary:

Feeling the angelic aura over London flicker, Crowley reluctantly tries to be the one coming to the rescue for once. But it seems, he is already too late and Aziraphale, despite smiting someone, is, like always infuriatingly chipper about the whole thing.

[cracklinhaze]

she can barely reach the pedals and when she does, she slams on them in that jerky stop-go-stop thing that brand new drivers do

[thevioletcaptain]

next person who perpetuates the completely fabricated anti-adjacent fandom myth that "the writers" shot down queer dean and deancas interpretations of the text and "told us we were delusional" for seeing any of it is getting blasted directly into the boötes void

[wienners]

found another ellison book in a store but its a compilation made after his death without any of his bitchy little prologues to each story. like if i cant read about how annoyed he was about being tardy to everything in his day to day life before reading the ticktok man, or how he only wrote IHNMAIMS in one day based off a friends science fiction painting of what would later be the tedslug, or a borderline bragging anecdote about how he wrote a story in the middle of a dinner party to spite his friend who said 'no new story ideas are possible', then I DONT WANNT ITTT!

[miraculouslbcnreactions]

“it could mean that they didn't think further than season five and we're about to get a lot of awkward writing.”

Genuinely, I’m pretty sure this exact problem is about to rear it’s ugly head into the plot so hard. Once it becomes obvious enough next season, I think this is about to become the biggest gripe people have with the show.

I don’t subscribe to the “Chloé was rewritten by TA out of spite” theories—however—it is almost **impossible** that season 5 didn’t, at the very least, have the bones of the plot laid out *when it was still intended as the final season,* and then those bones were **heavily** rearranged when contracts were signed for Miraculous Ladybug to continue production beyond that point.

This is quickly having a domino effect on the plot, where storylines are being re-sculpted left and right to somehow tie-up the arc of the previous 5 seasons, whilst still maintaining pre-reveal status quo for the seasons still to come. The most glaring problem with this is, of course, that they had to royally shoot Marinette in the foot to make that work.

I don’t want to put my tin-foil hat on too much, but Adrinette getting together sans reveal is just a symptom of the show continuing past it’s original intended “end of life”. We were likely supposed to get exactly what is holding Adrinette back from being interesting right now—the reveal—in the original midseason finale of season 5 instead of Kwami’s Choice.

What’s an even more cynical thought—if season 5 was the end of the show like intended at one point, there is ZERO chance that Marinette would have even NEEDED to lie to Adrien about his father. *THAT’S* what frustrates me most about the season 5 finale. Not that it’s shocking, not that it subverts expectations, that it’s so glaringly obvious the main character is making a decision simply because the plot for future seasons implodes on itself if she thinks logically for 1.2 seconds. It’s not interesting. It’s only there because they wrote themselves into a corner they never intended to be in 5 years ago.

And as the seasons tick on and on, the cycle is just going to continue to chase itself in circles under the guise of “drama” and “plot”, but in reality the episodic nature of the show means that none of the plot lines will ever conclude in a satisfying way

(Post that inspired this ask)

it is almost **impossible** that season 5 didn’t, at the very least, have the bones of the plot laid out *when it was still intended as the final season,* and then those bones were **heavily** rearranged when contracts were signed for Miraculous Ladybug to continue production beyond that point.

Now that is a theory I can get behind and will even admit to subscribing to. Season five absolutely feels like it was written to be the final season and we know that it was, originally, supposed to be the final season. It's not a conspiracy theory to say, "I think that they may have committed to elements of season five before they got a sixth season and that ended up making season five into a bit of a mess."

