#You get one thing going on in each episode and 9/10 times it gets resolved in that same episode

[turbocao]

Yo I've started Hunter x Hunter (idk why) and I'm actually enjoying it quite a lot? (also idk why)

[charmac]

Unspoken tension ahead of Charlie Work, a wound left open in Family Fight

The Production Order (the order in which the episodes are written) always seems of some value to me in Sunny, but 10 I find especially substantial. With half of the scripts of the season written by RCG, 4 are back-to-back (with their 5th one, Psycho Pete, being 2nd in order).

The run begins after The Gang Spies like U.S. Going off that into Charlie Work, as opposed to into that off Charlie Work, paints a very different narrative for the timeline.

We leave the reveal that Mac and Dennis are jerking off together into an episode that starts with high tension between Mac and Dennis. Dennis is frustrated that Mac isn't being direct, won't look him in the eyes, he's avoidant, timid. That's interesting, because Mac isn't usually any of those things, he's direct and abrupt and loud. Off 9, fully establishing Mac is gay, juxtaposing his closeted behaviour to Country Mac's openness, 10 focuses hard on the fact that Mac's confidence is continually battered as he refuses to step out of the closet. The Gang is tired of it, but Dennis is frustrated. His words maybe cut even deeper than the scratch, "Come to me like a man. Talk about being tough all the time, can't even look me in the eyes."

We leave CW and go into Family Fight, written right after, also by RCG. This episode has big focus on Dennis' obsession with public perception of himself, and the Gang. Though he can initially handle masking his demeanor, his tone of voice, what he can't mask are his words. He's smiling, he's 'joking', but there's deep truth in what he’s saying. He's frustrated, though his frustration in the moment is intended for Frank, Mac feels it directed at him. There's a fresh wound between them, because Mac fully understands what his feelings for Dennis are now, and that’s irreparably shifted their dynamic.

Misses the Boat is the last RCG-written episode of the season. From Charlie Work, where we’re kinda first faced with the fact that Mac is now overly-concerned with how Dennis perceives him, to Family Fight, where Dennis' masks slip completely and he has a public breakdown, they both veer hard to straighten themselves. Mac, very quite literally, goes straight, and Dennis resolves that he needs to cut ties to get back to being ‘cool’, he’s going to be a cool guy who has a cool car and hangs out with a babe and is cool.

But what we learn in Misses the Boat is that how they think the world views them, or should view them based on how they believe they present, isn’t who they are. They can’t actually function well in these situations. Dennis, untethered, somehow can’t control his rage as well as he can when he *is tethered* to the Gang. Mac, well, he isn’t straight, and he realises pretending to be into women is miserable.

Dennis gives him the offer: Do you want to go back? (To not addressing it, to a standstill.) And Mac quickly, excitedly takes it. Looping back to where they are in Charlie Work, back to where they settle for too long: Mac, absorbed in himself, clawing for approval from Dennis, and Dennis lashing out, tired of telling Mac what to do.

And I think this is why I love 10 more than anything, it finally addresses the issue the audience knows. With Charlie, Dee, and Frank, too. They’re going nowhere, spiraling in circles because they refuse to address the roots of their issues, and Misses the Boat makes them, themselves, fully aware of that fact. They’re miserable together, but they’re worse off alone. And they go into 11 and beyond knowing this, and all kind of resenting each other for it, until 14. Where they acknowledge it again, and decide they’re going to keep playing the game even though it’s set.

[destinysbounty]

I think one of the things that made the original series so compelling is how interwoven everything was. Sure, it wasnt always perfect, but each season brought to the table some new connections to the lore, some character growth, some advancements in continuity. Even if a character or subplot only lasted one season, you could still feel their influence on the story several seasons later.

Chen is my favorite example of this. He may have just been the villain of season 4, but his schemes introduced a lot of information about elemental powers, his defeat initiated season 5, and his impact can still be felt as late as season 7 (foreshadowing about Ray and Maya, elemental alliance stuff, etc.) In Way of the Departed theres even suggestions that Chen had Clouse use dark magic to corrupt the Time Twins, leading to their villainy and causing not just the plot of season 7, but also Kai and Nya's whole backstory. Clouse, having returned as a ghost thanks to season 5, is responsible for conjuring Nadakhan and starting season 6.

And on the note of season 5! That season introduced us to the Sixteen Realms and the Realm Crystal, which become important aspects of season 6, and Yang's temple, which became important in DotD and season 7. It also formally introduced Ronin and turned Cole into a ghost, which are *also* major plot details going forward. AND it planted the seeds for Wu's eventual character arc in seasons 7-9. This season's impact expands past itself.

A lot of times, not all the time but often enough, whenever lore gets introduced at some point in the og series, it gets utilized much later on. Captain Soto, formerly a one-off villain from season 2, becomes plot-important in season 6. The Golden Weapon is shot into space in season 2, melted into Golden Armor in season 3, then melted down back into the weapons to defeat the Oni in season 10. The Great Devourer causes Harumi's tragic backstory. Mystake, who started out as a background gag character, became a key participant not just in the show but the worldbuilding and lore. The love triangle and subsequent rift between Jay and Nya doesnt get fully resolved until season 6. The ninja return to the burnt-down monastery in season 6, DotD, and season 7, and eventually rebuild it in season 10.

See what i mean? Everything somehow ties back to itself. Its far from perfect, but there is a solid sense of continuity that connects everything in increasingly complex ways.

I think thats a big part of what makes Wildbrain feel so different. Dont get me wrong, i love Wildbrain and i enjoy a lot of it, but it definitely lacks the cohesion that had seemingly defined Masters of Spinjitzu. A lot of their Wildbrain adventures feel less like installments in a greater narrative, and more like a series of loosely connected sidequests. Exciting sidequests that are usually really fun to watch, certainly, but sidequests all the same.

With the exception of Seabound and Crystalized, you could probably watch Wildbrain out of order and not much would change. If Prime Empire or the Island happened before SotFS, none of those seasons would face any impact from that. They are largely episodic and detached from each other in ways the og series never was. But if you tried to shuffle up the season order in Masters of Spinjitzu, youd have to rewrite a lot of stuff to make it work.

I almost wanna say thats part of why Seabound and Crystalized feel like such a return to form, and why MotM is so well-beloved. MotM introduced us to Lilly, fleshed out Cole's backstory, gave Wu a lil character arc that built on what came before it (Wu feeling useless bc the past few adventures were done without him), and finally gave some kind of resolution to Lloyd's Harumi-related trust issues (not just referencing her, but actually giving him a character arc about it). Seabound introduced us to more lore about the world's history and the backstory of the FSM, gave Nya one of the most compelling character arcs in the whole show that builds on and satisfies her past arcs, even gave her name a backstory that ties into the lore, featured relevant cameos from prior seasons (Vania, Maya, the Keepers), and provided an ending that would have lasting repercussions on seasons to come. And Crystalized...well, i wont spoil anything, but you get where im going with this.

Now, obviously this isnt the only deciding factor of whether or not a season is good. Seasons 6 and 7 are a mixed bag in terms of quality, yet have very integrated lore and character arcs. But seasons 11, and 12, which many people dislike, are also the ones that most noticeably feel like theyre happening in a vacuum. Any effect they have on later seasons, or any effect prior seasons have on them, is not as significant or immediate as in other seasons.

With the original series, there was a sort of cause and effect, almost. Rebooted caused ToE, which caused Possession, which caused Skybound, and so on. Theres a clear and specific chain of causality, and the sequence of events has a large impact on the events themselves. The same cannot be said of Wildbrain.

Again, i do enjoy Wildbrain, and there are a lot of things i even think it did better than the og. But i definitely feel like it wouldnt be half as contentious among fans if it had the same cause-and-effect plot structure as the og. Like, something in ns11 being the inciting incident for season 12, and something in season 12 causing season 13...you get the idea.

Anyway brb i gotta go rewrite Wildbrain

[mywingsareonwheels]

What I wanted characters to say to each other this year so far...

(Spoilers behind the cut for: "Endeavour" series 9; "Shadow and Bone" series 2; "Good Omens" series 2; "Heartstopper" series 2)

Fred Thursday, to E Morse: I love you, you're my best friend and like a son or brother to me. I don't want to leave you behind, or neglect you. But I'm burned out, and exhausted, and scared, and you seem to be doing a lot better and meanwhile my son is disintegrating and my daughter is getting married and I am *so tired* and so terrified, so you can't be as much my priority right now as I'd like. It's hard for me to confide in anyone or let you help me. But I will try, and I do love you, so so much.

E Morse to Fred Thursday: I love you, you're my best friend and like a father or brother to me. I find it so hard to believe that you care about me, and I'm scared that everyone is leaving me behind yet again, and I'm hurt that you are, and I don't know how to help you. Please confide in me and let me try. I do love you, so so much.

Kaz Brekker, to Inej Ghafa: I love you, but I'm in a bad way and I don't know how I can be with you in a way that works for us both. But I do love you, so so much. Please come back one day.

Inej Ghafa, to Kaz Brekker: [actually she pretty much said it all, bless her] [but another affirmation of love would have gone well I think]

Aziraphale, to Crowley: we aren't going to agree on this, but I'm not leaving you behind because I don't love you. I think I'm doing the right thing. I'm scared and broken and everything is hard right now. But I love you, I ache for you, I know that you are good and kind and worthy and you don't need to be an angel for me to love you, *I will be back*.

Crowley, to Aziraphale: we aren't going to agree on this, but I'm not staying behind because I don't love you. I'm desperately worried about you and I wish I could change your mind. I'm scared and broken and everything is hard right now. I'm worried that you can't love me as I am. But I love you, I ache for you, I will try to trust you, *I will wait*.

Pretty much everyone in Heartstopper: ACTUALLY USED THEIR WORDS even if it took them a while, excellent, well played good gentlebeings. If Stephane Nelson can get his act together by s3 that'd be great (hey, Thibault has form for redeeming himself as a dad ;-) ), but Nick will cope if he doesn't. 9/10 at least for all the characters who aren't shits.

Disclaimer: this is not in any way a criticism of the writers of any of them except I think Endeavour, for I have... complicated feelings about that final episode, and whether doing That was actually really, totally necessary to set up Inspector Morse (I don't think it was, for at least two reasons, so it feels to me like gratuitous pain and the fucking up of a precious character arc tbh). But wrt Shadow and Bone and Good Omens? Fair play, that's brilliant storytelling, some things need to take their time, and romantic cliffhangers are awesome actually (provided they then get resolved at some point!). And Shadow and Bone has multiple awesome relationships, in some of which communication does actually happen. <3

But that doesn't stop me yearning for those characters to say those things, even though I think it's artistically better that the ones in S&B and GO didn't just yet. <3 Heartstopper is a different kind of show, where that would be less appropriate. But in S&B and GO it is actually brilliant. Just... ow. ;-)

Watching Heartstopper after the other three was rather a particular blessing tbh. :)

[bestworstcase]

with only three episodes left, what do you think is in store for the rest of the volume? personally, i’m having trouble imagining a solid resolution fitting into such a small window. not that i doubt there’s a way to end this volume succinctly—rwby is always throwing curveballs i could’ve never predicted hitting, which i love—but i suppose the hangnail in resolution’s cuticle is that jrwby are all finally facing their lifelong, beaten-in worldview being turned on its head and that seems like the kind of thing (on top of neo’s untold ever after story) that needs more time to be resolved. in which case, ig we’re not looking at a clean wrap up? do you think they end this volume ascending the ever after? escaping back to remnant? (i ask those two questions separately bc i wanna say they might have different answers lol)

as a point of comparison, here’s everything (not necessarily in chronological order) that happened in the last three episodes of V8:

1 - ironwood vs everyone beat down

2 - winter heel face turn completed

3 - met ambrosius + staff of creation rules

4 - magic rules lawyered penny into a flesh body to save her from the virus with a side dish of horrible body horror robot body death scene and holy shit atlas is FALLING.

