#and now we all have to wait for S2

[starcrossed591]

Finally finished Lost You Forever, and oh man what a perfect drama! One of my favorite things about it is the sensibility it has of time passing very slowly and most things taking a very long time to happen. The drama establishes that from very early on, with the montages in the village of the seasons passing with that lovely OST playing in the background, and it only gets more pronounced once most of the characters we regularly see are immortals. So much of this drama is about waiting and yearning and hoping against hope that maybe someday you’ll maybe get *part* of what you want, if you’re patient enough, which I found so achingly lovely

[vaggieslefteye]

NOW THAT'S GOOD TELEVISION!

[arsenicflame]

so, this ones technically not a fix it because its still major character death but this is how i would tweak the canon story to give Izzy's death meaning and weight.

First of all, Izzy doesn't get shot by Ricky. The crew of the revenge may still be absolute rookies by Izzy's standards but even they know to take all the weapons off a hostage and unload any guns. Ricky still escapes and alerts the Navy, and our crew are running through the woods, down to the beach and Izzy is still falling back. For all his new prosthetic has helped his mobility immensely, its no good for running. Its clunky and dragging behind him and Ed and Frenchie and Jim and everyone keeps slowing down to make sure he's keeping up with them, but in doing that the navy are quickly catching up to all of them, they're being swarmed.

They break through the trees onto the beach, with more and more men coming up behind them. Izzy's struggling even more across the beach than he was in the woods, the hoof sinking in and sand shifting as he tries to run, and he stumbles. All the while Navy men continue to appear from all directions- and it hits him. That this is it. There's no way they will all make it out alive.

But he's Izzy Fucking Hands and even if he cant run anymore, he can still fight. He can fight for this crew, this family, these people who have given him so much, who have opened their arms to him when he was at his lowest, who have allowed him to feel free. He can still fight. He can buy them time.

So he turns, and draws his sword.

There was never any way he could win, of course. Even when he truly was the best swordfighter in all the Caribbean, fighting dozens of navy men at once would have been beyond him- but he can distract them, hold them off long enough the revenge sets sail. Its a glorious sight, one man against dozens, bodies falling around him as he holds them back. Its impressive to watch, and maybe, for a second, the crew allows themselves to hope. But then, he takes a cut to his sword arm, and another to his side.

And then he goes down.

But he goes down fighting.

Izzy Hands, who spent his whole life fighting dies that way too, fighting for the safety he spent his whole life searching for.

[books-books-smolderinglooks]

[imminent-danger-came]

I really need to go in depth into MK's "smartie kid" arc that starts in 1x10 and is then a consistent thread through the whole show

[daylightisviolent]

I swear if anything or anyone even decides to fuck with Sahar's actress I will stomp on them with my fucking HOOVES

[harrowharkwife]

this will either be the most inaccurate, shot-in-the-dark, completely nothing prediction I've ever made, or it'll be my most big-brained, apollo's-gift-of-prophecy, kissing-the-writers-on-the-mouths speculation yet, but i gotta place my bets before the speculation window closes, so:

calling it right now, i think Buck's gonna get blown up/be injured in an explosion at the very end of 6A/start of 6B, and that's what will lead to buddie canon. also this is how coma buck can still win

[nightwingandhissquad]

ah the good old cancelled by “technically” not renewing us 

[thesearchforbluejello]

With the popularity of Ted Lasso, I'm genuinely just so glad that we got such a phenomenal show that has made an impact on so many people, and of course now we've also gotten the first season of Shrinking, which also knocked it out of the park.

But I still mourn Whiskey Cavalier every time I watch an episode of either of those.

There hasn't been a whole lot of tv I've actually enjoyed in the past several years, and these three feel like an absolute trifecta, but WC feels like the holy ghost at this point because there is SO MUCH of it in Ted Lasso and Shrinking-- it's so many of the same writers/directors/producers, but they're also just so similar right to their foundations. All three interrogate tv tropes and relationships (of all kinds!!!!!) and mental health through comedy, and Ted Lasso and Whiskey Cavalier actually interrogate an entire genre. I'd say that WC is more on that side than Ted Lasso even is, because although they definitely interrogate some of the tropes of sports fiction (toxic masculinity, anyone?), WC actually parodies spy fiction while playing itself as straight.

It just makes me absolutely feral to think about what more of Whiskey Cav would have looked like. A second season? A third? The development of the show from the original(-ish, one of the drafts) pilot to what was actually filmed shows so much growth and an acknowledgement that they could really work with what they had-- it turned from a show about a guy (hence the name) to a show about an entire team. Frankie took the spot as the second main character with Will once they cast Lauren Cohan (I don't think that happened before she was cast but I may be wrong) and another character was completely rewritten into Jai when Vir Das was cast. They had an entire plan for how to flip the TV trope of the will-they-won't-they relationship to a how-will-they-make-it-work relationship!!!!!! It would have been so good!!!!!! The amount of character development we got in just one season was far above and beyond anything else I've seen besides Ted Lasso and Shrinking, and honestly I think more actually happened specifically because they didn't have the assurance of more seasons (good thing they didn't assume, I guess) to build on things like the Ted Lasso Method™ but they still managed to do it without rushing it.