I'd be fascinated to know the behind-the-scenes timing of things and what was written before the season-six greenlight and what they were allowed to change after season six became a thing. Things like scripts, lore bibles, and plot lines get signed off on by a lot of people! It's entirely possible that the writers' hands were tied on certain elements of season five. If the leaked, season-five Bible is to be believed, it says that it was signed off by TF1 & Disney and has a date of 1/29/21, about three months before season six was officially announced, implying that major elements of season five may have been set in stone all the way back in early 2021:

[Image description: footer for the leaked Bible reading "Ladybug - Bible FINAL VERSION updated season 5 - approved by TF1 & Disney 1/29/21 - CONFIDENTIAL]

This may mean that the writers literally weren't allowed to make major changes to season five because they'd already gone through the approval process for the overall plot. It's also possible that they could have redone things, they just didn't have time based on production timelines or maybe they did have time and just couldn't think up a new version of season five in the time they had. There's no way to be sure with the limited information we have. Maybe season five is exactly what they wanted it to be!

It's hard to buy that, though, because a lot of the awkward writing makes so much more sense if there was supposed to be an identity reveal at the end of Kwami's Choice. Like why Adrien is worrying about how to tell Marinette that he's leaving, but he never once stops to think about Ladybug. If he knows they're the same person, that's suddenly perfectly understandable.

I also full agree that the lie at the end of season five feels like another stalling tactic and not a piece in a well-crafted narrative. It's really common for the writing to get stilted in TV shows and movie series that get renewed past their expiration dates because no plot can last forever. Even the best writers can't draw a concept out to the end of time and Miraculous doesn't seem have the best writers. Now that they've been greenlit for ten freaking seasons, I think we're in for a wild ride and I don't mean the fun kind. Serious identity shenanigans like the love square are not designed to last for 86+ hours. (The show has 26 20-minute episodes per season, so if you multiply that by 10, you get a little over 86 hours + specials and such.)

I just don't see how they're going to draw out the identity reveal for another five seasons without making the love square a toxic waste dump, but I also don't think that they're ever going to do an identity reveal in the mid game. They're saving that sucker for the end no matter how much it ruins the story. (Watch season six prove me wrong, lol. You never know.)

[acatwithstockings]

These are the unhinged ramblings of a hamster stuck in a cage with nothing more than a wheel to amuse themselves.

Take it or leave but I am going to talk about how the 1992 movie script might have had some influences on the final Tv-series. In this bout of questionable literary analysis I will question some fandom perceptions, slander(for a lack of a better term since it's pretty much impossible to make him look worse than he already does bc holy fuck) a certain author, point out even the slightest of parallels and no doubt make some people feel some feelings they would rather not, because that is what happens if you bring up the shit!script at family gatherings. I have been banned from many already! Then again maybe barging in on random stranger celebrating grandpappies birthday, might be the bigger problem here. And yes, this is my attempt at being humorous, I know I am not good at it. I am over analysing the shit!script, what do you honestly expect.

(THIS IS A LONG READ SO PACK SNACKS AND SNAKES, YES, PACK A SNAKE FOR EMOTIONAL SUPPORT, I AM SERIOUS)

For those not in the know, which might be some, the 1992 script is the second attempt at a first draft for the first attempt at an adaptation on our beloved story. Rumor has it the producer tried to shift the whole story over to america, Sir Terry and (lets all collectively sigh in inmesserurable contempt) that Gaiman guy said no and delivering a script that was deemed too close to the book by the studio. That script had halo fights in it, so please say "Thank you, Sir Terry" for that halo scene in S2, we might never know who exactly had the idea for it in the first place , but for my own sanity I have chosen to stay delusional. Since that script was rejected, Sir Terry did the right thing and left the project, leaving the other guy to pen the piece of infamous writing, the fandom loves to hate, all on his own. With a few stipulations from consecutive and readable exhaustion in his words he wrote something, that also got rejected by the Studio on the basis of being too different from the book. Then the studio went bankrupt, nobody got paid and in 2004, Gaiman decided to release the script into the world with a limited run under Hillhouse's author's preferred series with 500 numbered and 52 lettered copies available. And as I have learned from the Terry Prattchet wiki Lspace.org, all of them signed by the author. It was titled "A screenplay" and wrapped in blue, mimicking a legitimate scripts used on sets. Proudly taking it's place as curious oddity in the history of our beloved franchise.