5 - creation of whacky portals for evacuation to vacuo

6 - emergency evacuation broadcast CANCELLED!

7 - cinder remembers the power of friendship and uses it for evil

8 - cinder recovered the lamp and scored the password and used the last question to spy on team oz which is fucking hysterical by the way, so she knows the entire plan

9 - YANG DIES?

10 - ruby and blake fall too. and neo

11 - the evacuation dumps everyone in a sandstorm so they can’t call for backup and also the exit is one-way (“oh dear. ambrosius \:” love that enthusiasm sir)

12 - HARRIET TRIES TO NUKE MANTLE?

13 - ironwood murders jacques

14 - eleventh hour harriet heel face turn also zeki dies because atlesian tech goons thought the nuke needed to be plugged into the IOT for some reason god bless

15 - PENNY???

16 - and winter becomes the winter maiden

17 - TEAM RWBY TOTAL PARTY KILL!!

18 - jaune also

19 - salem and cinder playing chicken over who is going to blink first like they don’t both already know that it’s going to be salem

20 - ATLAS OBLITERATED FOREVER

that’s a lot of things!

now, it’s a lot easier to set up and execute a dense, tightly-paced climactic spiral of disaster than bring a lot of interconnected emotional crises to satisfying resolution in the same amount of runtime—but on the other hand, V9 has a lot less going on. it doesn’t FEEL that way because the emotional development has been so rich and done so, so well, but there honestly are not that many narrative threads to tie off. basically, the big ones are:

1 - ruby’s emotional crisis

2 - jaune’s corruption

3 - neo

4 - how do we get home?

5 - what do we do once we get there?

compared to the sheer amount of dominoes V8 had to juggle, handling this stuff is a nice little walk.

the key thing to remember—& this has been true for every one of rwby’s climactic sequences and also counts as writing advice—is that none of these major threads are truly discrete. they’re all interwoven with each other and bound together with all the smaller filaments (like the cat’s arc or little’s arc or the framing device of ‘the girl who fell through the world’ and what really went down with alyx and the tree), so you don’t have to resolve them separately and indeed you can’t because it all has to happen at once. what this means, from a writing standpoint, is you layer up and make every scene work towards the resolution of two or three major threads and however many minor filaments you can fit comfortably so that everything is doing work for everything else. if you’re efficient you don’t need a lot of time to pull off a stunning climactic sequence, and efficiency is something rwby has always been very, very good at. this is true even of V1 even though V1 feels laughably inefficient by the standards of V8; which is to say, they started off good and got much better.

the other piece to bear in mind is that V9 is not meant to be self-contained; it is not a character-focused breather volume to let the protagonists heal up before returning to remnant to carry on as they were, it is The Answer. when rwbyjn go home they are not going to return to the story they fell out of at the end of V8. that story is OVER. it ENDED. the final word was checkmate and the world they knew is GONE FOREVER. salem WON. the ever after is an epilogue to that story and the prologue for another; it isn’t building towards a resolution so much as it is building a hook.

(<- remember V3 “beginning of the end” and “end of the beginning”? this story-within-story device is something rwby has utilized before; this show is a singular contiguous narrative in the literal sense, but it’s structured as a trilogy.)

so V9 needs to be a satisfying farewell to the middle book and also make the case for continuing on to the third and final story—which very much works to its benefit here, because the sweeping emotional changes being developed actually SHOULDN’T be resolved. a clean wrap up would critically weaken the narrative structure. the immediate crises need to be realized—there must be a moment of peace, of closing one book and beginning the next; a hopeful glimpse of the story to come, of what it could be—and then they go home. and the new story begins.

in the figurative sense you could call it ascension. in the literal sense, no, i don’t think any of the remnant characters are going to ascend because i don’t think they can (frankly i’m bemused as to why so many people seem to believe otherwise; it seems to me that the cat has made it very clear that ascension is closed to non-afterans). but the idea of ascension? oh, yes, they’re carrying that forward with them.

as for whether they’ll return to remnant—yes. i think the probability that they don’t find their way home by episode ten is zero. how they return is an open question but also not a question at all, because the tree is the question and their answer is the door; this has been spelled out, explicitly, albeit in wonderlandish terms. what we don’t know yet is what this will look like, because the tree is also the blacksmith and the ever after runs on wonderland rules. it’s not going to be literal. (<- unless abstraction is less absurd than the literal option, which is possible given the likelihood that the ever after itself is fictional.)

[ridley-was-a-cat]

Winter 2023 Anime Roundup

Anime of the Season – Tsurune S2

I hadn’t watched season one, so I did not plan to watch this show this season, but all the gorgeous screenshots and gifs on Tumblr got to me, and I watched the entire series during the last week of the season. Hilarious, honestly, that the show I wasn’t even going to pick up ended up being my favorite of the season.

As good as the first season was, this was an upgrade on pretty much every front. All of the intersecting relationships between the characters at different schools made for more interesting and more grounded drama than the previous season. The art and animation both absolutely sparkled, and the sound design made you feel like you were watching in person. In particular, the spat between the two cousins/best friends on the team made for one of my favorite episodes this season. Something about how realistic their disagreement was, pushing each others’ buttons like only lifelong friends can do, and the way they resolved it by tiring themselves out in a tense archery duel that ended with a fit of the giggles, just thoroughly charmed me. I adored all of these characters, and I hope we’ll see more from the franchise. 9/10

First Runner-Up – Tomo-chan Is a Girl!

I had my doubts about this early in the series, with all the boob jokes and efforts to make Tomo girlier, but they were all gone by the end. It was just a solid romcom about a loveable group of lunatics that actively affirmed that Tomo was perfect the way she was. 8/10

Second Runner-Up – Buddy Daddies

The hitman content was not as good as the stuff about two single men in their twenties suddenly grappling with the minutia of parenting a five-year-old girl, but I was entertained week after week, and thought they did a good job sticking the landing. 8/10

IDOLiSH7 Third BEAT! Part 2 – Idol shows have a reputation for being harmless vehicles for hot guys/girls, but wherever that idea came from, it absolutely does not apply to this show, which repeatedly punched me in the gut and made me feel. Ryu is a top-ten hateable villain, for sure. 8/10

Play It Cool, Guys – I believe this was pretty popular in Japan, as it’s also getting a live-action drama, so I hope that means we can look forward to more relaxing, lightly amusing shows about cute guys doing cute things in the future. I just really enjoyed watching a handful of fairly normal dudes bumble around. 8/10

Don’t Toy with Me, Miss Nagatoro S2 – As much as this series is a comedy first and foremost, I just really love the relationship between Nagatoro and Senpai. Their dynamic is so playful, and they have great chemistry along with a genuine friendship. 8/10

The Vampire Dies in No Time S2 – Season 1 was a little uneven with the jokes, but this season was consistently funny, episode after episode. The character interactions hit better once you’re more acquainted with everyone, and the silly situations were just better this time around. 8/10

In/Spectre S2 – The end of season one dragged quite a bit with the Steel Lady Nanase arc, but this series was made up entirely of shorter, three-episode arcs that made the best use of the medium and the characters. Kotoko is the tiny, thirsty queen we need in these troubled times. 7/10

“Ippon” Again! – For years now, I’ve been wanting a serious girls sports anime that wasn’t an anodyne cute girls doing cute things show, and this pretty much gave me what I was looking for. The judo matches had a nice level of tension and excitement to them, and the girls were free to get intense, work hard, and not look particularly pretty while doing it. 7/10

Sugar Apple Fairy Tale – This sat at the top of the chart for me this season, until the final episode had me ready to take my earrings out and square up. The infuriating story decision isn’t necessarily irredeemable, so I will watch part two this summer to see what they do, but my expectations are low. 7/10

The Ice Guy and His Cool Female Colleague – This was more of a vibe than it was a story, but I enjoyed the relaxed atmosphere of a bunch of yokai who are otherwise bog-basic office workers interacting with their human coworkers. 7/10

Welcome to Demon School! Iruma-kun S3 – My love for Iruma and all his friends knows no bounds, and I’m really hoping for a season four, but I’d be lying if I didn’t say the harvest festival arc felt really padded and dragged out in this season. 7/10

My Hero Academia S6 – This season had some pretty epic fights and story developments, including a resolution of sorts for Todoroki’s family situation and a boiling point for Deku’s self-destructive selflessness, but it was a little uncomfortable to watch the angry citizens portrayed as ingrates. It had a whiff of “Blue Lives Matter” to it. 7/10

Malevolent Spirits: Mononogatari – In many ways, this is just a basic off-brand action shounen with a blunt main character taking his anger out on everyone he fights on a quest for revenge, but I think the female lead and her retinue of tsukumogami adds enough novelty to keep things interesting. I look forward to watching part two. 7/10

Endo and Kobayashi Live! The Latest on Tsundere Villainess Lieselotte – I enjoyed the unusual approach to otome isekai in this, where two players in the real world became connected to the characters inside the game, who heard their voices as though the gods were speaking to them. It was nice to get a full adaptation of the source with multiple ships setting sail, but it started stronger than it finished. 7/10

Handyman Saitou in Another World – With the exception of two poorly paced episodes in the middle of the season that centered on a hideously animated monster in a group battle in the dungeon, this was a highly entertaining and refreshing take on isekai, with a cast of loveable characters. 7/10

Is It Wrong to Try to Pick Up Girls in a Dungeon? IV Part 2 – If you stripped out all of the titty harem business, or just focused on building a genuine romantic connection with Ryu, this would shoot to the top of my favorite action/adventures. All of the dungeon exploration and fighting is just fantastic, with high stakes that get your blood pumping. 7/10

UniteUp! – It was feast or famine with this show. The first episode was straight up the best premiere I watched, and there were several excellent episodes where characters struggled with their families or with adjusting to working as an idol, but there were multiple production delays, some of the voice acting was fairly wooden, and there were several episodes that were merely okay. I wanted more Kacchan content! 7/10

Revenger – I can’t really argue with the people pegging this as an edgy revenge story, but I thought the main character had an interesting internal conflict, the fights were creative, and the guys were all easy on the eyes. 7/10

Kaina of the Great Snow Sea – The 3D CG animation wasn’t fantastic, and the second half that focused on a war between two remaining kingdoms was a little blah, but the setting was imaginative, the backgrounds were gorgeous, and the two leads had great chemistry. 7/10

The Fire Hunter – On the one hand, I really love the world building and all the intersecting plots going on in this post-apocalyptic fantasy. On the other hand, a number of questionable artistic choices mingle with straight up sloppy work to make the visual presentation an extremely mixed bag. 7/10

By the Grace of the Gods S2 – This is one of those shows that I can’t quite bring myself to call “good”, because the animation and art are just meh and the story is barely a story, but the vibe is so chill and the characters are so nice that watching it every week felt healing. 6/10

Giant Beasts of Ars – This is one of those fantasy shows that entertained me while I was was watching it, but I will likely never think about again. It had some creative world building, I enjoyed the adventuring party that formed around the main characters, and the voice acting was solid. 6/10

Ningen Fushin: Adventurers Who Don’t Believe in Humanity Will Save the World – If they didn’t decide to tie one of the main characters’ backstories to a false accusation of sexual abuse by a spiteful child, I would have enjoyed this fantasy adventure series about a party united by their histories of being betrayed by those they trusted a lot more. 6/10

Trigun Stampede – Having enjoyed the original anime and everything else this studio has done, I expected to enjoy this. While I didn’t hate it, something about the story and characters just didn’t click with me, and I didn’t like how they animated the characters’ faces when they were talking. 6/10

Saving 80,000 Gold in Another World for My Retirement – I am sort of in awe of the author’s sheer audacity in taking the colonialist power fantasy subtext of modern isekai and making it bright, glowing, neon text. Not a good show, but an entertaining one. 6/10

The Magical Revolution of the Reincarnated Princess and the Genius Young Lady – I really wanted to love this one, but I thought the writing was a bit of a mess with inconsistent characterization, elements introduced then quickly forgotten about, and a underdeveloped romance that felt unearned. 6/10

[djeterg19]

Ok, so I was chatting on the bird app about why I generally hate third act breakups and it kinda inspired this post. First, conflict is necessary in any drama. The issue that comes up with many third act breakups is that they are often forced or contrived. Or the response is disproportionate to whatever issue comes up. Often it's caused by a lack of communication or a miscommunication.

