#but that doesn't fit the narrative so who cares right?

[kinkdaddykinard]

i just love that rhea and jey found each other. and damian!

jey had his family behind him, but he's always been in the shadow of them and never really thought of outside of them. now he won his first singles title by HIMSELF! just him. then you have rhea ("i loved my family") with tjd aka her family behind her and (obviously not the Same but as for the recent storyline) was always there to help them, then they betrayed her. now, she also wants to take care of business herself (and get her title back herself!).

damian had tjd as his family, as well, and the family motif carries on as he cuts the promo about tjd being "the family that gave him a brother to keep", aka finn. who betrayed him, and who he is going up against at bad blood.

yeah, some things had to be retconned and/or twisted to fit the narrative a bit lol but i am interested in seeing where it goes.

i would love if these three just continued to support each other right now. like a new little family, but a family that doesn't hold each other back. (shhh let me have it while i can)

ps. i do not actively read any wwe spec on purpose so i may be way off of anyone else's thoughts/opinions/spec bc i just see what i see when i scroll the tags or t's opinions/spec when i get a notif from her <3 lol

[madamtrashbat]

Y'all might need this back after y'all's hissy fit yesterday:

https://www.verywellmind.com/what-is-a-sense-of-entitlement-5120616

I have got to hand it to suddenlyalright, she did a really fucking good job running with the campaign that I'm salty over not getting picked for the zine and literally nothing else could have caused me to be upset at all, no sir, including a person who harassed me and a bunch of my friends and openly sends anon hate had nothing to do with it.

Efficiency is definitely something you want from a mod, I guess. Impartiality out the window, this bitch gets shit done.

Go bother someone else.

[minakoaiinos]

Animating this season like you can't have the slightest bit of jest and god forbid jesting about yaoi

[withthewindinherfootsteps]

I sometimes see the opinion that MXTX took the clichéd tropes she'd critiqued in Scum Villain, and played them straight in MDZS. But though a lot of them appear in MDZS, I'd argue that none are actually played straight at all!

The main point of MDZS's tropes is subversion. Yes, WWX has a 'tragic backstory', even an arguably overused one (orphaned by his parents at a young age, forced to live on the streets with nobody to rely on, etc) – but how things differ in how it's used. Tragic backstories are normally used to build sympathy for a character, to make us care and get invested in them. But... we're never actually shown any of those street days, we're never shown and never dwell upon how much he suffered during them. They're only really mentioned in passing and whenever dogs come up! If the goal was to make us feel bad for WWX, this would be very ineffective writing. But what's actually important here isn't that WWX went through tragedies – it's how he doesn't let the tragedies he went through define him. He doesn't dwell on them, the narrative doesn't dwell on them, it's never used to earn sympathy points... because what defines WWX is his choices and how he chooses to act, not a backstory completely out of his control. What gets us invested in him is his personality and the character writing of MXTX, not tragic events used as a substitute for identity.

And this trope treatment fits extremely well with WWX's personality itself – he's someone who 'forgets the pain as soon as the wound has healed'*, but also who actively chooses to focus on the present because you can't change the past; someone who holds the belief that 'gains and losses [should] remain uncommented on' when choosing what to do.

The use of the tragic backstory isn't the only thing that's subverted, either – the other main thing is the 'blackening' of the protagonist, and its impact on the protagonist's fall. After being thrown into the Burial Mounds, on a surface level it does seem like this blackening has occurred: the first thing we see when he returns is his gruesome torture of the Wen cultivators; he's 'forsaken' traditional cultivation in favour of an 'evil but more powerful' path; and frankly, Sunshot-era WWX is terrifying. But MDZS is not a blackening story, and so the events of the Burial Mounds aren't used as a catalyst for that purpose. Though it's true that WWX's not entirely the same person he was before (because how could be be?), underneath it all, his morals, worldview and core** stay the same. Though gruesome, his revenge is directed towards the ones who wronged him, not those past that and certainly not the entire world. His experience in the Burial Mounds doesn't lead to him being some evil, blackened overlord... like everyone says he is at the start! That's subverted, because again, WWX's values and choices are more important to the story than genre conventions.

But the most crucial thing? What leads to WWX's downfall isn't any blackening! It isn't any vengeance or morally dubious actions***– he was praised for those things during the Sunshot Campaign! No, what leads to his downfall is something completely unrelated to that, something which would've disappeared had the trope been played straight. It's him doing what's right by defending the Wens, it's him following his moral code when it opposes the world's, it's him standing up to the injustice of others – not others standing up to the injustice of him. That's the subversion here.

(Also, once again, the fall of Lotus Pier, the Burial Mound, etc, aren't used for sympathy points – and if it was relevant, they wouldn't have been used to excuse any actions, either. Using tragic events as an excuse for doing bad things is critiqued many times in MDZS, through characters like Xue Yang and Jin Guangyao. And that's not exactly a trope subversion, but it is a critique of badly handled 'excuses'.)

These are by no means all the tropes MDZS subverts – the nature of guidao vs the usual nature of modao being another very major one – but they're the main ones that feature in Scum Villain.

So, though at first glance MDZS seems to play the tropes MXTX critiqued there straighter, it's not a simple case of using them as cliches, and we see that by how they're used to impact the narrative, and how that differs from what they're traditionally used for. MDZS doesn't fall back into clichés Scum Villain satirised – it's the subversion to Scum Villain's exploration and critique.

--

*Which I know is generally used negatively, to describe someone not learning a lesson from a punishment, but it really describes WWX in general, too. He doesn't dwell on that pain, he does his best to move on from it.

**...heh

***And, because it's often debated – whatever the morality/culpability of Nightless City is doesn't even matter! The events happened at a pledge conference against him that was already taking place. WWX's actions there didn't make people want to kill him because that was explicitly happening beforehand.

[aroaceleovaldez]

i know a lot of people talk about the Cupid Scene as not being great as Nico's coming out story (which i think is a complex matter but that's a rant for another day), but I personally find it way more compelling if it's just not Nico's coming out story at all - it's the beginning of Jason's.

Because it doesn't really work or make sense to be Nico's, right? It's not Nico's pov. Nico doesn't have a POV at all in this book. And in House of Hades, the Cupid Scene is one of the first major things Nico gets to do right out of the box jar. Why introduce a character, have him be outed as gay, lead the crew around, and then leave to go travel with someone else all in one book where he's not even a POV? It's also contrary to the way Nico generally functions as a character - he's either exposition, dues ex machina, or damsel in distress. He's kind of a damsel here, but ultimately he doesn't need anyone else to save him - or even be there. He handles it on his own. Jason is mostly just a witness.

But, if you view the Cupid Scene as being about Jason, it narratively fits a lot more; Jason at this point is dating Piper, and they're three books deep into their relationship. TLH they start dating and are relatively happy with it and where they are. SoN is a skip but we know they're happily dating during that time, and then Mark of Athena we get a slight shift. Jason and Piper see Percy and Annabeth and go "Oh! They're perfect. Their relationship is perfect. We could be happier if we were more like them." Piper and Jason are also both characters who go through an identity turmoil in general - particularly about how both of them want to be perceived by others and who they are as people. The things they identify with - their parents, their heritages, etc etc. Their orientations. Piper's get more focus earlier in HoO, and Jason gets more later.