Hillhouse also went defunct.

Curiously it's unleasing upon the public coincided with the growing certainty that Terry Gilliams attempt at an adaptation of Good Omens was going nowhere. Which in of itself means nothing but is a fact my brain likes to regurgitate as one of those things that might make you think about other things in highnsight. There might be a case to be made about certain very-keen-on-his-positive-public-image persons trying to hog the limelight and controlling the narrative, HOWEVER this point is not one for that case.

After it's release it got a few positive professional reviews, of which one proudly proclaimed, they had never gotten around to reading the Book since Sir Terry Prattchet's writing had a habit of boring them and so they had been deterred from giving it a try. And a second very pretentiously blows smoke up the author's ass as well. Which might tell you, what we are about to get into. And after that? Well I honestly don't really know. At one point it found its way into fandom circulation, the narrative around it got mixed with details from the Terry Gilliam adaptation that never was, and then someone brought it up to Neil Gaiman and suddenly people were very against the further sharing of the whole thing, bc the author said so.

There seems to be some legal complications around its existence. An author that changed the narrative from 'some of the aspects were changed because of the executives' to 'All of it, all of it is the way because they wanted it so'. Threats of copyright take downs for our own protection (?). Which I honestly always found a bit ironic. Omissions about its unleashing while throwing out that it might get published for charity if the author can circumvent the consequences for himself. Which makes me very much interested into getting a glimpse at the contracts that made it possible for a no longer existent Studio, that didn't pay for the work done mind you, to still have such a monumental hold on the thing. And over all even with my two semesters of mandatory copyright law I can't tell you for certain what in the double stuffed FUCK is going on with that thing in a legal sense.

So if you should be interested in reading it, you can find an archival copy here. I suggest you view it on mobile since the desktop version has a really atrocious add system. And an other version is provided by Kanna-Ophelia (idk if she would want to be tagged in my demented rabelings, so I just put the link in)

All I know is that the author is an unreliable narrator, prone to controlling the narrative in his own favor. Who was very much more concerned with his public image instead of taking accountability for his actions. Remember "It has always been a love story" is just a cope with the right amount of truth to it, so he didn't have to admit that at least for some amount of time he found it mindboggling that people had the audacity to take what was written seriously.

(NG April 08, 2002) Also no, red has not always been included with the dark hair, the costume department just made a good call. And I am pretty salty that we as a fandom still can't quite admit that we made The ineffable spouses happen instead of it always being intended. Yes authorial intent can change, BUT we made it happen. We took our shared custody, acknowledged by Sir Terry Prattchet and ran with it. That everybody else involved with the production seemed to also be very enthusiastic about it probably also helped.

By now you are probably asking: What's with all that nonsense. And well, this long preamble was to make a few things clear. First a rough history of the 1992 script and its publication, putting it in relation to what eventually lead up to the TV-series, mainly pointing towards its existence prior to the talks of a potential sequel, second I have been hyperfixating an that thing (against my will, mind you) for over a year, I just need to get the rambling out of my system, and third, that the author is a deceptive piece of manure that relies on a narrative that reasures the fans that 'it has always been intended' to put himself as an authority over a story that is not entirely his and never had been.

The point is, the 1992 script exists in a very interesting spot in the timeline, so you can neither prove nor completely rebut the possibility that at least subconsciously some parts of it influenced the TV-series. And believing the author when he says "No, I would have never" is a fools errant .

Welp, time for the main course of this long read, which won’t get a TLDR because I, to put it bluntly, can’t keep things short. You might have noticed already.

How did the shit!script (potentially) influence the TV series?

First of all the obvious.

The 1992 script is the first instance where the concept of showing us the ineffables throughout the ages is explored. We all loved the cold open. So please do excuse me if I point to the opening in the script and say, "case and point". While the Eden scene falls to the wayside in favor of it just being a painting, the script opens with a picture show, depicting Aziraphale and Crowley in various scenarios, always side by side. Of course it’s just images of them, however the idea is there. The focus is on them and their relationship instead of the novel's occasionally flavor text usually centering Crowley to make a funny remark about the absurdity of it all.