I'm supposed to believe these two characters are in love but won't talk with or listen to the other person when they try to explain what happened or how they are feeling? Or they see or overhear something and, without speaking with the other person, jump immediately to wanting to break up and then refuse to give them a second chance. Or, and this might be the one I hate the most, they decide they know what's best for their love interest and break up because they don't want to hold them back. You should not be deciding what is best for someone else. People are capable of deciding for themselves what to prioritize in their life. You might think that specific job or going to school is the most important thing but someone else might think a family, friends, or love is more important to them. Because there are plenty of jobs or schools but family and love are irreplaceable.

And if they are so willing to throw the entire relationship away without communicating, how am I supposed to believe that the reunion or their feelings are genuine? Did they learn or grow from the situation? Or is it just cheap conflict to make the last episode have suspense? Why am I supposed to believe they are in love when they don't try reaching out to try resolving whatever the issue is? If your answer to the first big fight or issue your relationship encounters is to dump the other person and refuse to even talk to them...it just does not work for me character wise or plot wise. I can understand yelling and fighting in the moment but I cannot understand someone taking time to think and reflect and not even trying to patch things up or make things work with someone they truly love in most circumstances. And characters and relationships can be tested without forcing the characters apart through forced drama. They can have adult conversations where they can decide that they need to work on x, y, or x but won't cut all communication because they are important to each other. It can be outside forces that cause issues that actually strengthens their bond by forcing them to work together to overcome the odds. Or maybe one of them suffers a setback or struggles with something that is the big drama but they are there for each other and help each other through whatever comes up. Honestly my absolute favorite conflict in a BL was Kawi getting sick in Be My Favorite. It's realistic. It's traumatic. It produced drama AND utilized the time travel element in a great way.

Also the timing is frustrating. Because, with BLs especially, the third act breakup doesn't even happen in the third act. It happens in episode 11 generally. One episode is not the fourth act of a 12 episode series. For it to be a third act breakup, it would need to happen around episode 9 or 10 at the latest. But it almost never does and the ending is almost never satisfying because they have to cram too much into one episode to resolve things. I personally would prefer if such drama was done earlier so that the last episode could be reserved for seeing the happy ending that most of these shows promise. I don't want to spend 12 episodes with a pairing and only have 5 minutes showing them happy at the end. That is generally not satisfying to me.

[duhragonball]

Dragon Ball GT 11

✨GT Stands for Gratuitous Twist✨

So these next four episodes deal with the Luud Cult.   I guess technically the Luud arc spans episodes 9-15, but 9 and 10 focus on the Para Bros, and 15 is basically an epilogue.  11-14 see the good guys fighting the cult on their home turf. 

As I got closer to these four episodes, I found it hard to remember everything that happened in them.  This is my first time watching GT since 2013, but I feel like I had a pretty good handle on the plots of each episode.  For instance, I remember Episode 15 pretty well, because Pan gets stuck in the desert and fights a centipede, and Giru rescues her. 

Episodes 11-14 felt like a blur, because I could only remember enough stuff to fill like two episodes.  They go to Planet Luud, Pan gets turned into a doll, they fight Mutchy Motchy, then he turns out to be a whip, then Dolltaki molests the Pan doll and activates Luud, then Dolltaki and Pan get trapped inside Luud and they have to do that stupid joint attack to hit Luud on the inside and outside at the same time.  But that couldn’t have been everything, could it? 

Turns out, yes, that’s pretty much it.  It felt like I had forgotten something, but then I watched Episode 11 and realized that barely anything happens.  I think the pace picks up near the end of this arc, but we’ve got a ways to go. 

So the entire first half of this episode is devoted to Pan and Giru being stuck aboard the Para Bros. spaceship as it automatically flies to Planet Luud.  They don’t know where they’re going or how to control the ship, so Pan browbeats Giru because all she’s good for is complaining that no one else is solving her problems. 

✨ “Good” “Ideas”, Poorly Executed✨

I want to go back to the 2005 interview with GT producer Kozo Morishita.  When discussing Pan, he refers to this episode:

“Dragon Ball GT has an episode where Pan is turned into a doll, but that episode established the pattern of ‘Pan sets the incident in motion while Goku resolves it’.”

And that sums of the depiction of Pan throughout the series.  Morishita had a very clear, very simple formula for Goku and Pan’s dynamic, and they pretty much stuck with it through the entire series. 

For me, this right here is one of the main reasons I hate GT so much.  People talk about whether or not it’s canon, or whether it goes “back-to-the-basics”, and whether it hearkens back to the “adventure focus” of early Dragon Ball, but that’s just avoids the central issue.  Forget the manga, forget the Dragon Ball and Dragon Ball Z anime.  For a moment, just consider GT in a vacuum, as a standalone anime.  You have one of the main characters, and her sole purpose in the series is to get in trouble so the other main character can rescue her.  And they just do that over and over.  She never gains any agency or development as the series progresses, she just stumbles into trouble so the formula can be preserved. 

Now think about the movie Dragon Ball Super: Super Hero, where a different version of Pan is a minor character, but she still has a little character arc of her own.  At the start of the movie, she can’t fly yet, but then at the end, she finally figures it out, and then she happily shows it off to Gohan and Piccolo.  It’s great.   She didn’t get to do a lot in terms of fighting the bad guys, but she still had some personal growth to mirror Gohan and Piccolo’s development. 

The frustrating thing about the Kozo Morishita interview is how he basically confirms that GT kept shifting its premise and never found a proper direction, but the one thing they stuck to no matter what was the formula of Pan getting into trouble so Goku could save her.  The way he speaks of this in the interview, it’s like the bedrock of the series.  It’s the guiding principle of Dragon Ball GT.

Why?  Because I already grew up with the trope through characters like Jimmy Olsen.  In the 40s, Jimmy Olsen was literally a child, and they gradually aged him up over the years.  He would get in trouble and Superman would save him, and it was boring as fuck, because it was the same routine over and over.  By the 1950s, you had Jimmy doing the same bit on the Adventures of Superman TV series, only he was played by 24-year-old Jack Larson, so you had a grown man making the same idiot mistakes, and never learning anything.  

Eventually, Superman writers saw the light and began finding more original things to do with the character, so now we live in a world where Superman can save people besides his co-workers, but people like Kozo Morishita saw the formula and thought it was a feature instead of a cliche. 

And really, having Goku save Pan all the time isn’t the worst way to go, but you have to at least give Pan some redeeming qualities to make up for her helplessness.  She’s the least powerful of her team, she doesn’t know how to fix things or fly spaceships.  She’s too inexperienced to be a leader.  She seems to have sensible ideas from time to time, but she doesn’t know how to follow through on them. And whenever she gets stuck, she whines and takes it out on everyone around her.  If she can’t save herself, then her obnoxious personality just makes her that much more annoying.  Eventually you start to resent the character and wish that Goku would just abandon her to her fate. 

But GT is what it is, so we’re stuck with the version of Pan that we have. And yet, even if I accept GT Pan at face value, she’s still undermined by the slipshod writing.  Let’s review:

Q: How did Pan get stuck on the Para Brothers’ spaceship in the first place? 

A: In Episode 10, she was searching their ship for the Dragon Ball, and noticed some alien words on one of the computer terminals.  She asked Giru to translate for her, and when he told her that it said to launch the ship and return to Planet Luud, the ship heard Giru and interpreted it as a command.

Q: Then the ship is only going to Luud because Giru accidentally told it to do so?

A: According to Episode 10, yes.

Q: Okay, then in Episode 11 why don’t they just tell the ship to go back?   Why is Pan asking Giru to find a “switch” that will take control of the ship?   It’s all voice interface, so why don’t they just talk to it?

A: Because GT Logic.

It is this fucking bullshit that makes the show so terrible.   Not the saccharine tone, not the ugly color palettes, not the unlikable characters and piss-poor villains.  Those are all problems, sure, but I could forgive them if the series at least kept track of the simplest plot points from one episode to the next.  Instead, characters literally forget things like “you can talk to the ship” or “I can fly” or “I’m the Legendary Super Saiyan”.  And they always forget in such a way that serves to drag the story out and try my patience. 

Because they don’t forget to show Pan and Giru arriving on Planet Luud and disembarking from the ship.  No, they made sure to put that in there, and the part where the find Luud’s temple.  They could have just started the episode on this scene, and had Pan provide exposition to cover what happened between Episodes 10 and 11.  “This is terrible, Giru!  The Para Brothers’ ship took us all the way to their home planet, and we can’t get it to take us back!  But if there really is a Dragon Ball inside that weird castle, then maybe this can work out after all!” 

But no, we have to waste half an episode on a trip Pan can’t control.  

✨Is This Episode Worse than “The Roaming Lake”?✨

Yes, as dumb as “The Roaming Lake” was, at least they didn’t have Goku forget about the drought, or that he knows how to talk and fire energy blasts out of his hands. 

✨Positivity Page✨

I will give this one some credit for how Pan confronts Mutchy Motchy.  He starts monologuing about the Luud Cult, and how Lood is a “god of destruction” who will usher in a new order in the universe, and Pan just snatches the Dragon Ball and makes a run for it. 

She doesn’t get very far before the Luud idol zaps her and transforms her into a doll, just like those aliens from the last two episodes.  The thing is, though, even if this hadn’t happened, where was Pan planning to go?  She had no way off the planet, and she had no way of knowing Goku and Trunks were on their way to save her.  But I’ll give this episode some credit for this as well.  Pan’s still a little kid, so it makes sense for her to do things like boldly swiping a Dragon Ball from the bad guys without an exit strategy.  It’s the sort of thing I wish she got to do more of in this series.  Normally, she’d just whine about how Giru should steal the Dragon Ball for her, and then hit him when he doesn’t do it right.

Luckily for Pan, Goku and Trunks are already on Planet Luud, having interrogated the Para Brothers to find out where their ship went.  They storm the temple with the Para Brothers, so Mutchy-Motchy turns them into dolls too, and tosses them into Luud’s pot.  Then he fights Goku and Trunks at the same time, and doesn’t do too badly at first, thanks to his dirty tricks.   This shot looks like he’s firing a ki blast at Goku, but it’s actually a gun he was holding under his robes.

Then Mutchy Motchy summons a giant blue robot lion to finish the battle for him. Goku kills it in one shot.  He doesn’t even shoot at Leion, he blasts the wall, knocking off a big chunk of it that crushes Leion. 

While they all stare at the wreckage, Giru notices the Pan doll lying on the floor and detects life signs, so he realizes that this is actually Pan.  But before he can save her, another bad guy shows up and kicks him away, securing the doll for himself.   I’ll have more to say about this next time.

Back to the fight, Leion must have had some sort of secondary explosion, because several seconds after being crushed, he blows up and Mutchy Motchy is destroyed in the blast.  So Goku took both of them out in one shot?  Okay, this is dumb as hell.  We spent half the episode setting up Pan on this planet, and then we speedrun the battle?  They’ve spent three episodes introducing this guy and he dies like this?

Well, no, because his whip survived the blast, and then it starts TALKING to Goku and Trunks.  According to the whip, Mutchy Motchi was never the actual leader of the Luud Cult.  Oh, no.  The whip was the REAL boss all along.  And the whip’s name is also Mutchy, because that isn’t confusing or anything.

Then the whip transforms into this other jackass, and promises to give Goku and Trunks a much greater challenge.   Why the fuck didn’t he just do this in the first place?  If he’s in charge, why does he spend all day in whip form, having his servant flail him around and giving orders? 