The Cupid Scene is from Jason's POV, in a book where he is beginning to struggle with his identity and what people expect from him - particularly him not feeling like he perfectly fits with "either camp." He's too "Greek" to be "Roman" but too "Roman" to be "Greek." He's not quite one or the other. He doesn't meet the expectations either has for him. (This is bi-coding, if you couldn't tell. Just replace "Greek" and "Roman" with "Straight" and "Gay.") It starts with Cupid addressing Jason first, before Nico, very directly - asking him if he's so sure he's happy in his relationship? Does he really think it's perfect? Even Favonius very pointedly asks him if he really forget that guys can date guys? Do you have some internalized bias around that, Jason? Hm? Heck, they're both specifically in their Roman forms, not Greek. Why would they appear in their Roman forms if they're there for a Greek demigod? And very notably, they have this exchange:

(remember what I said about the bi-coding with Jason's Greek/Roman identity crisis? I don't think it's coincidence that this so pointedly comes up during the Cupid scene.)

Favonius' introduction to the Cupid scene sets up Nico's portion of it, but Cupid almost exclusively speaks to Jason for the first half of it. Then Nico steps in. He diverts the conversation away from Jason and focuses the attention onto him. Nico's the one Cupid wants, he insists, not Jason. He's the target, not Jason. This is very in line with Nico's character - practically one of his core character traits is he trusts and starts caring about people very quickly, probably quicker than he should or even wants to, and will put himself in harm's way to prevent others from being hurt. The Cupid Scene isn't the start of Nico's coming out story - Nico already knows he's gay. He has no internal doubts about that. He's known it for awhile. He's just in the closet. And he starts coming out of his own free will in the next book, first to Reyna and Coach. The Cupid Scene is Nico recognizing that Favonius and Cupid are pushing Jason for something he's not ready for and hasn't figured out yet, but something Nico has and just hasn't said out loud yet. The Cupid Scene is Nico taking the proverbial bullet/literal arrow for Jason (Jason consistently describes the arrows as whizzing by him before striking near Nico, interestingly) and being outed so Jason isn't. And that presents Jason with the path to begin questioning his identity further. (Jason also then directly compares Cupid to Aphrodite, specifically her Greek form, which also ties into Jason's greek/roman stuff.)

And I don't think it's coincidence that Jason and Nico mirror each other so much, and that their arcs in HoH are so intertwined. The Cupid Scene functionally, on a meta level, establishes an explicitly queer character to parallel Jason and for him to bounce off of during his own arc. (And, also on a meta level, establishes to the audience to be sympathetic to queer struggles, with Jason's arc then proceeding to be a queer-coded struggle.) Jason is presented as having this strange level of isolation from how others perceive him in a positive way/the expectations people have of him that wraps around to something akin to Nico's ostracization as being an outsider and atypical demigod in general. Nico is a rouge - he explicitly expresses how he feels like he doesn't fit in at either camp (something he expresses explicitly during the Cupid Scene, mirroring Jason's simultaneous questioning his own place at Camp Jupiter) and a core part of his character is that he does function outside the rules and expectations of both camps. He operates on an entirely different realm to them. If the camps are an expectation of normative concepts of acceptable relationships, Nico is outside of that. And he recognizes that he operates outside of that and will never fully fit into the mold either expect of him, and he recognizes he doesn't need to fit in, even if he theoretically could force himself to fit that mold. Jason, meanwhile, is still locked within those boundaries, and grappling with this idea of how he can exist between them.

Nico hands Jason a goblet of poison and says "how much do you trust me?" and it's Nico challenging Jason to take his own advice about trusting others about their identities, and almost immediately after that Jason gives up his praetor title to Frank. Jason's Greek/Roman arc is directly tied to Nico and the Cupid scene. BoO ends with Jason asking Nico to stay at CHB so they can hang out that summer. By TOA, we learn that Nico has started dating and is staying at CHB (is exploring the niche of expected and socially accepted relationships) while Jason has broken up with Piper and is living away from both camps (rejecting hetero/allonormative expectations), still struggling with his own identity. They functionally swap places. And that's fascinating.

Anyways i think about Jason's bi-coding a lot.

[creatingblackcharacters]

If this has been asked before, feel free to ignore it! Just wondering, what would you in particular like to see in Black characters being written? Like what tropes, genres, types of stories, etc. would you like to see Black characters in? Or like, what types of Black characters would you like to see more of in general? (This is a question the mods on Writing With Color put in their bios, that’s what made me think of the question, and I just figured it be fun to answer!)

remember that y'all asked me!

Things I'd like to see:

Revenge against authority narratives. Yes, I have issues lol. I'd just like to see a young Black girl or woman come back to those who were supposed to love her or do right by her, and show them why they had her fucked up. And let her get away with it too. Like The Glory, but for Black women.

"Crazy" Black women characters. Not in the "she's angry and y'all have decided to girl-power it" but like legit unhinged, "everyone in the narrative is two steps behind them what shall she do next" unpredictable characters. It's why I liked Swarm fr. Dominique played a really interesting character, bc at the end of the day, her character was wild ASF and very wrong lmao. Light Yagami level off the shits but Black would go so insane!

Black girls that are safe, loved, and doted on, unconditionally. Without hearing "omg she's a love interest?! Anti-feminism!" I'm real passionate about this one, esp with my own OC. If she's got resilience, let it be from the strength of her heart and her community. So much of Black girlhood is realizing that the world expects you to give of yourself, will treat you terribly in kind, and you're supposed to "find strength" in that. Struggle love, from the whole world. Fuck that. I want characters, from parents to friends to lovers, to surround Black girls with love in whatever stressful narrative they're in. The Strong Black Woman™ is so played out for me. There's no honor in letting everyone use you for your strength but you can't depend on them to be in your corner when you're weak or fuck up.

A revenge fantasy against racists. Yeah that would never make it to screens bc we live in a racist society that would vomit with hatred and fear, but omg. I've always dreamt of having superpowers and showing white supremacists what for. I'd love to see it on screen.

If it's going to be an interracial relationship, it'd be nice for the girl to be Black more often. It'd be nice to see people from different backgrounds find reason outside of familiarity to fall in love with us, that they love our beauty, that we're worth the time and effort to get to know and care for. I'm never gonna watch Bridgerton outside of Queen Charlotte, but that's what drew me into Queen Charlotte. She was allowed to be herself, and he loved every bit of her. It was nice to see.

This isn't a character or a genre, but COSTUMING AND WIGS THAT ACTUALLY FIT BLACK BODIES. Look. I'm a sucker for period pieces and fantasy. Queen Charlotte reminds me of that, bc while it was still regency white western costuming, the way they actually make Charlotte's hair look... Like her hair. That it doesn't look like you took a Black woman and shoved her into a bad dress and a sew in or a bad wig to mimic white hair texture that she logically wouldn't have with no effort. House of the Dragon has all that budget but that first season hair was abhorrent, which was annoying and clearly racist bc the white actors' wigs always look LAID. We have different hair- PUT THE EFFORT IN!

[legobiwan]

We need to talk about this. And I'm going to start right off with a contentious claim:

Ford was willing to gamble the fate of his entire dimension to feed his ego and insecurities and Bill had him pegged from Square One.

This sounds like a harsh statement. It kind of is. When we first meet Ford in the show, all we end up learning from him is that restarting the Portal was dangerous and could (and did) create a rift that would open the door for Bill and his gang to end the world. And Ford pins this entirely on Stanley, excoriating him for not listening to his warnings in the journals and doing whatever he wanted, like a set of monkeys flinging shit at walls until he happened to get it correct.

Ford is a highly unreliable narrator. After all, as Stan rightfully said, who built the portal in the first place?

But we need to go deeper.