Second the concept of one coming to the other's rescue out of the blue. Sure in the shit!script it is Aziraphale who goes for a mad dash after sensing something might be wrong with Crowley. But as so many other things got switched around with the characters, it is not a far stretch to say that the concept of one sensing the other being in danger and coming to the rescue originated here as well. Granted in the show we are getting a toned down version of this concept, with Crowley appearing in the Bastile and the church (you could also count Aziraphale bringing the holy water ) and it could be argued it’s simply because the two of them have a habit of hovering in each other’s orbit, however it is still the same concept. One senses/realizes the other is in danger and comes running. Something that is arguably not in the novel.

Third the ending. Yes I am going there. In the novel the status quo in regards of our two beloved idiots doesn’t change. Heaven and hell go their merry way and go right back to ignoring what has happened. You could say it’s the whole point of them. Detached entities that think they can exert authority but in the end have to concede that their involvement is pointless and therefore go right back into just pretending. And Aziraphale and Crowley stay in their role that are essentially the same, stay the same and for them nothing has changed, they haven’t changed. In the script however, there is not just an attempt at punishing Crowley and Aziraphale, Crowley just straight up quits hell. The status quo is disrupted. They both end the story in a different situation than they had been in before. Crowley more so than Aziraphale. Essentially S2 ends with the same constellation as the script. Crowley no longer interested in working for hell while Aziraphale is still (and in the case of S2 again) employed by heaven.

I could go on about a rant how the novel ending is so beautifully Pratchian and how the TV show kinda didn’t do it for me in that regard (don’t worry I still love it I just find the og ending a bit more fitting for the overall flair of the story) but I won’t. Instead I will conjure an imaginary person that says “But the ending could have been a setup for what they had planned for a sequel, you can’t point at the shit!script and say it’s to blame”. And to that person is say “Great point, I can still point to the shit!script and blame it, because talks about a sequel were made AFTER it was written. It very well might have influenced the talks about a sequel as well!”

That’s the beauty of the creative process, influences can persist throughout multiple iterations and things like that can happen subconsciously.

Fourth the focus on Aziraphale and Crowley. Sure Crowley is casted as sort of pov protagonist in the novel as well, however even there he is more of a framing device. Its actually kinda genius how Good Omens is structured in regards of this. But that is a whole different essay. The point is Crowley and Aziraphale act as bystander and occasionally plots devices to the actual actors and in the end the driving force was humanities combined humanity all along. You could not exactly take them out of the story but in the grand scheme of things they are rather useless in the roles they occupy. It’s beautiful, it’s hilarious, it’s again so very Prattchian and it dose remind me of the wizards of the unseen university. The point is the main focus is not on them, despite how hard we as fandom got attached to them from the very beginning.

Well not in the shit!script. While even there the time is mostly occupied with other characters (mainly Adam and Anathema) Crowley and Aziraphale are a driving force here. They occupy a considerably part of the plot and drive the story. And while it is toned down in the tv adaptation it is undeniable that even there the two of them aren’t the mostly self contained Anker points for the human actors anymore. The story telling focus is skewed, no longer on humanities humanity and them as detached decoys but rather them as focal point of the narrative. You can see that in the way content got cut or added. It skews disproportionately towards the ineffables which can only partially be blamed on the general difficulties in adapting a Prattchian story. A decision had been made to actively give the plotfram more

And yes I have to concede that could also just be a quirk of trying to adapt a story that is mostly based on meta humour and clever side jabs. But it is also a thing that is very prominent in the shit!script and therefore influences might be pointed out.