And why is the audience supposed to care?  We barely had a chance to get invested in the last boss, and now we’re supposed to care about this guy?  It’d be like if Frieza showed up on Namek and then three episodes later he slips on a banana peel and dies, then his hoverchair turns into a robot and says “Ha ha! I was the real overlord all along!  And my name is also Frieza!”  It would fucking suck, and Dragon Ball GT went ahead and did it. 

What... what is wrong with this show? Like, why would anyone write this shit and think it was suitable for broadcast?  I just watched this episode and I promise I’m describing exactly what happened, and yet it reads like I’m telling a stupid joke.

“The bad guy summoned a robot lion, but Goku kills it in one hit and it kills the bad guy too, then his whip reveals that he was the secret real boss all along.”

And he’s not even the real boss!  There’s like three more rungs on the ladder, but forget that for now.   This is stupid enough on its own.  This is like something a four year old would say, and then they’d start giggling because they know they’re being silly.  But no, grown men in Japan came up with this in 1996, and they were like “Well, good enough, let’s put it on TV.”  

✨The Blade Braxton Memorial Haiku*✨

All right, I need to move on.  Blade Braxton (1975-2021) was a legend in the field of pro wrestling podcasts.   One of his many talents was to hit people with a Shake-weight so that his protege, Mr. Fitness II, could win his matches.   But also, he wrote haiku poems that summed up weeks’ worth of wrestling news and discourse in a succinct, soul-refreshing seventeen syllables.   My purpose here is to honor the memory of Mr. Brakestown-sensei by composing my own poems to save people the trouble of watching Dragon Ball GT. 

Folks, life is short.  Don’t waste your time watching terrible anime.  Don’t even look up episode summaries on the internet.  I know I just wrote a whole rant about this episode, but don’t even bother reading this post.  Just scroll straight down to this part at the end.  That’s all you need!  Seventeen syllables, and you’ll know everything you need to know about this episode.  Then you can use the free time you’ve saved to talk to a loved one, learn a new language, or spend a little more time in bed.  Whatever you want to do.  It’s your life, so make the most of it. 

Here we go. 

Ahem.

Here we go.

How does a talking

Whip know about Dragon Balls?

We’ll never find out.

[chocomd]

ATLA rewatch thoughts, Book 1 (eps 7-11)

7) Winter Solstice Part 1: The Spirit World - The introduction to spirit world of ATLA is just WOW!!! Hei Bai’s design is so kickass, and I loved everything about the spirits and the spirit world. SPIRIT WORLD MY BELOVED

8)  Winter Solstice Part 2: Avatar Roku - So far I’ve been just going along for the ride while rewatching Book 1, and I started to get invested (again) with ep 7, but this ep is where I am ALL IN. And Aang as Avatar Roku???? OMGFKDJHSDKSJHDFKSHD!!!!

9) The Waterbending Scroll - I always feel uncomfortable whenever I watch this episode, because Katara is petty and jealous and insecure for most of it. But it’s also totally realistic! Aang picks up waterbending so quickly, and he does it better than Katara, who has been struggling to teach herself for years because the war (ie FN) has stolen all the waterbenders from her tribe (so she steals the waterbending scroll from people who “shouldn’t” have it). The reason for her inability to master waterbending is tragic and makes me sympathetic toward her despite her attitude. But she probably doesn’t even consciously think about the reason, and the way she acts (unpleasant as it is) is very much like a teenage girl who feels deeply insecure and inadequate when someone else shows her up at “her thing.” 

10) Jet - Ah yes, the much-maligned episode of Book 1. But I actually LOVE this episode, and it’s one of my favorites in Book 1! I think people (esp Kataang fans) don’t like this episode because of Katara’s brief relationship with Jet. I’ve also heard complaints that Katara is OOC, and some people understandably can’t stand Jet. But everything about this episode is so fascinating to me, from Jet’s obsession with revenge against the FN, to the conflict between Sokka and Jet, to Katara’s eyes being opened at the end, and everything in between. There’s a lot to dig into in this episode that’s only 20 minutes long. Ultimately, Sokka is the star of this episode, and it really puts his ingenuity on display.

11) The Great Divide - This is the one episode I usually can’t stand, so would you believe that I ACTUALLY ENJOYED IT???? 😱 Yeah I was surprised too LOL! I watched this one mostly paying attention to Aang’s role and the conflict that plays out between Katara and Sokka, which parallels the Gan Jings vs the Zhangs, since it is 100% about Aang’s first real task as an Avatar who mediates conflict. And you know what? Aang really shines in this episode (which is really the only reason I enjoyed it). Until this point, he’s a 12-year-old kid who has been traveling the world as a free spirit, but this is his first test as an Avatar who will have to resolve conflict, because that will be his primary role in (eventual) times of peace. I used to hate the ending, and I still don’t like it, but this time I actually understand what the writers were trying to do. What Katara says to Sokka before they escape the canyon is a clue as to what the ending is about - “I don't care about this stupid feud, I just want us to get out of here alive.” Later, when the two tribes are starting to find common ground after working together to escape, they start to fight again because of their history, which cannot be changed. Aang wants the tribes to get along and end their “stupid feud,” so he tells this made-up story to rewrite that history, which is the only way he can get the tribes to listen to his message to “respect each other's differences enough to share the same playing field.” So yeah. I think the episode was trying to pass off Aang’s tactic as clever and effective, but I still find it to be.....strange. And it’s still my least favorite episode 🥲

[jokobub]

Mobile Suit Gundam — 1979-1980

I have thoughts. Emotions. Feelings. I hope you’re ready.

This series is a delight from start to finish, full stop. I wish I could communicate to y’all how abnormal it is for me to down 42 episodes of a single series in two weeks. Like for me? That’s crazy. Especially out of a show that pre-dates the 90’s. I don’t think I’ve ever been this invested in a show this old. I’ve never been a fan of military sci-fi, either, but man.

Gundam 0079 has so much heart. It’s charming, with a story that feels authentic and characters that you just wanna fuckin hug the shit out of. The crew on White Base has so many dynamics that the plot actively wants you to question and explore, and there’s always enough time between battles to show off how unified they are both in and out of the field. When you watch them all brave through thick and thin together, it’s hard not to fall in love even with the people you thought you hated.

Balance is absolutely integral with a story like this, and Gundam gets it just right. Silly enough not to be constantly feeding you bleak messages, while taking itself seriously enough to effectively deliver the story it wants to tell you. Enough so that the occasional cheesy line read hardly takes you out of the experience in a negative way. I have absolutely nothing but positive things to say about this show.

Amuro’s my boy. Absolutely and wholly my boy. He’s such a goddamn good protagonist, never a better character to brave the rocky grey morality of the surrounding environment. And if nobody gets this kid some therapy, I’ll go back to college and start over and get my doctorate so I can fuckin do it myself, I don’t care.

Not only do actions in this show have lasting consequences, but they could be considered part of the plot’s main focus, and you see them reflected in Amuro’s actions and attitude as each arc wears on. It’s thrilling to see, and even more so to see the characters bounce back from their woes when they realize they have each other.

Probably one of my favorite character-centric aspects is how Gundam treats its female cast. These women kick ass, straight out of the gate, it’s insane. There’s hardly ever a plot point of a girl needing to prove herself, it strays from tropes like that, that are tired and old and miserable to watch because they’re so overplayed. Every girl you see, no matter which side of the fight they’re on, is a trusted and valuable member of her team. Even those in support roles work their asses off as the backbones of their squadrons, and the show is constantly taking time out of its day to show you that. It’s unusual, for an action show, and I adore it.

This is also just. Really fucking good for a space-centered show? You never feel like you’re losing track of the setting, each colony is thoroughly explained, recalled by the plot and characters, and easy to remember. It hits the perfect middle ground of being concise about where it takes place, without feeling so restricted that it may as well have just taken place on earth. This is a *huge* problem I had with Voltron LD, there were just too many planets and too many side characters that were never brought up again, and the way Gundam dodges this issue is 👌🏻

Of course, there are mini-arcs and characters you maybe see only once or twice, but they’re usually quickly resolved, and all point back to the show’s core message about war and the nature of the innocent. There are *so* many instances of characters crossing sides to help each other while the battle rages on overhead— beyond the core action of the series, Gundam is also heartwarming and emotional, and the perspective it takes on how it treats its characters under the circumstances of its own story is extremely unique. This is an easy 9/10, bonus points for the fact that “gundammu” is the perfect stim word. It hits all the parts of your mouth.

[xtruss]

A Bullshit of Modern Relationships: ‘We Don’t Go a Day Without Touch’: Couples Reveal The Little Things That Make a Relationship Work

We asked Guardian writers and readers about the habits and rituals they have with their partners to keep things ticking over nicely. Here are 33 of our favourites

— March 17, 2023 | Guardian USA

Illustration: Hit and Run/Début Art

1– “My boyfriend and I have a rule where we’re not allowed to wear tracksuits in front of each other. He once told me that seeing me in a tracksuit every day was not good for our sex life. So since then, we’ve worn ‘sexy’ loungewear in the house together. It has saved our relationship.”

2– “If we bicker we remember a friend’s advice on arguing – in the heat of the moment say, ‘Would you rather be right, or would you rather be closer?’ It can snap you out of point-scoring and into remembering you love each other and want to resolve things.”

3– “Say thank you. For everything. Keep vocalising your appreciation for what each of you do and it should stave off resentment.”

4– “We work out the one thing each of us needs to feel good about the week (a swim, a drink with friends) and strategise how to give each of us that thing.”

5– “We don’t go a day without some touch, even if it’s just a brief hug.”

6– “In the playground the other day, one of the dads was telling me about a couple who have a regime whereby every morning they give themselves a score between one and 10 to denote how they’re each feeling that day. They know their combined scores have to add up to 10 for them to manage with their kids. So it’s fine if one person is a three as long as the other is a seven. On days where they don’t add up, they have an emergency protocol to get through the day, which includes a ban on junk food, mandatory exercise and time to themselves.”

7– “When one of us is being off with the other we don’t address it. I just go to another room and give him space, so that he starts to miss me. Then he will come looking for me, and vice versa. It’s the opposite of what you are supposedly meant to do (talk things through), but it’s created years of harmony.”

8– “The only way to align our home time in the evenings is if we are both invested in the same box set at the same time. It gets sticky now and again. I love football but I draw the line at devoting 90 minutes to the early rounds of the Carabao Cup. My husband watched one episode of Emily in Paris and refused to carry on … so I cheat sometimes by saying I’m going up for an early night and watching it on my laptop.”

9– “We try to go for a walk after the nursery drop-off in the morning, just to talk about stuff other than work or the kid and get a coffee. It can only happen if we are both working from home, but I look forward to it.”

Illustration: Hit and Run/Début Art

10– “Whoever gets back from work first prepares a snack plate. This helps us readjust to being home, prevents hunger-induced arguments, and stops us scrounging for unhealthy nibbles before our evening meal.”

11– “My partner has anxiety and I have ADHD: we function because we’re aware of how much the other has left in the tank on a given day and where the gaps are. So in social situations, we have a safe word that, if either of us use, means we leave. Whether it’s anxiety-related or one of us is getting overstimulated, we respect and trust each other.”

12– “My boyfriend turns the electric blanket on before he leaves for work at 6am so I wake up warm in bed. I’m never awake enough to say goodbye to him, so it’s a thankless task, but every day I wake up feeling cared for and loved

13– “We rarely do public displays of affection but at home, we always hold hands on the sofa while watching TV, or give each other a little cuddle when we’re passing in the kitchen. It keeps us connected.”

14– “I mostly work from home, but on my partner’s days off I use a shared office space so she has the freedom of doing whatever she wants without me around.”