In Journal 3, Ford speaks to the necessity of hiding his journals, which he - to be quite honest - does a crappy job of. Why keep two out of the three journals in Gravity Falls, a mere hair's breath from the actual Portal, which for some mysterious reason, Ford has declined to - you know - actually destroy? Why bury the Journals near an elementary school with children - children who tend to be curious creatures and can and will find a way to discover what they shouldn't? Why call on your estranged brother who you claim to despise as an absolute last resort? Ford's narrative, if you really start to analyze it, makes zero sense. And it makes zero sense because it's an edifice, a personal mythology meant to be a bulwark against the horrible truth of Ford's motivations.

"I've stared at the fire, journals in hand, for hours. I just can't do it. The knowledge in here could be a gift to mankind, the portal's potential limitless. Am I really going to destroy it all just out of spite? No, I won't give HIM the satisfaction. Instead of destroying my work, I'll find a way to DESTROY BILL INSTEAD. If Cipher has a weakness, I'll find it. I'll outsmart the devil yet! He may be a god, but I am a scientist."

Ford could have ended this thirty years ago if his ego hadn't gotten in the way. All he had to do was burn the journals and destroy the portal, just like every other human Bill tried to con over the years. How much did Ford actually care about the end of the world as much as he cared about Bill's betrayal and losing his earth-shattering (quite literally) research?

He didn't. And given this, is it a surprise that Bill, when he finally was able to breach dimensions and start Weirdmaggedon, still placed bets that Ford would join him in the end? The man who said, "Fuck the universe, I need everyone to know I was right."

This isn't about the possible apocalypse. Ford doesn't make one, single mention of that here, doesn't seem to give one fuck if the world burns, as long as he can prove himself to be better than Bill and better than everyone who doubted him for all his life.

And this is why, I am certain, that when Bill perused Ford's possible futures, a large majority ended up with Ford turning to the dark side, as it were.

There's a reason Ford pulled these journal pages. They don't fit his self-constructed narrative of the heroic martyr who wants to save the world. Ford edits his own story again and again, pushing everyone away so they won't see just how insecure and absolutely desperate for validation he is.

Sound like someone we know? Maybe a yellow triangle who literally outlines the steps to denial in his teenage angst journal?

Bill, in essence, promised Ford the universe. Yes, literally, but also the universe in terms of what Ford always wanted - recognition and revenge. Ford, by not destroying the Portal or his journals, didn't 100% reject this proposal, even if that equivocation was subconscious. It's why - I think - Bill feels Ford's just put him "on read" after he fell through the Portal (according to Alex Hirsch).

Ford's going to have to come to terms with this. Maybe he did during his time in the Portal. We have no idea how much Ford did or didn't mellow while being stuck on the other side of the universe, although we do know a) he still holds a massive grudge against his brother and b) Bill is still able to play him like a lyre when he asks about the equation to pop the bubble around Gravity Falls. (And I do not for one second believe that Ford was trying to buy time when he admits that "Of course, a simple equation could collapse the barrier," when Bill questions him about it. Ford needs to prove that he knows the answer, that he figured it out, that he's a scientist and outsmarted a god. Again, if the kids and Stan hadn't come to Ford's rescue, it's very hard to say where Ford would have landed in the end).

The thing is, there's a part of Ford that realizes he's being an ass, that he needs someone. We see this with Bill, obviously, with Fiddleford in the ways Ford runs so incredibly hot and cold with the man (I need you, no I don't need you) - with Stan, who is a last resort but the only person Ford trusts enough to summon to Oregon. Because Ford didn't need Stan to destroy the journals or the portal - but he needed someone, maybe he needed a dollar-store Bill in his life, maybe he just needed someone to reach out like that. Ford fucks it up, wildly, as he can't let his ego go and allow Stan (who is being extremely practical, if bitter) to burn the journals like Ford should have weeks previous.

And well, we all know how that turned out.

What I'm curious about - and what I think needs to be covered more in fandom - is how Ford deals with all of this post-Weirdmaggedon. He's obviously in contrition mode at this point, swinging wildly to this penitent, self-abusing figure who will claim fault for the tiniest infraction.

That's not going to last him long. The type of change and self-reflection Ford needs is not going to come overnight. At some point, his uglier tendencies are going to rear their head on the Stan O'War and Stan is going to have to weather the blowback (or just throw his brother overboard). One might say Ford himself needs a little time the Theraprism, as he nearly consigned his own reality to damnation just like Bill did.

I love Ford. I adore Ford. He is so, so, so complicated. But ohhh boi, Fordsy, do you have issues with a Capital "I".

[toriangeli]

Weirdly as an Armand stan, I feel like Armand should have been...worse.

Maybe worse/better isn't putting it right.

He should have been scarier.

The Armand I think of as the "real" Armand is the one we got in 2.05. So I know they know he's like that. It isn't exactly that he's evil, but when he hurts, when he's frightened, when he's cornered, he becomes something wild and vicious. Even when he's calm, there's a cold ruthlessness to him when dealing with people he doesn't care about.

So what the fuck is up with this wishy-washy betrayal?

The narrative as displayed on the show:

-Armand realizes he and Louis don't share values, so they need to break up. -The coven confronts Armand with the trial script and give him an ultimatum (disputed in fandom, never contradicted on the show). -Armand chooses loyalty to the coven and directs the play, bowing to their wishes. There are people who overestimate the role of a director and assume this means he engineered the entire thing, but see the problems in the next section below. -The tribunal is going to kill both Claudia and Louis. -The tribunal just kills Claudia. Lestat saves Louis. -Armand is demoted and punished (confirmed by Assad). -Armand, perhaps because of guilt, rescues Louis from the wall and urges him to leave Paris. -Armand makes the split-second decision to lie about saving Louis at the trial. This ends up saving his life. He lets Louis kill everyone in the coven (presumably because he's gotten a good look at how fickle they are toward him). -Louis chooses to continue their romance to spite Lestat, who keeps Armand's secret. -Daniel exposes the fact that Armand was free to choose Louis the entire time, that he was never in danger, and he chose the coven instead.

Things that have been said by Assad that contradict this version of events:

-Claudia "had to go" because she was in the way of what Armand wanted. Thing is, Armand wanted Louis, and he was going to let Louis die, so this makes no sense. -Armand "engineered" the "deaths" of Claudia and Louis both. No motive is presented to us. Moreover, there's genuinely nothing in the show that suggests this as opposed to Armand being strong-armed by a coven he lost control over. That version of events is never contradicted in the show.

And here's the thing: if I had my way, Armand would be the force behind it all, because having him fold to his own coven makes him the very opposite of scary. He'd never do it in the books. FFS, in the books, he slaughtered more than half of his last coven in a fit of madness (and I am convinced it's one of the things he blatantly lied about in 2.03). But to see what's actually presented on the show and to hear Rolin talk, they were deeply concerned with him remaining as empathetic as possible, so it looks to me like they did that by simply making him (/plays guitar) ANEMIC ROYALTYYYYY instead of a wild little gremlin. Instead of being empathetic, he's just pathetic. Instead of making the connection between Armand's history and his present behavior, the average viewer says, "That's just how he is. He lies about everything. Who knows why. He doesn't need a reason."

I can't help but feel this season should have ended with the average viewer saying "Oh he's crazy crazy." Which they kind of said of 2.05, but by the time 2.08 rolls around, they've sort of forgotten that side of him (which isn't a side, really, it's what lies beneath the mask).

And I mean, Armand in the books is definitely prone to bouts of self-pity. That's how people react when their trauma goes unvalidated. It's not playing the victim, either, he really does feel that way.