As honourable mention just as little break in the middle before I go full conspiracy mode on you, Satan’s final appearance. For someone so adamant in pointing to Studio execs for wanting Satan to appear, NG was very happy to put that bloke into the TV show, wasn’t he? Him just poofing into smoke without ever having the chance to have everyone panicking paying off was certainly anticlimactic, I give you that. A bit of humor that works better on a page than the screen. But the fact that the dialogue between Satan and Adam is both found in a version intended for the screen is funny to me.

The Tv series had the advantage of a narrator, they wouldn't have needed for Adam to say the 'Not my dad' part out loud. They could also have had Satan not show up, despite all the theatrics (like in the novel) and have Adam just shrugg it of and tell us that way what had happends. But nop they had the exchange.

As an other fun fact. In the 1992 script Satan calls Aziraphale a pathetic excuse of an angel, and I wonder where we heard that .

Could it be?

(Just as a side note, I don't think it was in the novel, I certainly can't remember it being in there and I got nothing Abt it in my notes, but if it should be there I take everything back pfff)

And now to the most controversial part. Not that any of this isn’t in the realm of people rather not wanting to hear about it already, but you know. I think this part is definitely the most subjective. I am talking characterisation.

Ah, I can already hear the resounding “How could you”s. Ok listen, we are in fandom. Apart from all of us having subjective characterisations with only roughly overlapping ideas no matter what, because that is how the human experience works. We are also in a space notorious for, at some point ignoring canon and just having fun. And that’s ok. We all like to have fun and we all deserve to have fun. And overanalysing things is my sort of fun. We can definitely agree to disagree, just please stick to the smaller stones.

So let’s go.

Aziraphale’s and Crowley’s internalized struggles are partially informed by the shit!script version of them.

So hear me out. In the novel Aziraphale and Crowley are very secure persons. Their respective reluctance to engage in certain actions stems more from them trying to perform their job expectations and less from them having an internal struggle. They treat each other as co-workers from different offices in the same building. When they say ‘You are the opposition’, they mean I don’t want the paperwork. Their headquarters are interchangeable for both of them, it just so happens that the one they ended up with fits their personality more. And while Tv them is getting there, they both have more ridged internalized roles that are informed by their headquarters. They are not so much agents that just happen to work for the opposite site, their sides do indeed inform part of their identity, for Tv!Aziraphale more so than for Tv!Crowley. And in s2 it is only getting more pronounced.

You can especially see this in fandom perception. While fandom often overwrites canon in some aspects it also tends to over exaggerate it too. There is definitely a shift in characterisations present in fanfiction that has picked up on this as well. Pre series fics tended to have the both of them be more nonchalant towards their headquarters while post series (even more so post s2) fics often play more with the internalized struggle of it. This can also be ‘blamed’ on a general social shift and common sensibilities changing however canon does play a role in this as well.

The thing is, this shift also happens in the script. Mostly with Crowley. (This is probably a good point to mention that Script! Crowley takes on a few of novel!Aziraphale's actions which makes his character so muddeled, but as I already mentioned even if things get shifted between characters the concept stays) Script!Aziraphale is the more secure one of the both of them. But they both have a theme of unpacking internalized stereotypes based on their respective roles that they have to deal with. In the script Adam has a talk with them where they both realize or at least think about this internalized part of them. And it’s shown (rather clumsily) that both of them put up facades based on what they perceive as their respective role which they start to break out of in the end.

This is in fact not in the novel. Yes they do have questions and discussions about their roles in the grand scheme of things but those are held between the two of them without ever questioning them as a person. They are ridged and are discussing a system they already know as flawed. In the Tv series they are questioning the system and themselves. It especially shows in S2. Take Crowley’s anger management for example.

First of all Crowley’s anger problem is also a thing that can be put down to the shit!script. The wall slam scene could have fit in there as well. The only thing making it not shit!script worthy are the direction and acting choices. But that's besides the point right now. In the novel Crowley doesn’t need to change anything about how he expresses anger (bc he doesn’t really have a anger promblem to begin with) or his treatment of his plants, it’s part of his character that just so happens to fit with his role. In the Tv series he does. He as person is changing in a myriad of small ways because he is deconstructing himself despite the system and even more so once he is outside of it. Aziraphale on the other hand hasn’t started the process fully and is struggling with it but is also determined to get there by intending to dismantle the system from the inside first.