15– “My partner writes me Post-it notes and puts them in special places. She put one in my passport saying she loved me. I saw it when I was giving the passport to the immigration officer, who also noticed and said, ‘What a lovely note!’”

16– “My husband is usually in bed before me, so he’ll lie on my side to warm it up.”

17– “Every time we part for work in the morning he tells me he loves me. It never feels automatic or perfunctory, nor is it overstated. The sincerity in his voice is the verbal equivalent of the warmest, longest embrace.”

18– “My partner makes me a ‘sleepy time’ tea each night before bed and helps me with my crossword. There’s nothing like it when he gets the last word of a puzzle I’ve been stuck on for ages.”

19– “We each remember to wring out the dishcloth after use. This is an absolute non-negotiable and if it’s not done breeds utter contempt.”

20– “I wake up earlier than I need to in order to help my husband get up and out of the house with his lunch, a cup of tea and having eaten something. He’s not so good in the mornings. I’m not so good in the evenings, so he does the last-minute sweep before bed – putting the dishwasher on, packaging leftovers in the fridge and checking the doors.”

21– “I find calling each other pet names during disagreements helps – it indicates to your partner that you really do love them.”

22– “If I have an event or important meeting my husband always irons a shirt for me – he knows I get flustered when I iron.”

23– “My wife and I have been together since we were 16. At 36 we moved in together when she became pregnant but remained in separate bedrooms. I never invite myself into my wife’s room. Some might say we cohabit like flatmates but we feel it helps maintain a degree of mystery – there is no complacency and the intimacy side of things is always fresh and exciting. I’m sure if we shared a room and bed we wouldn’t still be together.”

24– “My spouse and I joke that the other three little words are ‘You were right’. Ideally, this is said with joy and admiration, but rueful admission is fine”

25– “We take walks where we each talk about three good and three bad things that happened that day. This creates a space to debrief and reflect, but also to share how we’re feeling about a particular event or something one of us might have said or done. It’s helps foster open and honest communication.”

26– “I was working a late shift on Valentine’s Day when a colleague was telling everyone that her husband had bought her a bunch of flowers. My husband arrived in the pouring rain with a hot homemade meal to ‘keep me going through my shift’. I knew what I would rather have – and so did he.”

27– “A non-negotiable is our ‘we time’, usually on a Sunday evening, when we are partners and not parents. The main goal is to have quality time and sex together. So no TV, no phones – just us, candles, music, a fire and time to let the romance grow”

28– “I always forget to charge my toothbrush, but once every few weeks I come home to find it charging in the bathroom. My husband’s been doing it for nearly three years now but it still makes me smile.”

29– “My husband and I have three children under five so our home is full, alive, loud and a total mess. Every day, it looks like it has been raided, and every night we’re cleaning poo off a carpet or peeling stickers off a shoe. Once everyone is asleep, without saying a word or asking if I need it, my husband will open his arms wide and pull me in. For as long as I need. When the hug is over, I’ve been recharged.”

30– “When my partner senses I’m stressed or on edge, he massages that tension out of my shoulders. He is quite knowledgable about the human body, pressure points, where tension builds and how to release it; he has a strong yet gentle and effective touch. When someone devotes time and effort to try to help you, it gives you a feeling like no other.”

31– “My partner always asks me if I want a drink at 6pm, when I’m usually preparing a meal for the family. It doesn’t have to be alcoholic, but just for him to come in and ask is one of the best moments of my day.”

32– “I fold the end of the toilet paper in a triangle like they do in hotels. My girlfriend says it makes her feel incredibly loved and looked after.”

33– “My husband always defrosts my car and pumps up my bike tyres and oils my chain (not a euphemism). I recommend marrying a bike mechanic.”

[emtornado]

Twenty Five Twenty One really laughed at our Pain

So we have a series with an amazing plot. A beautiful story to tell with characters you can’t help but love with your whole heart. There are real-world issues that are adding conflict. The story started with the pandemic, jumped to the IMF crisis and is at one of the saddest points of recent history— 9/11. Things suck but our characters are finding love, comfort and friendship amongst each other.

And then, everything goes to shit between the two characters we loved the most.

Honestly, I’m not even that angry that Baek Yi Jin and Na Hee do didn’t end up together. We all sort of called it by that point. We knew that these people would break our hearts. it’s not even the breakup that hurts it’s the fact that they are not in each other's lives anymore. A relationship ending is one thing but throwing away five years of unconditional love and support and friendship is just sad an depressing and this is basically the part that hurts most.

And then, I’m angry about the lack of closure.

Where is the conclusion with Kim Min Chae? What was going on with her that made her truly take up ballet again? They didn't give her character the importance she deserves. I mean we were getting the whole story BECAUSE of her. Because of her struggles and the way she was able to find comfort in her mother’s younger self. Where did her thoughts go? It started with a blending of Kim Min Chae’s life and Na Hee Do’s lives and their parallels, shown through the cut shots between the past and the present. And then finally the whole character’s arc and story were just abandoned.

Secondly, I’m angry about the adult Na Hee Do’s life in general. This girl created some of the best friendships in her teenage year, where she shared countless important memories with Seung wan, Ji Woong and Yu rim. Especially Ko Yu Rim. These two people have been best friends for more than 10 years. Where was Ko Yu Rim’s presence in Kim Min Chae and Na Hee Do’s lives? Where was Moon Ji Woong? Are they not friends anymore? Why? What happened? I mean considering Kim Min Chae’s lack of knowledge about Ko You Rim, you’d think that she basically disappeared from Hee Do’s life.

Which brings me to Kim Min Chae’s existence. Let's take the present time as 2022 (even though it gives more 2021 vibes). This kid had to have been born around 2007-2008. And yet, it's 2009 when Hee Do has apparently just gotten married. TO WHOM??? WHO’S KID IS KIM MIN CHAE FFS???? LIKE DID SHE JUST POP INTO EXISTENCE RANDOMLY? THIS MADE NO SENSE. Help me understand this one plot point.

What is going on with the rest of the characters, honestly? What was this ending where we got to know nothing about the other characters’ current lives? Do Yu Rim and Ji Woong have kids as well? Are they happy? What about Seung Wan and Baek Yi Hyun? What’s happening in their lives?

GIVE ME MORE INFO ABOUT NY OTHER FAVOURITE CHARACTERS FOR FUCKS SAKE!!!!!

Now let’s talk about Hee Do and Yi Jin. Just them. Since episode one there has been a gradual buildup of them overcoming anything and everything. He went away and they just lived on each other’s voicemails. They fought over everything but always resolved it because their relationship was important to both of them. It took precedence over everything else.

Now, of course, Baek Yi Jin was genuinely depressed after New York. And that's like a whole other thing I'm salty about because my poor baby was so fucking miserable and I can't change shit about this cuz it is *dramatic and heartbroken sigh* REALISTIC. Anyway, that is when, instead of showing their relationship crumbling, they should’ve had them talk to each other. Break down in front of each other. Blame each other and hate each other. 

And then finally, be there for each other. Because that’s what their relationship has been from the beginning, since they met for the very first time. They’ve been there for each other, helped each other grow and loved each other regardless of what was happening.

They’ve both broken each other’s hearts before. They have fucked things up unknowingly. They have been happy and sad together. And you’re telling me that after growing up together they couldn’t get over this one bump in their relationship? They couldn’t have told each other exactly what they wanted and worked together towards that goal?

Say Yi Jin stays in New York and Hee Do continues fencing for the next 8 years. Their phones exist. They both make quite a lot, especially Hee Do who has her own wealth that is to her mother. You’re telling me they couldn’t have visited each other? When Hee do had to go back from competitions, she couldn’t make a pit stop in New York and be with her boyfriend for those few precious moments? 

Bullshit.

These two have been too innovative and too in love to not do small things like this.

The fight in front of the bridge was the perfect moment for them to understand each other. Not even completely, just know that their love still exists and they can still be together if only they work for it. They say that the reason They couldn’t work out was because in the end, after Yi Jin got blinded by the world and his work, and Hee Do forgot to choose herself in her support of him, they both chose themselves in the end.

That’s not true. Please. They were both going through personal hardships and forgot to lean on each other because of how far away the other person seemed (not physically, emotionally. Cue Hee Do’s “my support isn’t reaching him anymore” line.) What could have been done was to show that they could choose themselves WHILE supporting each other. Because that’s what people do. Fuck, if a goblin and a human, an alien and a human, a North Korean soldier and south Korean heiress, and a king from another realm and a person from the other realm can figure shit out, two fools who’ve been there for each other for years can figure out a way to be together, this was bullshit.

I mean, they made a strong and amazing leading couple, where people cared more about them than the other couples, where each of them are facing their own hardships and overcoming them, but somehow can’t overcome the one and only time something goes wrong in their relationship. This was mendable and I will fight anyone who says otherwise.

If the show makers wanted to show realism, why couldn’t it be in the form of ‘relationships are hard. Love isn’t enough. You have to make an effort 24/7’? Because that is also the truth in life. Relationships are a lot of goddamn work and when they showed these two characters, who have always put in the effort just giving up like this—

That was the truly unrealistic part. The lack of effort being put towards saving one’s relationship.

Okay now, things that were not given an explanation or made no sense:

Kim Min Chae’s Father. Who the hell is it? What is all this mystery about? Give us a proper ending where this kind of information is given and gotten over with. What was the reason????

How does Na Hee Do have the picture of herself that only Baek Yi Jin has a copy of? Did he give it back to her? And then she put it in an album? Why?

Yi Jin’s father’s “You gave me comfort 10 years ago” comment when his boy was 22 at the time. Why ten years ago? What’s the significance?

Hee Do forgetting her school trip. The only school trip this kid went to and she forgot it? I still remember trips I took when I was in nursery. My mother remembers HER school trips. And this lady forgot the one trip she went to? How tf?  

Where and when and how did Hee Do’s mom see Baek Yi Jin in the current time? Why was it emphasised like that?

Kim Min Chae’s birthday. That’s it. I already spoke about that so like no point in talking about it again but you have to admit, it's annoying.

(And so many other things I’m sure I’m missing)

I know this stuff might seem irrelevant but I’m a writer. I write stories and books and scripts and if there’s one rule to writing, it's the fact that if something is mentioned in a story, then there’s a reason for it. You don’t mention useless shit. 

A character really likes strawberries? It’ll come back in some way. It has significance. Every word you write for your story building has a purpose and cannot be ignored. They mentioned certain things and never ever spoke about them again. That makes no sense. These things had absolutely no explanation and it annoyed the fuck out of me, honestly speaking. Like— what was the reason? Why would you mention it? I’m just really frustrated about this whole thing. It makes me angry as a writer, to be frank.

Now on to what could be a more plausible ending, if they wanted Na Hee Do and Baek Yi jin to one hundred percent not end up together, would be for them to explore their lives currently, show that Hee Do is happy with her daughter and current husband (who they’ve made Voldermort at this point. ‘He who must not be named’. Nonsense), shown Ko Yu Rim and Moon Ji Woong and Ji Seung Wan and Na Hee Do meeting for drinks or something, talking about their kids and life, missing Yi Jin, their mothers, their memories, literally anything. Then a shot of Baek Yi Jin also living his life the way he wants it to be— dedicated to his family and being happy with them.

Or in my opinion, The two fools figured shit out, lived their lives and got together when they finally could to have what they both wanted most in life— each other, love, family and a warm, happy life.

But no. They really gave us the best storyline with amazing characters and a love story to be remembered, only to give an unsatisfactory ending. The whole time, the story has been about people coming together and staying together despite the odds, and yet, it ends with them ending apart because they gave up. It's been about working hard to achieve your goals (and this is applied to all the characters) and then being successful one way or another.

I mean, look at Seung Wan. SHe left school and had an added burden, but she worked hard despite that and got where she wanted to be. Ji Woong came last in school but now runs a successful business. Yu Rim is making money and is happy in life. It's only Na Hee Do and Baek Yi Jin who had THAT ending. What was the point? To show that your youth can be amazing but adult life is looking back at memories of your youth and being nostalgic? I mean, what?