Maybe they're counting on next season to give context to both Lestat and Armand? It would make sense for Lestat to be the one to give real perspective on Armand, because Louis doesn't really know him and Armand himself is too guarded to be forthcoming. Lestat has seen Armand at his worst, but, at least in the books, he has a crippling amount of compassion for him as well.

I just...I need the gremlin. I need him to be terrifying, because only then can he turn around and be weird. He's endearing in DM because people looked at the "uncomprehending villain" of the last two books and saw him stuffing packs of cigarettes down the garbage disposal, laughing till he cried at movies, and quizzing Daniel about why war happens because he's never understood all that shit. That last was the moment I fell for him. He understands the vampiric instinct to kill, but humans don't have that. Humans just kill and maim each other anyway. The vampire who caused so much destruction asking, "What is the physical need to destroy?"

The innocence hidden beneath the cruelty and violence.

The writers know that innocence exists, but the innocence means very little if he isn't legitimately cruel and violent. If he doesn't make hard choices in the name of survival when the issue at hand isn't a matter of survival. If people don't suffer because he thinks suffering is what everyone does all the time anyway.

They know the cruelty exists, because they showed it in 2.05. They know exactly how to write an Armand who isn't pretending to be normal.

I just worry they've undermined what makes Armand so special as a character in their quest to keep him empathetic.

[yumeka-sxf]

I try to stay away from negative topics, but after hearing talk on social media yesterday and seeing this post from @such-a-downer, I just had to give my two cents about the complaints regarding yesterday's chapter being "another short mission" and that Endo is somehow being "lazy" or whatever.

I honestly don't understand this mentality of criticizing manga-ka, or any artists really, because they aren't delivering by whatever standards you personally think are appropriate. To me, it just seems like entitlement because Endo has no obligation to cater to any specific fan's wants. This is his story to tell the way he wants, and his characters to develop at the pace he deems fit. This isn't a business contract where we're paying him to deliver content we want every two weeks without fail. If I'm consuming the fruits of someone's creative labor for free, I certainly feel no right to complain if sometimes their content isn't what I wanted or expected. I'm fine with that because 1) I know it's what they (the creator) wanted/needed at the time, and 2) even if a particular chapter wasn't my cup of tea, I know other fellow fans out there somewhere are enjoying the heck out of it, and that's cool!

We also have to remember that SxF is basically a one-man show. If Endo is busy or sick or whatever, it's not like he can have someone fill in for him to write and draw the series. That's what a hiatus is for, that's what making a short chapter instead of a longer one is for...that's how artists should be treated so they don't get burned out and stressed. Plus, art shouldn't be rushed. Any artist knows that there are times when you have trouble coming up with ideas and maybe need a little extra time to develop a more complex section of the story. To immediately jump to conclusions that he's lazy or doesn't know what he's doing is ridiculous. Maybe he didn't feel good for a few days, maybe he's been busy with other SxF events, maybe he just needed more time to get a particular future arc developed, or maybe he just has basic IRL obligations to take care of like we all do...you don't know what's going on in his life, so don't make assumptions.

Another thing to keep in mind is that it's literally impossible to please every fan. One of the comments I read for example, someone was ready to drop the series because we haven't seen much of Yor in "a while." All I could think of was "didn't she just have a pretty big role only four chapters ago when they went to the ski resort?" Plus she was the star of chapter 91, which was less than ten chapters ago. So according to this person's standards, four chapters without seeing a particular character is "too long"? What if it was only three chapters, would that be acceptable? It's not right to push our own personal standards of a series' pacing as the "correct" way: some people want to see more of character X while someone else wants to see more of subplot Y, so should both complain that the manga-ka isn't doing right whenever they focus on something else? I'm not saying you shouldn't make criticisms of a manga-ka's work, but the criticisms should come from within the narrative itself, not superficial things like chapters focusing on subplots/characters you don't want to see or not having enough "plot-advancing" content when it's not a plot-focused series.

People who have read SxF up to this point should know the general flow of the chapters: mostly slice-of-life episodic, with more plot-heavy, intense arcs once in a while, like the cruise arc and bus arc. It's an ensemble series that spends most of its chapters focused on at least one of the Forgers, but occasionally other characters here and there. That's how the series has been for years and will likely continue to be. So if you keep complaining because you only like the dramatic story arcs and not the "nothing happens" episodic chapters, then maybe the series just isn't for you. It's totally fine if that's the case, but don't act like Endo is doing something wrong because he's not providing the particular thing you want in his story.

To summarize, Endo has no obligation to cater to particular fans' standards, just as we have no obligation to keep reading his work if we don't like it. But being a fan to me means respecting the creator's pace and vision even if it's not always what I personally want. I can find something to enjoy in every chapter because I'm a fan of SxF, not a fan of one particular aspect of it. But I also will not complain every time my tastes aren't being catered to and will simply occupy myself with other things while I wait. What's the big hurry, after all? I'm in no rush for SxF to wrap up its plot and I'm glad Endo isn't rushing either.

And that's all I'm gonna say about this topic, lol. On a happier note, I'm going to finally see Code White on Thursday! 😁 More to come later~

[emilyyyts]

Chapter 17 foreshadowing/why I think Fushiguro Megumi might be in love with Itadori Yuuji

I've never understood the reason why Gege will add that line of Todo (i mean the special mention of the "it can be a guy")

The idea could've been perfectly understood even if the line wasn't added, but Gege purposefully sat on their desk and decided to draw this panel and add that specific line.

This means opening the possibility of Megumi liking guys, right?

I might be overthinking this, but text and dialogs are super important in mangas. Practically everything that it's said has (or should have) a purpose .

Dialogue scenes move the story forward, for instance, by giving important information about the characters, their relationships, the milieu, and the evolving events; they can also build suspense and reorientate the narrative.

So why then adding this?

We've seen several times that Fushiguro often thought of Itadori as a kind person—even since the beginning.

(It's literally Itadori being described)

If we go back some chapters, we can easily notice this is how Itadori is first introduced in the Manga: as a compassionate person, a good person with the intent of helping others.

In fact, Compassion its a highlighted feature Itadori has always showed through the entire series.

Even at Sukuna's final moment, he shows himself compassionate offering help to him.

Many had thought Itadori fits that description of Megumi, and now I'll explain why I think this is a possibility.

We know the relationship between them its centric in the story —it practically started because Megumi decided he wanted to save Yuuji.

We've see them caring for each other over and over again, many decisions they take are influenced by the thought of benefiting/trying to help the other.

And then we got Itadori really trying hard for an entire arc to save Fushiguro, and when the opportunity comes, he tells him it's okay if he doesn't want to live anymore, but at the same time addmiting he will miss him if he goes.

This scales to the point its practically the love they hold for each other that helps to completely defeat Sukuna

I would also like to add this panel and why I think Fushiguro was projecting himself with the desire of his sister being with someone like Itadori.

The line is Fushiguro stating he wanted his sister —a person we know he LOVES and thinks very highly of— to be with someone as good as Itadori.

He thinks very highly of the two of them.

Theyre both good persons so they deserve each other?

Therefore, he projects himself that way:

He might think it's Tsumiki who deserves to be with Yuuji because she was good, and Yuuji is good too, so logically they deserve each other, right?

He loves Yuuji, but he might not be worth his love because it was him who introduced Yuuji into the jujutsu world (a painful life full of lost and worries).

But maybe someone else might be worth, maybe his sister.

This is how he imagine a perfect peaceful life, he's trasmitng and projecting his desires.

It's not her who wants to be with Yuuji. It's you.