Honestly I feel like I could make a venn diagram of how all three of these shows all overlap and it would be hilarious. Excellent theme songs by well known artists without it feeling cheap? ✅✅✅ Excellent episodic music by well known artists also without it feeling cheap? ✅✅✅ Really well executed character development for ALL of the characters? ✅✅✅ Interrogation of tv tropes? ✅✅✅ More specifically, hilariously camp villains who still manage to take advantage of tropes to work? ✅✅ Incredibly well developed character relationships OF ALL KINDS that don't all hinge on only one romantic relationship as the centerpoint of everything? ✅✅✅ Queer characters who don't exist for the butt of a joke or solely as token queer characters? ✅✅✅ Every line is delivered with perfect comedic (or dramatic) delivery and timing? ✅✅✅

Anyway, this has been a barely coherent and very meandering way of saying that the fact that ABC put the episodes out of order really screwed things up, but Whiskey Cav really hit its stride there with the second half of season one and absolutely nailed the vibe they'd been working towards with the foundational episodes that came before them, and I just get SO ANGRY when I watch Ted Lasso and Shrinking despite the fact that they're both so good and I enjoy them so much because it makes me think about just how good a second (and third, damn it) season of Whiskey Cavalier would have been.

[londonspirit]

there we go: the beginning of the end (of filming)

[phlox238]

Holy Fucking Shit. What The Fuck, Dana. What Was That

[dykedivorce]

it took me 1 season and 7 episodes to fall in love with Superstore but Amy and Jonah are hitting all my favorite tropes in S2 and i have no choice but to be Fully Invested

[phantasieandmirare]

Just watched a Crows compilation on YouTube and am again reminded that we got THE BEST cast

[arsenicflame]

i am actually really, really glad to see Ed setting himself some boundaries and then sticking to them. he said he wanted to go slow, to take it easy, and when Stede ended up not respecting that, he took the initiative to set some distance between them.

i don't think running away to become a fisherman is the answer, but i do think its important that Ed is removing himself from that situation at the moment. if Stede didn't respect his boundaries once, who's to say he wont do it again? Ed's got enough on his plate, and as they've said before, they're both impulsive! in the moment Ed's gonna keep agreeing with Stede, and then realising later that it wasn't the best thing for him to do. removing himself from that situation, taking away the temptation is a good thing!

[galeweather]

should i make my boyfriend watch bridgerton yes or no

[alargehunkofdebris]

Why There’ll Never Be Another Good Omens 2 Experience

The strangest thing happened after a few days post my watching of S2. I got a wave of real, bittersweet sadness.

Not due to the obvious – I was dealing with that too, but with more excitement than anything – but because I realized something, as a writer and consumer of media. I realized that it’s unlikely I’ll ever get a media experience close to what I experienced at the end of Good Omens 2. Because really, its setup was absolutely unparalleled – in general, and for myself personally.

I am currently writing my third romance, and what I’ve learned primarily about the genre, the way for it to really work, is that there needs to be something keeping the couple apart initially. The more things keeping the couple apart, the stronger the romance hits. The more the couple clashes with each other, the better it is. Societal norms, class issues, initial dislike, literal danger—all these aspects are what make a romance a story. It’s that conflict that creates the compelling narrative. No romance was ever popular because things worked out well from the beginning – it’s that “look at what we were, and look at us now” aspect that gives readers/watchers that satisfaction. It’s the “I can’t believe this happened” effect. The “I would never have foreseen this” effect. The “they’ll never be together” effect. It’s why forbidden romances are so incredibly popular.

Another aspect that makes a romance story really work well is the amount of time it takes for the romance to develop. A couple that gets together after a few days? Eh, it’s tricky. You better make it really dramatic somehow. A great example is Titanic – class differences, betrothal, and a huge amount of danger threatens this couple, so them being in love after only a few days works. But what really sells this one is because we can see how this romance has survived beyond those few days. We see it 80 years in the future, still there, in the memory of Rose. That is why it hits so hard. Romances that span over long periods of time (especially ones that are bittersweet/tragic) hit so much more than ones spanning a short period.

But wait! There’s more!

You can up this effect by not only having the romance take time in story…but having it take time in real life, for the viewer/reader.

This is why romances in TV shows that take years to finally work out are so compelling. It’s that “Pam and Jim” effect, that will-they-won’t-they deal. We are waiting right along with them, and we’re feeling that same relief when all those things keeping them apart finally fall away. This is harder to pull off, because there’s never that guarantee that the story will make it that far. TV shows get cancelled, creators lose interest or die, etc. So it’s not just “Will They, Won’t They,” it’s “Will They, Won’t They, Can They Even Try?”