Throughout the story, they have spoken about overcoming hardships (career, life, circumstances, money, love and even friendship) and this is how they ended it. With the two leads not overcoming shit.

Honestly don’t know if I should recommend this to other people because the journey was so beautiful. The ending was absolute shit though. 

I understand that some of you may not feel that way, but honestly. I watched this Drama to feel good about existing, to see something that seems ‘impossible’ working out, something that gives me hope. But instead, I got an ache in my chest and a long post most people wouldn’t give a flying fuck about. 

Yay.

[mishasminions]

Here’s why the Supernatural Series Finale Sucked

(AND IT REALLY ISN’T JUST BECAUSE CAS/MISHA WASN’T IN IT)

First of all, I’d like to state, that this perspective is coming from someone who has watched, invested in, and dissected this show for 15 years. I’ve tried to rationalize and justify every single decision each of the main characters made throughout the years, and I’ve always tried to make sense of each of their story arcs from a “bigger picture” standpoint as each season progressed.

Anyway, before I can properly explain why the finale sucked, let me quickly take you through 15 seasons by segregating them into 3 eras, because you can’t really comprehend what Supernatural is about and what it’s become without going through how it tried to expand its universe.

SEASONS 1-5: THE KRIPKE ERA

Now, we all know that Kripke was always set in wrapping up Sam and Dean’s story in 5 seasons, and he did just that.

So, in this era, Supernatural is about two brothers who set out on a journey to fulfill “the family business”. They hunt mythical monsters that terrorize the world, while battling the monsters within themselves. Their ultimate “big bad” is an apocalypse.

Towards the end of this era, we find out that Sam and Dean are actually a parallel to Biblical characters who are brothers turned rivals. And that Sam and Dean’s destiny is to go up against each other.

However, as a dynamic, they have always been about making their own choices, choosing free will, and having a brotherly bond that can power through against any obstacle at any given day.

So, this era is neatly wrapped up with its finale. The characters grow, and get justified endings.

Dean, a man who thinks of himself as two things: 1. Sam’s older brother and protector; and 2. Daddy’s blunt little instrument.

He’s spent his whole life believing that that was his only purpose, and he knew that the only ending he’ll get would either be a bloody death fulfilling his duty to the family business; or laying his life on the line to save his brother.

Dean gets the ending he thought was never possible for him, something he thought he could never deserve. After years of living and dying for his family, he gets a shot at having an apple pie life--to settle down with a nice girl, raise a kid in a house with a white picket fence. With Sam gone, Dean’s responsibility now is to himself.

Sam, on the other hand, never wanted any part of it, because he wasn’t groomed the way Dean was, and because thanks to Dean, Sam wasn’t traumatized or forced into growing up too quickly the way Dean was.

So Sam aspires for a normal life, and works the cases with Dean so he can maybe get some semblance of it, when everything they set out to kill are laid to rest.

Ultimately, Sam performs a selfless act for his brother, who has given up everything for him, and for their cause--to save the world.

The journey is this: Dean sacrifices everything to save Sam, and Sam sacrifices himself so Dean could live.

Apart from being Dean’s “savior” and guardian angel, Castiel’s role in this era is to serve as a mirror to Dean’s journey. Castiel goes from being heaven’s foot soldier, following “God’s orders”; to an angel who learns to choose and feel for the first time in his existence.

After they realize that they’re both daddy’s blunt instruments, Dean starts choosing his own path for himself, and convinces Castiel to join him. Castiel stops following heaven, and starts following Dean.

In the end, with his newfound understanding of the world thanks to Dean, Castiel goes back to heaven to reform it.

We’ve resolved the biblical arc, and the character journeys.

SEASONS 6-10: THE SPIN-OFF ERA

So this is where the show realizes how vast its universe can be, so it tries to expand it by tapping into uncharted lands and experimenting with it.

They take on heaven, reform hell, explore purgatory, have the angels fall, turn Dean into a demon, and kill Death.

Dean and Sam recognize their codependency, and try to rise above it.

They go back and forth between which brother will risk it all for the greater good every other season.

Dean and Cas strengthen their relationship by recognizing the impact they have on each other’s lives.

Cas structures his life and decisions around Dean (Seasons 6-7), and Dean learns to trust and fight for Cas (Seasons 8-9).

Sam and Cas bond (mostly over Dean) because of their shared rationales in decision-making.

Dean, Sam, and even Cas also forge relationships with the people they work with. The concept of “found family” is introduced here.

This era was heavy on the plot while establishing, reinforcing, and solidifying relationships and dynamics.

At this point, it wasn’t just about the brothers anymore.

If Supernatural had ended in Season 10, the logical finale would’ve been Team Free Will, along with the family that they’ve found, going up against the latest big bad (Death or whoever). Maybe they lose them along the way, maybe they all make it out alive, or maybe they go down swinging, but at least the show recognizes and supports the message they keep saying, “Family don’t end with blood”

SEASONS 11-15: THE REWRITE ERA

This is where the show runs out of ideas and decides to invalidate the seasons that came before it.

From bringing Mary back (basically rendering their whole journey pointless because they’ve literally started hunting because of her death), to changing the stipulations in being Michael and Lucifer’s vessels (another character struggle rendered useless), to God himself breaking the fourth wall by saying that the Winchesters get away with everything because “they’re the main characters in his story and everything they’ve been through was just part of a badly written narrative”.

But what we’re getting from this era is that Sam and Dean, along with Cas (who has also deviated from the story) ARE trying to escape a badly written narrative.

That’s the “big bad” in this era. The writer.

At this point, the characters have picked up so many strays (including those from alternate universes), and have settled into their roles in their “found family”. Dean, Sam, and Cas all become surrogate dads and uncles.

They’ve also graduated from the whole “we’re on different sides” and “going behind each other’s backs” drama. And they just want the whole family together.

They’ve all resigned themselves to the cause, but they’re also tired. Dean allows himself to contemplate about wanting more out of life or at least getting a vacation. Sam, on the other hand, realizes his capabilities as an effective leader. Castiel learns to love another being that isn’t Dean (spoiler: it’s Jack).

However, they also realize that they’ve just been puppets on a string all this time.

So what they want now, is to write their own story, and make their own choices knowing that God/the writer isn’t the one fueling their narrative.

So here’s why the finale sucks:

Andrew Dabb, the current showrunner, said that there would be two finales.

15x19 - The finale to wrap up Season 15, and 15x20 - The finale to wrap up the series by “resolving the characters’ journey”

In 15x19 the boys find a way to de-power God/the writer. For the first time in their whole lives, they are free from the story. Their lives are completely theirs now. They can make their own decisions. There are no more “big bads” to fight

And here’s what happens in 15x20:

Immediately after being freed from their story arc, Dean and Sam go back to hunting the monster of the week.

Dean eats pie, gets nailed (literally), makes a 10-minute speech to Sam because he knows he’s dying, then he goes to heaven.

Dean is greeted by Bobby, his surrogate Dad who he hasn’t seen (fully alive) since Season 7. Bobby’s expository dialogue comprises of him explaining that he got out of heaven’s jail, that John and Mary are next door, and that Jack and Cas fixed the dynamics of heaven off-screen.

The first thing Dean decides to do is go for a long drive in his Impala (as if he hasn’t done enough of that already).

Meanwhile, Sam decides to stop hunting after Dean dies, he gets the apple pie life he hadn’t wanted since Season 8 (while Dean was in Purgatory), and names his kid “Dean” for effect. He grows old and dies.

Dean drove around in heaven for so long that Sam catches up to him.

They hug. The end.

Great, right?

After 15 years of struggling to battle their own respective destinies, going up against big bads and even bigger bads, then finally being able to take charge of their own stories, Dean and Sam regress to hunting the monster of the week, and get killed off by a nail and old age. Okay.

Sam gets to retire and have a family, sure, but they still focus on him and the kid he named after his dead brother. Still just “Sam and Dean” through and through. Nothing to do with found family. Just lineage. Just blood. And it ends there.

See, the problem here is that this ending would’ve been passable in The Kripke Era. But we’re 10 years down the road since, and while Sam and Dean are the original main characters, the show isn’t just about them and their codependent relationship anymore.

So you see, even if you take out the whole “Castiel deserves to be in the finale because he’s also a main character with an unfinished story arc” argument, the finale still does no justice to the series it tried to “wrap up”.

But anyway, now I’ll make the case for the problem with Castiel not being in the finale:

In 15x18, we get a 5-minute rushed confession from Castiel to Dean. The context of which are as follows:

1. Earlier in the episode, Dean had wounded Death with her scythe. We later find out that this wound is fatal.

2. Their friends start to “blip out” in a Thanos-like snap, and Dean thinks that Death is causing it, so Dean seeks her out, and Cas goes with him.

3. Dean and Cas anger Death, apparently for no reason because she didn’t even do the thing they thought she did. She chases them to try to kill them

4. Dean and Cas lock themselves in a room. Dean starts a pity party.

5. As Dean goes through hating himself out loud, Cas decides to inform Dean of the deal he made with The Empty. He then proceeds to explain the stipulation of the deal (that he would get taken once he experiences a moment of true happiness), then discusses his newfound happiness philosophy. Dean is getting whiplash.

6. Cas goes on to imply that the one thing that he wanted that he knew he couldn’t have is Dean Winchester reciprocating his romantic feelings for him. (Don’t even try to fight me on this because Cas already has Dean’s platonic love, and he knows that Dean thinks of him as a brother, so if he really meant this in a “familial” way, then why would he think that he couldn’t have the thing that would make him happy?) So Cas’ realization is that telling Dean about his feelings is enough to make him happy.

7. Cas tells Dean all the reasons why he loves him (thereby combating Dean’s self-deprecation tirade), and all the reasons why he’s worthy of his love. Meanwhile, Dean is still winded from the fact that Cas is about to sacrifice himself for him again.

8. Dean never gets to process anything, because Cas is shoving him out of the way, as he and Death (who busts through the door) get taken by The Empty.

After this episode, Dean never speaks of it. Misha Collins supposes that Dean doesn’t reciprocate. Jensen Ackles says that Dean didn’t really get to process it because it was too much, too fast, and that Dean, still dense as ever, thinks that Cas, a celestial being, doesn’t interpret human feelings the same way.

So what was the point of this confession?

Politics and sensitivities of a 2005 network television aside, what does this do for the story?

Cas proclaims his romantic feelings to Dean, but Dean never acknowledges it, doesn’t even give it a passing thought afterwards. So Cas’ big declaration goes unheard.

Cas cashes in on his Empty deal to kill Death (who was dying anyway), in order to save Dean who dies two episodes after.

Dean makes no effort to save Cas (despite being really broken up about his previous deaths, or even spending a whole year in Purgatory looking for him), even after they’ve beaten God, not even asking Jack (who has all the power in the universe) to bring him back (when Jack has already done it before, with less mojo).

Dean moves on to fight the monster of the week. Somewhere off-screen, Jack rescues Cas from The Empty, but Cas uncharacteristically doesn’t even bother to go to Dean? (Every single time he comes back, Dean’s always the first person he goes to)

And Cas, who apparently helped craft and reform the new heaven, isn’t the one who welcomes Dean and explains the new dynamics of it?

Sure, Jan.

Supernatural, you’ve created a finale that only your casual viewers and people who dipped out after Season 5 can appreciate.

Just goes to show how much you actually valued the people who actually invested in your story and characters, and consistently helped keep your show on the air.

[RT this on Twitter]

[yuljedoc]

영원히 / 평생

Eternal / Forever in this lifetime.

(Bear with me, I'll get to this part)

I've been trying to collect all the memorable lines from 2521 and what strucked me the most was the literal translation of the subtitles.

It irkes me as someone who's a beginner learner of this beaufitul language that majority of them weren't as it was said.