So gathering all the pieces together gives us the big picture, and Megumi's words might feel more like a foreshadowing of their relationship rather than simple words for introducing Todo in the Manga (tho it works in both ways). The response Megumi gives open the possibility for such feelings between the two of them.

So basically, everything we saw to this point that involves the two of them has been development and profundization in their relationship for this last punchline we got of Megumi realizing that he wants to keep trying because its worth living out of love

After all, love IS a centric theme in the story. It's mentioned several times along the series. Gojo describes it as the worst curse, Itadori thinks Sukuna acts that way because of the lack of it. And if we add this new layer, Megumi thinks its woth living out of it.

Ultimately, what's going on between them is inherently love— aside if it's or not romantic

I can't fully explain my ideas cause i can't put them in orden, sorry :/

This is just my opinion btw 🤷‍♀️ also there's only 3 chapters left so I might end up as a big fucking clown 🤡 literally anything could happen but we'll see

Anyway, tell me your thoughts on this 👇

[farfromstrange]

Weed Cookies | Matt Murdock x F!Reader

PART 3 of The Vault

See this post for more information on my Valentine's Day Special & Follower Celebration, but these fics can be read separately!

Pairing: Matt Murdock x F!Reader

Summary: Karen receives a box of cookies from one of their clients. Foggy and Matt take a bite. Even with his heightened senses though, Matt doesn't realize what's wrong with the cookies before he's absolutely wasted, and you have to babysit him. Yes, they were edibles.

Warnings: Fluff, faint hints at S3 depressed!Matt and suicidal ideations, attempt at humor, crack fic, accidental drug use, for the sake of this fic we are going to pretend that the edibles were made well enough for Mister I-Know-Everything to miss it

Word Count: 3.4k

A/n: I wrote this after watching the episode of Grey's Anatomy with the Weed Cookies. I took some behaviorisms from my own experiences and exaggerated them a little to fit the vibe of this fic. I scraped parts of this and once again adjusted them because this was even more poorly written before than it is now, and I added the Nelson, Murdock & Page Season 3 narrative again because that's now the running theme of this event. Anyway, if you choose to consume edibles, stay safe! (Also, I'm just copying and pasting my usual tag lists. if anyone wants to be added for this event, do let me know)

“We just got cookies from Ms. Lebowsky next door,” Karen announces happily when she enters the office, balancing the transparent Tupperware in one hand and her handbag in the other. 

“She told me to thank you for helping her get out of that hellhole,” she says. Her eyes crinkle in the corners as a mischievous grin takes over her face. “There’s plenty for all four of us. Although she did mention Matt a few more times.”

“Ms. Lebowsky?” Foggy asks. He stands in the doorway of his office, holding a freshly brewed coffee. “Isn’t she the elderly lady we helped last week?”

“Yeah, that’s her. I think she has a crush on Matt.” 

He rolls his eyes. “Of course, she does. Who doesn’t? Not that I do, but—well, you get the gist.” The blood rushes to his cheeks, and Karen giggles in response.

From the office on the left, Matt’s voice rings out, “We just did our jobs,” he says. “She made us cookies, dude!” Foggy inspects the box on Karen’s desk. “They’re chocolate chip cookies. Our favorite. See what good looks can buy you?”

Matt chuckles, his fingers tracing the Braille indentations in the documents that are starting to form a mountain before him. “I think we got them because we’re good lawyers, Foggy.”

“Yeah, right. No way! That woman was smitten the second she came in. I really gotta get that blind thing going. I mean, she’s way too old for you, but come on! You’re in a serious committed relationship, and women still come piling at your door. It’s not fair.”

The way he whines like a little kid who has just been denied his favorite candy makes Karen laugh at his antics, and even Matt can’t help but join in. No matter how stressed he is, and how badly he wants to focus, Foggy never fails to lighten the mood.

Ever since moving offices, things have been going well for the trio. 

When Matt met you, he was at his lowest. You helped him climb out of a dark hole that was threatening to swallow him whole after losing Elektra and almost losing everything he worked so hard for to Wilson Fisk. Thanks to you, he found the will to fight again. You brought him back to life.

He wanted to die. He hated himself for the longest time after the building collapsed and forever took the first woman he ever loved down with its ruins, but then you came into his life, and you didn’t care about his baggage. You were far too good for him, but that didn’t matter to you. 

He fell for you hard and fast, and maybe the timing was a little off because what he needed was therapy and not someone new to get attached to. Still, if you hadn’t pulled him back to his feet and encouraged him to fight back against Fisk, saving his friendship with the people he cares most about in the process, he would have never made it far enough to get therapy.

Matt trusts you with his life because he feels like he owes it to you, but he also loves you more than anything. You’re the best thing that has ever happened to him. You’re his soulmate, and he couldn’t be happier.

Nelson & Murdock added Karen to their permanent repertoire. With her, things are flowing much more smoothly, and they’re actually making money now. They’re expensive, as Foggy likes to say it. Matt’s friends are just as happy as he is, giving him hope for the future.

“Hey,” Foggy snaps him out of his trance, “Earth to Murdock.”

Matt blinks behind his glasses, his fingers halting their frantic movements along the paper. “While I don’t disagree with what you’re saying,” he says, “please don’t let my girlfriend hear you say that women are piling at my door.”

Karen snorts. “Trust me, Matt. She knows,” she says.

“Yeah, but you shouldn’t remind her of that.”

“My lips are sealed. Foggy?”

He sighs, once again dramatically. “As long as you don’t sleep with them, you have nothing to fear, my friend.”

“I wasn’t planning on it,” says Matt. “The one I’m sleeping with is incomparable.”

Foggy grimaces. “Oh, dude. Gross! You know, God made conscious thought as a mechanism for humans to know when to shut up.”

“To be fair, ninety percent of the population don’t know how to use that mechanism,” Karen jumps to Matt’s defense.

As he laughs, he takes a whiff of the air surrounding their new baked goods. Matt can smell the sweet chocolate of the cookies, and somewhat of a herbal essence, but he can’t quite pinpoint why the scent seems so familiar. 

Karen walks around her desk to drop her bag and her coat. “So, do guys want a cookie?” she asks, swiftly changing the subject.

“I’ll take one,” Foggy is quick to answer.

Matt nods from his desk. “I’ll try one, too.”

The innocent decision to indulge in a sweet treat soon comes back to bite them in the ass though. Heavily.

When Matt first bit into the cookie, he didn’t think there was anything wrong with it. It tasted like chocolate mixed with basil, sugar, honey, and the kind of flour Ms. Lebowsky used, but he didn’t find much else wrong with it. Perhaps if he hadn’t allowed himself to get distracted by his phone calling out your name and the sweetest text he could have possibly received this early in the morning from the love of his life, he would have noticed that something tasted off about these cookies. And that what he believed to have been basil as a secret ingredient was something else entirely.

When lunchtime finally rolls around, you drop everything you were doing before and make your way to Matt’s office. You always spend lunch together. It’s your favorite time of the day. For an hour, you can forget the stress of your workplace and focus on him. He’s your safe haven. Your home. You crave to memorize his features anew every day so that you will have something to carry around with you when he has to work a bit longer, or when he goes out at night and his Daredevil duties drag on beyond what he planned. 

You need to be with him as much as possible because you’re scared that your happiness will shatter on a white cloth, and you will be forced to move on—you can’t imagine losing him. You dedicated your life to loving him, and the thought of ever losing that privilege kills you. 

On your way out, your phone vibrates in your pocket. You smile, thinking that it’s Matt, but when Karen’s number pops up on your screen, you frown. 