This is also compounded by that fear that it won’t happen in-story after all, and while in romances you’re pretty positive that things work out (they kinda have to, for it to be labeled a “romance”) in other media, there’s always that possibility. Look at Community – there’s a forbidden/conflict-ridden romance that didn’t end up working out, even though it was “Will They, Won’t They”d for six entire seasons. You also then have shows and ships where fans are almost sure it won’t happen, but still hold out hope. (See: Supernatural, Sherlock, etc.)

Now. Now look at Good Omens. Look at that absolutely unparalleled, unbelievable set up. It’s unbelievable because it takes almost every single thing that makes a romance compelling, and not only uses all of them, but dials them up to 11.

Why are they at odds? Why are they forbidden from being together?

Because they are literally the most opposing forces you can imagine in Western Canon. They are the Angel Guarding The Gate and The Serpent of Eden. The literal only way you could’ve made this a bigger deal would’ve been to make it God and Satan, and even that would’ve not hit as hard, because it’d be like two CEOs getting together – there’s no fear of a higher power adding that delicious conflict. And to add to all this, in real life, the couple is portrayed as two men, which adds that second meta level of conflict.

And what fear/danger is keeping this couple apart?

Not just familial disappointment—but disappointment from God and Heaven and Hell. Not just moral guilt, but the guilt of potentially dooming the entire Earth. And finally, on top of that, the very real danger of being killed. Not only that, but making it as though you never even existed.

And in real life, they face all those roadblocks that queer couples in media have been battling for years and years, but I'll talk about that more in a second.

Okay, then Time. How long have they been kept apart?

For…all of it.

All of the time that ever existed.

They, quite literally, could not have been kept apart longer.

And this leads into those final two points, the ones that actually really sell it. Because I can sit down right now and write a story about an angel and a demon falling for each other at the beginning of time against all odds…but what I can’t do is to have already written it thirty-three years ago.

That’s how long this story has existed. Thirty. Three. Years.

I’m not even counting how this is using characters that have existed as opposing forces for thousands of years. I’m not even saying that, even though that’s also a part of it. But besides that, this story, this exact story started thirty-three years ago, and is still being continued by the author to this day.

Do you know how uncommon that is?

Yes, we have canon that has lasted for many, many years. Hundreds. We get new versions of beloved older stories ever year. But it’s so very rare that they are by the same creator. We get new Sherlock Holmes content, but it is not written by Arthur Conan Doyle. This, on the other hand, is actual canon content, written by the author of the original. That is unbelievably rare.

That means we’ve got a fandom where some people have grown up with these characters. People who read it at twenty are fifty-three. People who read it at fifty are eighty-three. Kids who saw their parents reading the book now have children of their own. It is a cult classic that has been in the hearts of so many people for generations. Me, personally, I fell in love with it ten years ago, at age twenty, at the very beginning of my own writing journey. This story means so much to people, because it’s stood that test of time.

And yet, this story was never explicitly romantic. So many saw it that way, but it was never something confirmed. Because this was a book from the 90s, at a time where this kind of romance just wasn’t in popular media if it wasn’t played as a joke. It was, back then, the same kind of “forbidden” as a romance between angel and demon. So people imagined, but they never expected anything more. And they’ve continued not expecting more, because even in the 2019 first season, there was never any true confirmation of anything, and people accepted it. You have a 33-year-old story here – it’s possible that this major change/confirmation could happen, but all things considered, it was unlikely. You would never blame the creator for not making major developments to a story they wrote with their late friend a lifetime ago. And no one in production was saying a word to confirm or deny, but we’ve seen all this before. It was a Will-They-Won’t-They…Probably-Not situation.

And then you have the end of S2.

And that's where that bittersweet sadness comes in for me, personally. Not at a huge level, not to the point where I'd have it any other way, but it's there regardless. Because I realized that this was a unique situation that could never be replicated, for me, and likely for many, especially readers of the book pre-show. In all likelihood, I would never again experience a romantic payoff like this one. Because it was the most forbidden of forbidden romances, the couple of which have been kept apart by the worst of all dangers and highest level of guilt for the longest amount of time literally possible, written over a real-life span of time where this kind of romance went from “completely taboo even in real life” to “finally acceptable in popular media,” written by the same creator, and not confirmed as canon until the story reached the age of Jesus Christ himself.

And the real kicker is, even after everything these two literally star-crossed lovers have gone through…they’re still being kept apart. They’ve still not taken down those final, seemingly insurmountable barriers between them. It wasn’t a “here you go 😊” move to make long-time fans happy – it’s being used as a perfect, painful plot point. After 33 years, we’re still having to wait longer.

Chef's kiss. Couldn’t have been a better set up if it was mathematically calculated. And yet, the best part is that it happened organically.

It just works.