In the 1992 script both Crowley and Aziraphale need to overcome preconceived motions they have about the other while also overcoming their own internalized role.

The script makes a few line from the novel the whole of Crowley’s character. In the novel right before Satan 'appears' and but actually doesn’t, Aziraphale and him have a short exchange.

(Horrible citing etiquette ahead because I didn’t have a digital copy at hand and the text recognition tool didn’t want to pick up the lettering from the physical and I am too lazy to type, so I had the audiobook dictate it and was too lazy to edit it correctly)

[(somewhere around page 209)...] In the jeep Crowley was cursing. Aziraphale laid a hand on his shoulder “There are humans here,” he said.

“Yes," said Crowley "And me.”

“I mean we shouldn’t let this happen to them”

“Well, What?” Crowley began, and stopped.

“I mean, when you think about it, we’ve got them into enough trouble as it is, you and me, over the year, with one thing and another”

“We were only doing our jobs,” muttered Crowley.

“Yes, So what? lots of people in history have only done their jobs and look at the trouble they caused.

“You don't mean we should actually try to stop him?”

“What have you got to lose?”

Crowley started to argue and realised that he couldn't. There was nothing he could lose that he hadn’t lost already. They couldn’t do anything worse to him than he had coming to him already. He felt free at last. He also felt under the seat and found a tyre iron. It wouldn't be any good, but then nothing would. In fact, it would be much more terrible facing the adversary with anything like a decent weapon. That way you might have a bit of hope which would make it worse. [...]

This exchange and insight into Crowley's thought process perfectly encapsulates the whole of script!Crowley’s ark. What is easily dealt with in a few lines in the novel, since he is such a secure and ridged character in it, is made into the whole foundation of the character in the script. A grovelling coward that is afraid of what his side might do to him because he knows what they are capable of and tires to play up the big bad to keep up face.

In the novel Crowley doesn’t need to slam Aziraphale into a wall, or get angry when the angel plays up the innocence and virtuesness. There is no reason for it. They both know the bit of token protest they give when reminding the other of their side is just that, token protest, protocol, an automated response. In the script them both knowing it’s just pretend but struggle with still having internalized some of it is the whole point. And that definitely bled into the series.

There is also a parallel to be drawn between the hurtful things Aziraphale says during the final fifteen and script!Aziraphale's attitude towards Crowley's status as demon. In the script Crowley's demoness is at the same time an excuse and a dismissal of his behavior. He uses it as a tool to dimiss Crowley's distress and excuse his habit of cheating, while also putting himself above Crowley for 'having the pride and virtue from playing honest'.

Litteraly the first thing script!Aziraphale does is dismiss Crowley's concerns using his status as a demon. Doing it again, once script!Crowley is drunk and tries to tell him about his predicament.

To make one thing clear, I am NOT saying the things said in the final fifteen are directly comperable. No, Tv!Aziraphale doesn't have the same motivations as script!Aziraphale. However it is very interesting that in both the script and Tv, Aziraphale gets dialogue that insinuates/could be interpreted as him viewing heaven/being an angel as the better option. And that in both cases these stem from internalized beliefs about his roles that he ends up having to confront.

Of course none of this is a straight line from one version to the other. There are over two full decades and a ton of other people between the two after all. But to fully dismiss the possibility that the oddity that is the shit!script didn’t influence the final adaption is also a bit dishonest. Maybe those patterns that I noticed were just my over active brain spinning around in it's hamster wheel. Sure, I will absolutely admit to that. Maybe my brain is just absolute mush because I just wrote a ~4k word think piece about it, when I could have been sleeping. Maybe, nobody will even read that far, because honestly I probably wouldn’t if I were already staunchly appalled by the existence of that specific piece of writing.