‘We have a problem,’ she texted you. Without context. 

All the alarms in your head start blaring, and you start to walk a little faster. You start imagining all possible scenarios. When you ask Karen what’s going on, she doesn’t even reply. What if someone got hurt? What if something happened to Matt? You almost lost him once; you can’t go through that again. 

You burst into the new office space that your friends share a few minutes later, your chest heaving and sweat dripping down your pulsating temples. You’re ready to fight whoever dared to hurt the man you love, or possibly threaten your friends, or both, but when you look up and see your darling boyfriend with his cheek pressed against one of the leaves on their gigantic office plant as if the overgrown Calathea were the coziest pillow he has ever touched, you understand why Karen texted you that you—both you and her—have a problem. A big one, too, judging by the looks of it.

“What is going on here?” you ask the dreaded question, shutting the door behind you.

Only then do you notice Karen to your right in Foggy’s office, trying to get him off of his office chair. He’s belting the chorus of Defying Gravity at the top of his lungs, and he’s got a broom clutched tightly in his right hand.

Oh boy. Your wide eyes drift to Karen’s desk in the middle of the room. As soon as you see the chocolate cookies inside the Tupperware, it slowly begins to dawn on you.

You’re not sure which is worse: Matt cradling a houseplant with his glasses discarded and the first three buttons of his dress shirt undone as he’s coated in sweat, or Foggy singing one of Broadway’s greatest ballads so off-key that the Calathea is starting to wither.

It takes Matt much longer than usual to sense your presence in the room. He calls your name, and his lips curl into a bright grin. Even completely out of it, he looks like an angel on earth. 

“Matthew,” you say. You approach him like you would approach a little kid. He’s on his knees, so the analogy isn’t far off. 

“Hi, honey. What’s going on?”

“Sweetheart,” he greets you, and you have never heard this man sound so relaxed. His hazel eyes are red-rimmed and glazed over, but the most obvious change lies in his behavior. 

“Feel that.” He reaches for your hand when you’re close enough for him to smell you, but he misses. “Where are you?” Matt pouts. “I can’t see.”

You want to laugh, but this is not the time. “You are blind, baby,” you remind him. 

“Since when?”

“Over twenty years.”

“Oh.” He finally gets a hold of your hand. The conversation seems to go right over his head. “Feel the power of nature,” he tells you. “It’s so soft.”

You want to drag him away from the potentially dangerous plant if he decides to eat it, but the sight of him is one to behold. He looks downright adorable. 

You have to focus though. You gently pat his hand. “Maybe later,” you say, and then you make your way to Karen’s desk to inspect the cookies.

Behind you, she calls your name. You twirl around. From the looks of it, she managed to get Foggy down from his chair, but he remains singing at the top of his lungs. All the signs point to one thing, and one thing only.

“Did you give my boyfriend weed cookies?” you sound a lot more condescending than you planned to. 

Karen shakes her head. Her face is pale, and she looks just as panicked as you do. “Those are not mine,” she says. 

“But you knew they were edibles?!”

“Of course, I didn’t! I started questioning it when Matt started cuddling the plant because his Braille felt like boobs and he didn't want to cheat on you, so he decided that he needed to touch some grass.” She points to him, exasperated. As if on cue, Matt lets out a happy little sigh.

Your brain struggles to process all of the information at once. “I’m sorry, what?”

“He said that his Braille feels like boobs. I don’t know! I thought he was messing with me until Foggy turned into Elphaba, and that’s when I took a bite and realized there was weed in them,” she says.

You groan, your worried eyes momentarily flicking back to your high boyfriend. High. That’s not a word you thought you would ever associate with him. “How did this happen?” you ask.

“Ms. Lebowsky, the lady next door, we helped her out the other day, and this morning, she gave me these cookies. I called her when these two started acting like idiots—more than usual, anyway. Turns out, she confused them with the ones her niece made for her birthday party tomorrow.”

“Her niece made edibles for her birthday party?”

“Please, don’t ask. I don’t have all the details. I just–”

“It’s fine,” you cut her off. “Just tell me that you’ve got Foggy under control.”

Karen peeks in through the window to his office. “More or less, yeah. You’ve got Matt?”

“Yeah, I’ve got him.”

You have to take care of him. He’s your responsibility. But as calm as he is right now, his heightened senses make the situation a lot more complex than the mere accidental consumption of edibles.

Walking over to him, you try to haul him up. He protests, at first, but then he feels the fabric of your shirt, and he slacks.

Matt wraps his arms around you, burying his face in your neck. “You’re so soft,” he coos. “You smell like honey.”

With his entire weight on you, you have to widen your stance so you won’t fall over. His usually quick reflexes are nonexistent right now; he won’t be able to catch you if you trip, and then you’re both going to get hurt.

“You know what’s even softer?” you ask.

“The plant,” he answers confidently. He sounds like a more careless version of himself. You can’t deny that it does something to you.

“No, silly,” you chuckle softly, “I meant your bed.”

“Oh. But I’m not tired.”

“You’re high.”

He pouts. “I didn’t mean to.”

“I know.” You stroke his back. “It’s okay. I’m not mad at you.”

He stiffens and relaxes at the same time. You swear you can feel the electricity in his veins as his nerves respond to the feeling of your skin on his. It’s like he’s on fire. Like your touch feels a million times more intense, and he’s being crushed under the weight of it in a way that makes him crave more. 

He squeezes you tighter, trying to get swallowed by you, consumed to the point that you are the same person. The drugs are doing a number on him, and his already heightened sense of feeling has increased tenfold to the point you’re not sure if it’s pleasurable or painful or both. It must be agonizing, yet at the same time there is a high chance that the weed is calming his nerves and dampening his perception to the point he’s taking everything in without the added weight—he’s enjoying the newfound sensations in limbo, and he’s unaffected by it. You wonder how long that is going to last. 

After bidding farewell to Karen, wishing her good luck with Foggy who has now reached a point of his high where he’s lying on the floor, demanding to listen to Bohemian Rhapsody and cry over Freddie Mercury. She assures you that she has got it under control, apologizes again, and then sends you on your way.

“Bye, Karen,” Matt says. “You have very nice hair.” His hand tangles in yours, and his face lights up like a Christmas Tree. You managed to convince him to put his glasses on, at least, or he might get irritated. “Never mind,” his voice turns into a pur. 

Usually, you would shiver at his fingers in your hair, tracing the strands and sensually massaging your scalp only he knows how to, but today is not one of those days. You’re still concerned about the effects that the weed might have on him, so you want to be careful, although you’re not sure how much longer you can keep yourself from laughing. 

As you maneuver Matt through the streets of Hell’s Kitchen, his cane hovers above the ground and his arm is hooked around yours. Without you, he would have run off into traffic by now. He has absolutely no spatial awareness anymore. 

Every sound, scent, and texture seems to capture his attention, but there's one sensation in particular that he can't seem to shake: thirst. You’re not even home yet, and you had to stop by a convenience store to get him a bottle of water. He shed his coat, which you are now carrying for him while also guiding him while simultaneously trying not to attract any unwanted attention. 

You can’t help but look at him as though he is your whole world. He is. He is everything to you, even high on edibles he never meant to consume, and acting like a feral toddler. If anything, you are even prouder now that he is yours. 

“Hey,” he whispers, leaning close to you, “do you think fire hydrants taste like licorice?”

You shake your head. “I can’t believe I’m saying this, but Matt, don’t lick the fire hydrant.” 

He pouts. For a moment, you think that you have steered off any possible disaster, but that was only wishful thinking.