I remember back in episode 9, Yijin said:

난 널 사랑하고있어, 나 희도.

It literally translates as:

I AM IN THE STATE OF LOVING YOU

or

I AM LOVING YOU

It was in Continous Present Progressive Tense.

Why was this important?

We usually hear 사랑해요 in korean dramas when they confess to each other. I love you. In a present verb with no specific time. Just now. In this moment. They love each other or that person loves that someone.

But here in this scene,

Yijin affirmed the he loves Heedo. He is in the state of loving her.

It gives weight that his love is a literal verb in process.

Present Tense vs Continous Progressive Tense

(but here's the mind boggling part about grammar.)

In English, Present Tense is a literal event of what is happening right now at this very moment. For Continous Progressive Tense, it means that it will continue to happen in the future too.

However, in Korean grammar, there's a BIG difference. For Present Tense, it is what it is, but for Continous Progressive Tense, it doesn't have definite meaning for the future.

🙃🌈💔✂

Yup. I know.

I was wondering if this was intentional? Like, I called it at that time when I was trying to dissect their lines, but I didn't actually know it'll be foreshadowed. I hope I was just overthinking.

So, let's talk about forever this time.

영원히 means forever in eternal sense.

평생 means forever in this lifetime or in my whole life.

The former one is used anywhere, but the latter one is used only in adverbs. But why does this even matter? Haha!

I differentiated it because BaekDo used it twice in the drama.

One in episode 10, where Heedo said 영원하자 and secondly, Yijin said it in episode 15:

For episode 10, the english subtitles originally was:

But for episode 15, the translator used the literal meaning...

They said they loved each other eternally, but what gives?

At what cost for us?

What the hell does the weight and meaning of these words even mean??!! 😭

I am obviously still in disraught. It's been two weeks now. I am literally missing having mental gymnastics every weekend, but the trauma. Well...

I'll save another blog entry for the emotional unpacking of the whole drama, but I'm not done yet here.

Okay, going back to episode 10 where Heedo said, Why does it feel like this moment will last forever?

Yijin replied:

It literally meant:

I guess it'll last forever.

but in the english subtitles shown was:

Closer, but a bit vague. So, I'll still take it.

But here's what I'm actually trying to say:

The subtitles didn't give majority of their words justice and I do think they still love each other at the present time.

(I'll make a separate entry to explain why I think they still love each other)

Though, I strongly believe it is now a different kind of love. A love that abounds more for other people than to themselves.

And I think that's why majority of the viewers were still in bereft about their relationship because it wasn't strongly implied.

We were left grasping and hanging looking at their future selves. Imagine, what they had was one of the beautiful things in the world, but the circumstances took it from them.

I don't actually resent the break up. Their reasons were more than enough. I agree that they need to be apart at that time. The solution was for them to communicate and to get treatment 'cause obviously they both do have traumas.

Yijin with his ptsd. Heedo with her past experiences with her mom.

They're both still broken people, but I know that doesn't mean their relationship would never work. It's just that... their characters made to the point of resolve without coming it across to the viewers that they did heal after all those years.

So, what am I rambling?

Haha!

I just can't believe how we humans tend to brush off the inevitable possibilities of life that when we speak words, the weight of it, the meaning, and the importance it has to people will literally break them into pieces.

Forever?

Who are we kidding...

"...the moments when I dared to say everything would last forever. I loved living in that illusion." -Na Heedo

[miraculermarinette]

I was thinking about the Sadrien angst this season and I don’t understand why everyone, even people who like Marinette immediately blame Marinette for all of it. If anything, she is only at 10% fault here. The rest of the blame goes to the situation (75%) and Adrien’s inability to have common sense (15%). Now, before you say anything, here me out. Here is a list of all the released episodes of season 4 and how they contribute to the angst this season.

Ep 1- Truth- No angst.

Ep 2- Lies- Only a little but it is not really relevant to the actual buildup.

Ep 3- Gang of Secrets- No angst

Ep 4, ep 7, ep 6, ep 8, ep 9, ep 10, ep 12, ep 19 and ep 21- No angst

Ep 11- Guiltrip- No relevant angst. Instead, he gets told how much he is appreciated.

Ep 13- Optigami- A little angst. Chat isn’t included in the battle and he makes a sad face because of that.

Ep 14- Senti bubbler- Angst. He gets left out of the battle and Rena Rouge tells him that Ladybug didn’t include him.

Ep 15- Glaciator 2- Angst. Adrien gets sad because Ladybug rightfully defended herself from his actions.

Ep 16- Hack san- Angst. Adrien gets sad because Ladybug didn’t tell him about her departure and leaves a stand in.

Ep 17- Rocketear- Angst. Adrien gets sad because Nino and Alya are allowed to know each other’s identities and he and Ladybug aren’t.

Ep 18- Wishmaker- Angst. Adrien talks about how Ladybug is dependent on other super hereos in the beginning so he has to think about his future and a job.

Ep 22- Ephemeral- Angst but it gets resolved in the end.

Now, we know that the Sadrien angst directly started from episode 13, because as I said above, Ladybug didn’t involve him in her plan. But, how is it HER fault and why is she blamed for it? He was not reachable and she had no choice. Sentibubbler, again Marinette is not at fault for bubbler trapping her and ALYA telling Chat that he is not needed that day. 

I don’t even need to explain Glaciator 2.

Hack san, Marinette tries her best to avoid going to London but she fails. She didn’t have time to tell Chat noir after that. Yes, it was a bit irresponsible, but still understandable.

Rocketear, Adrien doesn’t understand the difference between temporary and permanent superheroes, does he? Alya and Nino can be easily replaced. He and Ladybug can’t. On top of that, Nino told Adrien all those things, which led him to believe that he is annoying.

Wishmaker, I don’t think we can blame Ladybug for being dependent on other superheroes. Sometimes, not just cataclysm and lucky charm are the solution. She chooses who shall participate on the basis of who would be needed. She has no other choice and she can’t  risk losing just to please chat.

So, in the above examples, most of the reasons why CN is sad is not Ladybug’s fault. 

She keeps secrets from him? They are SUPERHEROES. She cannot just tell him her identity or the side superheroes’ identities. One thing she should have informed him about is the existence of rena furtive but I am not really counting that since it has not been brought up yet. If he is sad about that in the future, then I will surely talk about it.

Romance is the main plot of the show (which is disappointing considering how badly it is executed) BUT that doesn’t erase the fact that they are still superheroes. Many people depend on them and Ladybug can’t just risk all of them to make Chat happy. She has tried her best. She does not want to make Chat sad. She doesn’t even KNOW about all the drama going around her. Everything was created because of a misunderstanding someone else made. Just because she is the main character doesn’t mean she has to be responsible for all of this.

Stop blaming everything on her.

[royalequeenofships]

HSMTMTS Season 3 Predictions and Character Analysis

Ricky & Nini:

Ricky and Nini have a complicated relationship. I feel like they have the whole dynamic of “right person, wrong timing” vibe. They have chemistry and a bond with each other. However, for them to grow as a couple, they really need to have character development first. Nini really needs to figure herself out and who she truly wants to be and figure out her dreams and how she wants to pursue them. We had the whole YAC arc in season 2, where she goes there because she thought it was something that she wanted, but she realized that YAC was not truly what she wanted and isn’t what makes her happy. So, she’s slowly trying to figure herself out with independence and not relying on anyone except herself. In Season 1, most of her moments were with Ricky, with only the YAC arc really showcasing her independence, but her reliance on others in season 1 and parts of season 2. For example, Kourtney was the one who submitted her application to YAC, and partially her reasons for coming back to East High were also her relationship with her friends and Miss Jenn. Also, the fact that Carlos posted her song online, and she asked Ashlyn for help to write “Ain’t see nothing.” However, in episode 11 and 12, really starts showcasing her independence and stop relying on others for her journey. She BECOMES the one other people rely on, she hypes everyone up for their performances and is really figuring herself out and blossoming like the Rose. It is a great metaphor for Nini’s journey, and the fact that she herself calls Jamie’s brother instead of other people doing it for her, really makes it more special. Gina could’ve easily called her brother and be like “Oh yeah I have this friend who’s a great songwriter, yadda yadda.” But she does it herself, which is really great. Now with Ricky. Many people would agree with the fact that he truly does need therapy. He needs to learn how to handle change, and dare I say, realizing that other people are more important in his life. Personally, I felt like Ricky was very selfish this season. Last season, he was being selfish as he broke up with Nini because he couldn’t say I love you, and once school started again, he wanted Nini back so badly, but he proved himself worthy at the final episode when he stops being Troy to give Nini a chance to perform for YAC. However, this season once he and Nini are back together again, he was being selfish and thinking of himself again. When Nini goes to YAC, all he could really think about was how HER leaving was affecting him and his relationship with her.

For example, he would ask Gina for help on HIS own relationship, and sending Nini the message of how much he missed her and wishes she would be there because HE misses her so much. And thinking that Nini came home for him and him only. Plus, he thinks that the rose song that she wrote was SPECIFICALLY related to him, and then the whole situation with Miss Jenn and his dad, in which he was only thinking about himself and his feelings, with no regards to theirs. However, in episode 10, he finally stops being selfish and really opened his eyes to his surroundings, as he helped Carlos with his song for Seb. I hope this development continues, and once he realizes that he needs to stop being selfish, and is able to handle change and mature as a person, then maybe the Rini ship can happen once again. Another thing I’ve noticed about their “angst” in season 2 was the long-distance relationship, especially in episode 3. Although, Ricky and Nini were in the same city, throughout the episode, it still felt like they were going long-distance, which was probably foreshadowing their breakup. They only communicated through their phones that episode, and even at the end, their songs for each other wasn’t sang in person, but through the phone. As for predictions on the Rini relationship, I think that if Tim only plans on 3 seasons, then Rini will probably get back together at the end of Season 3, but if he has 4 seasons planned (which I am hoping for), then Rini will probably get back together then. Now we also have to take into consideration the career of Olivia Rodrigo. We do not know if she wants to continue with HSM, and even she herself is not sure. What I think will happen is, if Olivia decides she wants to take her music career to the next level, I think a really easy way to write her out without breaking the contract, would be to have her travel to L.A. to work on her music for the summer, so that there will be reason as to why she is absent for most of the season. This will probably take 1 episode to do and Olivia can spend the rest of her time focusing on her music. However, if Olivia decides she still wants to work full time in this season, then she might stay in Salt Lake and do the musical and write some songs for Jamie, etc but personally I think Olivia would want to focus on her music more than the show, as she posts about it more on social media than the show, and even with interviews. Nini might return for the final episode when summer ends and the new school year starts, so Olivia might just be in like 2 episodes. That’s my take on Rini for now, we get back to Ricky later.