In the end it’s all just a bit of fun and interesting coincidences that may or may not have been related.

At any rate, no, the shit script is still not good. It absolutely lacks that certain Prattchian touch. And yes, I didn’t write about the other parts, because there aren’t many parallels there. Point four and the more severe changes to the story saw to that I suppose.

If you managed to get through my rabelings, congratulations 👏🎉 Have a .... Ehhh ... I can offer a piece of cold homemade lasagna. I do apologize for any grammatical errors and spelling mistakes.

[coridallasmultipass]

.

[dick-chugger]

What did they mean by this

[apossumwithapen]

Chapters: 1/1 Fandom: Good Omens (Movie Concept 1992) Rating: General Audiences Warnings: No Archive Warnings Apply Relationships: Aziraphale/Crowley (Good Omens) Characters: Crowley (Good Omens), Aziraphale (Good Omens) Additional Tags: 1992 Movie Script Aziraphale (Good Omens), 1992 Movie Script Crowley (Good Omens), Good Omens Movie Script (1992), crowley is a dork, He talks to himself in the mirror, Vanity, He just wants to be complemented, idk how to tag this, No beta we fall like Crowley, Aziraphale loves Crowley, Crowley loves Aziraphale he is just bad at admitting it, Pre-Relationship Summary:

Sometimes the hassle of getting real clothes is worth it.

In which Crowley gets a new suit for very different reasons than just new clothes.

[no1ryomafan]

I’m not someone to complain about dubs cause I REALLY don’t care what people watch unless it’s a really inaccurate dub but there is something so infuriating about a dub that has a solid voice cast and direction but then you compare the sub and quality wise there on a similar level but then you see how they change lines, pause and go “what the fuck”

(I am talking about the casshern sins dub which- god damn it funanimation)

[jackass-jones]

Ralsei deltarune is literally so sketchy but also have we considered. That’s hes cute your honor have we considered this

[sonknuxadow]

Toy Story 3 was rated G and that almost has the toys dying in a landfill fire during the climax. I doubt Sonic Movie 3 will have much problem so long as any violence isn't over the top.

Also, wasn't the game Shadow the Hedgehog rated E10+?

if i remember correctly shadow the hedgehog was originally gonna be rated t, hence the swear words and heavy use of weapons and such, but the e10+ rating was created not long before the game came out so they decided to try to fit under that rating instead. cant find a whole lot of information on this but according to the sonic wiki changes included changing the black arms blood to green instead of red and removing overly violent scenes and excessive swearing. kind of wanna know what the game would have been like if it WAS rated t considering what we did end up getting is already more mature than other sonic games that are rated e10+ (a few examples off the top of my head being sonic unleashed, sonic frontiers, and later rereleases of sonic adventure 2)

[poltersprite]

Emilia Perez is really dumb and boring but I feel like with a script doctor they could have made it maybe 2% less offensive and a lot more compelling if they just removed the whole Israeli Surgeon who does sex changes but it's reluctant now for some reason and replaced it with scenes and musical numbers building rapport between Rita and Manitas pre-transition. And also there's no reason for Rita to not be there when she wakes up from surgery and decides on her new name - Rita is the only person she's chosen to know about the transition and she's acting as her lawyer so idk it kind of makes sense she'd be present as an advocate when nobody else can be. Also Manitas mentions that Rita's predecessor 'wasted a lot of time' - why not explore that and how it feels like for her life to be put on hold because of these external factors? Was the previous lawyer lowkey a transphobe? So many things that could have been put in the time slot after the stupid vaginoplasty song instead of going to another surgeon for some reason.

[c4tto626]

what i need more of is like. audio documentaries. i just don't like listening to podcasts i don't like that chatty style i want what is basically a well-researched lecture on a topic (preferably something scientific, history, geology, something something) that i can listen to at work 🙏

[trickinabucket]

I typed all this shit for data validation purposes 😅

My Goof Troop ass

It’s not that deep.

[squeiky]

How was the meal Shadow