Matt’s curiosity knows no bounds, and he’s soon reaching out to touch anything that catches his eye. He runs his fingers along the rough brick foundation of a building, marveling at the texture, and he stops to sniff a flower, declaring, “This is the most beautiful flower I have ever smelled.”

You pluck it for him, and he carries it in the pocket of his coat with a happy smile. 

You’re both exhausted when you finally make it to his apartment. Getting his large frame through the door is one thing, stopping him from tearing the tap off the sink as he desperately searches for liquid with the words, “Water!” is another.

“Okay, okay,” you try to calm him. You grab a bottle from the fridge, open it for him, and force him to take it. “Drink.”

One touch is enough for him to drop it. “It’s cold,” he recoils in agony.

You sigh. “Tap water it is, then.”

You have never seen him down so many glasses of water. He is severely dehydrated and sensitive to changes in temperature. It’s either too hot or too cold, and you’re so glad that Karen texted you when she did.

You manage to get him to the couch with some snacks that he devours within seconds. If he moves one more inch today, you may not be able to catch him again.

His lip twitches. “Chickens don’t have any arms.”

You pause in the process of wrapping him in a blanket, staring blankly ahead at him. “Excuse me?” you ask.

“Chickens don’t have any arms,” Matt states. “Every American citizen has the right to bear arms under the second amendment in the constitution. If an egg was fertilized on US soil, and the chicken hatched there as well, technically, that makes them a citizen of the United States of America, therefore allowing tiny creatures without arms the right to bear arms, but who gives the bears their arms?” 

You’re so flabbergasted that the absurdity of the situation eludes you. The words process only slowly in your mind, and when they do, they cause a wave of confusion to wash over you before it turns into genuine amusement, and it takes every ounce of self-control to keep yourself from laughing at him.

You can pinpoint the exact second the thought escapes his mind and something else replaces it. His hand brushes over the leather couch. “Smooth,” he observes. You haven’t even fully processed his very philosophical question about the animal kingdom before he drops his cheek down on the couch.

The man who has been carrying the weight of the world in bricks on his back for years is finally relaxed; it shouldn’t leave such a bitter aftertaste in your mouth.

You kneel in front of him, reaching out to touch his cheek. “Do you need anything?” you ask.

Matt’s gaze is filled with an odd sort of clarity. “Nah. Just you,” he mumbles.

A soft smile tugs at your lips as you brush a sweaty strand of hair away from his forehead. "I'm right here," you reassure him. 

He nods, his eyelids drooping as the effects of the edibles start to take their toll. “Good.” He searches for your hand, and you help him intertwine your fingers. A giddy smile finds its way onto his face. “You’re warm.”

You lean in to press a gentle kiss to his forehead. “And you’re high,” you tease.

Matt huffs out a breathy laugh. “Mmh, yeah,” he says. “But it’s okay. ‘Cause you’re here.”

Despite the chaos and the unexpected turn of events, there’s a sense of contentment settling over you as you watch him drift off into a state of bliss. He deserves it more than anyone. 

You stay by his side, watching over him as he succumbs to the pull of sleep that you’re all too familiar with after a sudden high. 

“Note to self,” you say to yourself, “never eat a stranger’s cookies without drug testing them first.”

And love has funny ways of making even the most absurd moments feel strangely beautiful.

Matt Murdock Tag List: @littlenerdyravenclaw @yarrystyleeza @etanordoesbullsh1t @thychuvaluswife @harleycao @schneeflocky @imjustcal @pipsqueakkitten @merlinbtch @sya-skies @amberritonicole @thatonegamefish @norestfortheshelbywicked @mattkinsella @itwasthereaminuteago @linamarr @gpenguin666 @acharliecoxedfan

[elrielffs]

This is the only fandom that INSIST their head canons and what they desire HAVE to happen.

What happened to crack ships?

What happened to enjoying fanfic?

Here's the thing. No one cares what you ship. No one cares what you want to happen. No one cares about how you view certain things.

It's THE INSISTENCE that rubs.

You like Neris? Okay, but stop insisting Cassian is gonna die or Nesta is gonna reject the bond. Enjoy Neris fanfiction, commission Neris fanart but DON'T back track thru the books to cherry pick sentences out of context to fit your narrative. Don't INSIST on what you FEEL is going to happen IS going to happen and everyone is else dumb cause you've picked up the CRUMBS.

You think Rhysand and the IC are evil? Okay, but SJM obviously did not write with that intent so stop INSISTING they are because YOU don't agree with what they do and you FEEL they are evil.

You like Tamlin/Eris? Great, everyone has their fans, it's not right or wrong but stop INSISTING they didn't do anything bad actually and everything they did was justified. If you like a character fine but like them with all their flaws instead of trying to excuse it or sweep it under the rug. (Also Nesta fans...)

I just don't get why people have this INSISTENCE on what THEY want to happen or how THEY interpret a scene/character rather than what IS happening in the books is that AHA correct one and the rest of the fandom "just doesn't get it?" You don't like the way the story is going? Then stop reading the series.

Stop trying to Frankenstein sentences out of context and fanfiction you've read and confused for canon into a narrative that suits what YOU want to happen.

I get I have bias as well but I only came to that bias BECAUSE OF WHERE THE BOOKS ARE OBVIOUSLY LEADING US. If you have to go back thru a book to find scenes to support what YOU want to happen rather than coming to that conclusion naturally--that should tell you something.

The disregard for canon, the narrative twisting, the sentences out of context, the "well I FEEL", I just don't understand.

There are a BILLION books for the tropes ya'll want yet a portion of this fandom wants to come in and twist THIS book series to get what THEY want when it's readily available somewhere else.

Idk man, I just feel like all this is setting the series up for failure. After 4 years and radio silence, no matter what happens, everyone's gonna be disappointed in one or another and it just makes me sad, frustrated, angry---because this series doesn't deserve people who obviously don't like it to pick it apart and put it back together in their mind to set up for a huge disappointment for themselves cause they didn't like where the books are going.

I know someone's gonna be like "BUT THIS APPLIES FOR ELRIEL TOO" and gentle reader, I'm going to touch your hand when I say this, whether or not Elriel end up together in the end or not, they have clearly been set up to have a story together in some capacity. They have multiple scenes together, other characters have pointed out something weird between them, the bc had a scene where they almost fucked in a hallway--

You don't have to read power point presentations on "ACTUALLY ELRIEL IS CANON CAUSE CASSIAN ORGASMS IS DESCRIBED LIKE MUSIC AND MUSIC IS MATE LANGUAGE" its CLEARLY written on page.

They have canon scenes--other couples do not. Just look at the recent fanart debacle. People HAVE to come up with happy scenes for the other couples because NONE exist in the books for these couples. Elriel's don't have to twist the narrative cause the narrative is there. You don't have to like it, you don't have to ship it, you don't have to think their endgame, but it's there, sorry.

[zenkindoflove]

So I wrote this post about Lucien deserving Elain in a fit of anger. And now I'm back with more anger because guess what guys.

Elain ALSO deserves Lucien.

I see it all the time. "Lucien deserves someone who actually likes him." Followed by bashing Elain as if she is the worst person ever and doesn't deserve love.

Please stop pretending like you're making this argument because you care about Lucien. Lucien deserves his soulmate. He deserves to have that HEA with the one person who he has a soul to soul connection with. Don't throw side characters and randos at him that do not make sense at all to his narrative or how SJM had canonized how mating bonds work. Do you honestly think Lucien is going to care that some other female wants him???? Do you even get that Lucien can easily get any female in Prythian and has gotten many of them but none of them really mattered to him the way Elain matters to him.