E.J. & Gina:

Portwell is literally my favourite ship of the series, and it is just amazing. I personally would not like to see any angst in their relationship next season, but honestly it is probably going to happen and here’s why. Their relationship was built really steadily and took a long time to flourish. With other couples, like Seblos, Redlyn and Kowie, they got together awfully fast, taking 2-3 episodes to truly get together. So, the angst that those couples go through gets resolved rather quickly. Seblos with their relationship gets solved within 1-2 episodes, for the whole “does he like me because im the only gay one” storyline. Redlyn has the whole “Antoine” situation (which I will get back to later) and the “Red’s future” which again, took 1 episode to resolve. And Kourtney and Howie took 1-2 episodes to resolve the whole “Howie is from North high” and “Why Howie seems weird”. The reason is because those couples got together really quickly, and therefore their angst can be easily resolved through that, and wouldn’t really take time to fix. As you can see, Rini took a while to really get together. They were childhood friends off screen and we get to see their past relationship through flashbacks in season 1, but technically they took around 10 episodes to fully get back together. They have their cute., fluffy episodes for the first 4-5 episodes of season 2, but then their angst slowly starts to build at episode 5-6. It drags on until episode 8 where they fully break up, and counting episode 9 with their take on how they’re handling the breakup, so that’s around 5 episodes worth of angst for the couple that took 10 episodes to get together. So, with Portwell, they’ve technically been building them up at the end of season 1, but we’ll truly count the buildup starting from the Quincenero episode, which is episode 5, and they had 7 episodes worth of relationship buildup. So, I think, for the first 4 episodes, we’ll see some fluff and cute moments between the two when summer starts (and hopefully some kisses cuz like please I need to see at least one), but the angst will probably start in the middle of the season. It might take like around 4-5 episodes to fix, but I truly believe that they will not break up, and it will get resolved either near the final episode or the final episode of the season. Now for the REASON of their angst. I truly think the only “angst” worthy storyline is about EJ going off the college. As I can’t think of anything else that can topple their relationship. Firstly, EJ knows about the chocolates, which makes me think that he probably knows about Gina’s past crush on Ricky. Secondly, they resolved the whole “Big Brother” situation, and EJ knows that Gina doesn’t see her in that way. And the character development of E.J. and Gina. Back in season 1, they were arrogant and straight up ambitious people, who really don’t care about how others feel, but they truly changed as people in season 1 and 2, and had their character development moments. The contrast with them and Rini is that Season 1 focused on rini’s relationship development and season 2 and maybe 3 will really focused on their CHARACTER development. For Portwell, I think that would be flipped as they already had their Character development in season 1 and 2, so we probably will see their RELATIONSHIP development in season 3. So, since they already had their character development, I think it would be pointless to have unnecessary drama about their personalities or jealousy or whatnot, since they truly developed as people. So, the only thing I can possibly think of for their angst is EJ college arc. I know that they will probably fix it, but still I’m dreading to see it as I don’t want Portwell angst anymore. ☹ (ALSO PLEASE GIVE ME A PORTWELL DUET!! I NEED IT! Also, an EJ solo)

Ricky & Gina:

Personally, I do not ship Rina. I don’t think they would make a good couple; however, I think they would be really good friends. Someone they could confide in about their issues like Gina said “Sometimes I tell you things I don’t tell anyone else” and Ricky being like “I think we do that for each other.” We didn’t really get to see Ricky and Gina resolve their issues in season 2, partly because of Ricky’s character development. I am hoping to see in season 3, Ricky working on himself and fixing up his friendship with Gina. I think something that might happen is when Gina is going through her angst with EJ, and Ricky going through his own angst with Lily, they might be able to give each other advice and on how to handle it. However, PLEASE for the love of God, do not drag the whole love triangle back, because we do not need it. Gina has truly gotten over Ricky, and Ricky never seeing Gina as someone for his romantic relationship anyways, and he really needs to work on himself more, they should not be together as a couple. However, I do hope that they amend their friendship and is able to confide in each other once more, which I think will be cool and really help with Ricky’s character development.

Ricky & Lily:

Now this one. We know they will not be endgame, and I am 90% sure of the fact that Lily does not have romantic feelings for Ricky. Sure, she might find him attractive (and I mean who can blame her, Joshua Bassett is gorgeous), but she definitely does not like him in that way. We can see it when she “confesses” to him, she said to him “I like your brown hair and brown eyes” which are all physical descriptions of him, nothing about his personality which makes sense because she barely knows him, so how could she develop feelings for someone she doesn’t know. She has also stolen the harness, so we know that there would be no way that she likes him, and at the end of season 2, we don’t even get to see her feeling guilty about doing it, because she likes him. So that definitely setting in stone on how she’s only using him and manipulating him. Now for Ricky, yes you might be thinking “oh he’s calling her, why?” But Ricky does not know what we know. He was not there when Lily was talking to Gina about their roles as Belle, he was not there when Lily was laughing at Big Red, he was not there when she had a conversation with Miss Jenn, and he was not there when she planned with Antoine and when she stole the harness. In Ricky’s eyes, the reason that she was so mean to them is because of the Menkies, and their schools were enemies and rivals for it. He doesn’t know about Lily’s evil and ambitious side, and he believes that the Menkies might have made her that way. For example, he knows that the Menkies has turned Miss Jenn into someone different and a little bit mean, so he assumed the same for Lily, and when she asked for a second chance, Ricky gave it to her as he didn’t know. I feel like for the first couple of episodes, it will show Lily and Ricky “bonding” or getting to know each other, but Lily lying about the whole situation and really planning something behind his back, but we don’t know what yet. Maybe Ricky will be like “Huh, she’s a cool person, I’m starting to like her.” But then figuring out her plan, and finding out that she stole the harness. He then will be very upset and kind of heartbroken as he gave her a chance and she was only manipulating him the whole time. Maybe then, his character development will continue to grow and he will realize that he does not need to be in a relationship right now, and that he needs to work on himself and mature as a person. And I think him and Lily’s “relationship” will be a strong pushing point that he needs.

Seb & Carlos:

Now Seblos is one of my favourite ships in the show, and I love them to bits and pieces. However, as regarding their relationship, I feel like they have already resolved all their angst in season 2, it will be hard to make up angst for them in season 3, if they ever have one. I would like to say this though, I knew there was going to be angst for them in season 2, but the way they built it up, I thought the angst would be about how Carlos’ family is really rich, and Seb can’t compare because he lives on a farm, and it might make him self-conscious. Cause that’s where it seemed to be leading in the first few episodes of Season 2 (the sled, cashmere etc.). However, they brought a completely different angst to them which I thought was pretty surprising. Personally, I think they should’ve done the “class/money” difference in season 2, and then maybe the whole “why are you with me” angst for season 3, but maybe they MIGHT switch it around for season 3, and have the whole “class/money” difference then. Although, that’s probably the only “issue” I see for them ever, cause they’re a power couple and like what other angst could there be? Maybe they’ll introduce a new love interest but I highly doubt it because they already resolved the “I choose you always” in season 2. So, hoping there’s no Seblos angst, but if they do decide to throw in one, that might be the one they’ll do.

Big Red & Ashlyn:

Again, Redlyn is one of my favourite ships and they’re just so amazing. However, their storyline is hopefully again, all fluff for season 3, but one thing I realised that they didn’t really resolve in season 2 was the whole “Antoine” storyline. After episode 7, they never really talked about it again and introduced the new angst next episode with the whole “Career” thing. I feel like Antoine will be a more recurring character in season 3, as he only got like what? 10 minutes worth of screentime this season? (Maybe even less) and especially at the end as he joined Natalie in the final scene. So maybe there will be more of him in the next season, and slowly moving in on Ashlyn and making Big Red feeling like he’s not good enough, and then maybe Redlyn will FINALLY get their “I love you” confession then, because WE NEED IT! I’m manifesting for Redlyn “I love you” next season, and I think the whole situation with Antoine would be a nice way for Ashlyn to TRULY confirm to Big Red how much she loves him and how grateful she is for him, and vice versa. (Also manifesting for more EJ and Big Red friendship moments, like maybe Big Red goes for EJ for advice for his relationship with Ashlyn, and maybe EJ confiding in Big Red for Gina as well)

Kourtney & Howie:

As for Kourtney and Howie, they’re probably still going to work at the pizza shop together and continue to bond. A plot point that I think will be very interesting is maybe Kourtney trying to convince Howie to move to East High, but Howie kind of not wanting to, because he spent like 3 years there and it’s kind of his home. That might be a nice storyline to do, or it can be the opposite, where Howie is trying to transfer to North High, but Kourtney being worried like “Is he going to North High for me? I don’t want that, what if he hates it here”, but Howie confirming that he’s going to North High because the environment for him is better there and less competitive and toxic than North High. That might be a storyline that can happen for these two. I would also like for them to have a duet as well; I think Dara’s strong voice goes well with Roman’s soft voice and it would mesh well together.

Miss Jenn & Mr. Mazarra:

Now this one is a toughie, but I have some theories. Now we know that Ricky has given Miss Jenn permission to date his dad, which is another great character development for him, as he’s handling change and seeing other people’s happiness. However, as soon as he gave her permission, Mr. Mazarra confesses his feelings for Miss Jenn, which seemingly makes her happy, as we did get to see a little smile on her face when he did. Throughout Season 2, Benjamin was really the one comforting her, and giving her courage for the Menkies. We see it through episode 8, when he helped Miss Jenn film the commercial and how he put so much effort into making her coffee and setting up a table, just so she could relax. Same goes for episode 10, when she confides in him, and he acting like a therapist to her and accepting her anxious feelings, and helping her feel calmer and better. They are both opening up to each other. And I believe Miss Jenn truly appreciates him as a colleague and a friend. Now another moment is when Ricky’s dad comes to the show with flowers, and she was talking with Mr. Mazarra at the moment. When he called out her name, she smiles awkwardly and immediate turns to Mr. Mazarra saying something along the lines up “Why we always running into him?” and very awkwardly makes his way to him and you could tell she was slightly uncomfortable, with her awkward smiles and everything. This really contrasts from episode 3, where she herself walks up to Ricky’s dad and starts up a conversation, and how now, it is the other way around. Now, the whole problem of Mr. Mazarra leaving for Caltech. He confesses his romantic feelings to Miss Jenn, and really emphasizes on how she’s the only one who is stopping him from running off the California, which I believe that she is a big part of why, but also not fully. We really get to see Mr. Mazarra bonding with a lot of the students this season as well, E.J., Ricky, etc. I feel like he truly cares for his students, and in season 3, maybe he is thinking about if he really wants to stay in Utah for his students and of course, his budding relationship with Miss Jenn. Now, there was a scene in episode 4, where he was confiding to EJ about his rejection from Caltech. And he admits to EJ how he doesn’t think about Caltech very much anymore. He’s made his peace with it. This kind of mirrors EJ’s situation about Duke. EJ didn’t get into Duke from his own accord, but rather his dad got him in. Same can be said for Mr. Mazarra, EJ’s dad made the call for him for Caltech, and he didn’t really get in from his own as well, as he said previously, He was rejected many, many times. So maybe next season will really show him and his decision of staying at East High back in the fall, or leaving for Caltech. Now moving back to Miss Jenn. Next season, I feel like will focus on her and the students more, as this season, she was a really crappy teacher, and kept pushing them due to stress and wanting them to beat her ex at the Menkies. This season, I believe that she will return to the teacher that she was in season 1, and really focusing and hyping up the kids’ talents. I would love to see that Miss Jenn come back, and really help her students. Of course, the whole love triangle debacle will probably be fixed, I can maybe see Miss Jenn going out on a date with Ricky’s dad but thinking of Mr. Mazarra the whole time, and Ricky’s dad is a good man, so he might notice something is different about her, and tells her to go for it, her relationship with Mr. Mazarra before he moves or something. Also, since in season 2, we got to see Mr. Mazarra comfort Miss Jenn a lot, maybe this season will have Miss Jenn comforting Mr. Mazarra about Caltech, and if he truly wants to leave his students. Another thing I’d like to maybe see is Mr. Mazarra singing a song for Miss Jenn. We know that Mark St. Cyr has a good voice, as we saw from the Christmas special. So, him singing to Miss Jenn even though he doesn’t like musicals that much and all that, would show a lot of character development from Season 1.

Overall Plot:

Now, I have a few theories about summer. I’ve seen a lot of people saying they will go to a camp like “Camp Rock” which I think will be very likely to happen, and they put up a musical. What I can also see happening, is like High School Musical 2, where they go to a resort for work, and then putting up a musical there for the audience as well. Or they could just stay in Utah, and just relax for the summer, and not have any musical but just a lot of original songs about their summer in general and the stuff they’re going through. If they do a musical, I don’t think that they’ll do a musical from a movie or theatre, but rather write their own musical. I think it would be a really interesting concept, it can show us more imaginative and creative concept for a musical and have more original songs for the season. I would truly love to see that.

So that’s all for the character analysis and predictions I have for Season 3, sorry if it’s long lol