Listen to his words. He tells everyone he's a mated male now for a reason. He is loyal to Elain regardless of whether she is showing him desire.

Elain is a GOOD person. Just like Lucien. She is kind and thoughtful. Careful and empathetic. Strong and resilient. Elain loves with her whole heart. She loved her father when no one else could see as worthy. Not even her sisters. She loved Graysen faithfully even if he was a scumbag who didn't deserve her devotion. So, I think Elain knows what it means to love, and she is not ready to give away her heart so fast again. Especially not to someone who can see all of her.

Yes, it's hard that she isn't ready to love Lucien yet. But girl has been THROUGH it. She has been struggling with a loss of her autonomy, her future, and her identity. And all of that with the pressure of a soulmate who is a stranger. None of you can say you'd handle it perfectly either.

And guess what. Lucien, my brave and soulful man, understands that. He is the only one who acknowledged when Elain was severely depressed in ACOWAR that she suffered a trauma. He is the only one that gives her space rather than pushing his opinions or desires of what he wants her to be onto her. He knows she isn't ready. And he's waiting. Giving her space but also being present enough so she knows he is there when she is ready to get to know him. That is all he has wanted.

Jumping to the assumption that Elain "doesn't even like him" is bold. You don't know Elain's thoughts. You don't know how she really feels about Lucien as a person. We have some inklings about what she thought about the bond right after her terrible breakup that she was still mourning. We know that before Lucien left on a dangerous mission, she took a half step as if to stop him. We know that she has shown genuine care over whether he's hurt. And we know that she feels the connection to him (I can hear your heart beating through the stone) and that is never going away. We know that Elain is affected by Lucien and it's not a leap to think that she feels as drawn to him as he is to her, she just has to be ready. And maybe Elain can tell Lucien is a good male who she doesn't want to inflict her messiness on just yet. Maybe she knows to jump in too fast wouldn't be fair to him either.

So many denigrate Elain and say she is boring, selfish, or mean all because she is struggling through a tough time in her life. And even in that struggle, she still maintains her kindness. She still searches for hope. She still wants to better herself. Which sounds a lot like that mate of hers. And when she is ready to fall in love again, she will get exactly the man that she deserves. Lucien Vanserra. Because Elain deserves the unconditional love that he has to offer. Finally someone will return it back to her.

[dorkynerd23]

Ah, he never changes..Vanitymoth is back with another shitty review and this video proves he truly doesn't understand or gets Murder Drones as a whole, say whatever you want about the finale as I've had a few issues about the finale myself and think it could've been a bit better but it was at least satisfying and entertaining. I'm not even surprised by this (in the slightest) since as I've said in my post about Vanitymoth, he's almost never positive about whatever he reviews, he barely has ANYTHING positive and praise to give when it comes to the pieces of media he reviews even though there are things you can praise but Vanity choices not to, it just feels like he has very high standards and if they don't meet up to his expectations then he just sees them as bad overall and sees his opinions as definite facts everyone should take to heart and listen to, this dude is just insufferable both to listen to and watch.

He also hearted this comment here...As someone who's in both communities I personally don't think the MD community is as awful and terrible as the Helluvaverse community can be, tbh. Yes, the MD fanbase has shown to be terrible and awful but that's all fandoms, all fandoms are toxic and terrible no matter how big and small, and just for the record the MD fanbase has been called out before by many people. And one more thing, although all fandoms are toxic, there's also good aspects to them as well too. There are good aspects to the Murder Drones fandoms as I've met and see many incredible people in there, despite its bad aspects in the fanbase it's still a fine enough fanbase with some bad and good apples but again, no fandom is perfect and you'll always have good and apples no matter what fandoms you're apart of.

But I'm overall tired of Vanitymoth and can't stand him for the life of me, he's very unbearable as a cartoon reviewer and just doesn't understand MD, this comment says a lot honestly and I personally don't think he's truly ever cared about the show because he gets so much wrong about this series and these characters and overall gets them wrong and mischaracterizes them to make them look worse as a result and to fit his own narrative and shitty theories.

Listen, if y'all want someone, a YouTuber who ACTUALLY understands and gets Murder Drones, actually understands the characters and gets everything right about the show and the theme of it itself, if y'all wanna watch a reviewer who gets MD, please go watch Sarcastic Chorus. Although I don't always agree with his opinions, he's always valid and positive with his opinions even when seeing the flaws in whatever he reviews, he's a great and much better YouTuber than Vanity. And just like @wayward-delver said when it comes to Sarcastic Chorus, SC genuinely understands how the show was meant to be understood and watched, he sees the hard work, love and dedication that went into the show and he's also able to point out flaws without being a dick and shooting down the fans of the show.

[buckevantommy]

https://www.tumblr.com/buckevantommy/757878657756872704/btw-i-dont-think-we-need-to-worry-about-buck-and

Agree 100%. But, to further expand that, and going outside the world of the show.

From a GA perspective, or the audience full stop, how many partners are we willing to watch before we lose interest? By this I mean - if the writers are spending screen time / several episodes introducing a new character and a new relationship, usually we get invested. And when that person disappears, it can be frustrating, and the introduction of a new person (thus the start of the cycle again), can feel a bit tiring. Every time they need to find something that makes the audience go: okay, it’s worth for me to care about this character.

Buck’s case is a bit particular, because his relationships haven’t been all that well received (until now). Either it was an ‘okay’ situation, without much interest, or an okay reception but controversial at times (for me, Taylor - I do think the GA was okay with her, but ultimately the couple was not good). Tommy has been imo the first relationship that truly has brought in lots of positive and good reviews and a good investment of attention from fans and even GA. Tommy’s clips in any social media are usually the ones with most views, and in things like IG it goes to talk about the GA more than a focused fandom.

This to say - if Buck was to break up with Tommy, I think a lot of the audience would be frustrated or even grow bored of the constant change of partners. Even, they would be less receptive to a future new partner, because if Tommy (so well received) is gone, who would even stay?

Not to say this means Tommy is Buck’s endgame, because no one knows. But at some point the constant change of partners gets old, and we know Tim agrees when he expressed wanting to get Buck off the hamster wheel (something Oliver agreed on), and Tommy is a really strong character to have Buck settle with.

Long story short: not only from a SL perspective, but Bucktommy being long lasting makes sense for the overall image of the show.

You're absolutely right nonny.

bc if we think about bucktommy in terms of it being Buck's relationship aka. a main character's relationship, enough is enough on dragging him from illfit to illfit - that guy deserves to be settled, at ease in himself, as Bobby once told him, and we've already seen Tommy help make that happen for him.

and if we look back at Buck's relationship history: we're 7 years into poor matches for a guy who has always wanted to love and be loved - and Tommy can be that for him! he has been that for him so far and could so easily fit into the narrative as Buck's significant other moving forward indefinitely. Tommy already feels like the missing piece to Buck's story the same way Karen was for Hen and Maddie was for Chim and Athena was for Bobby - and he's a fleshed out character in his own right just as those partners are.

enough screwing around with Buck's relationships. sometimes it feels like just bc he started out as a fuckboy he somehow doesn't deserve a stable, healthy, loving relationship, like the narrative is going out of its way to ruin any chance he has at that for the sake of drama (but again: none of his previous partners were the right match for him).

i'm going to mention dear dean winchester again bc he has so much in common with Buck, and these kinds of characters (male, strong, macho, attractive, swagger, charming, sexually active, presumably bisexual) always cycle through relationships that never pan out - bc they're not the right fit, but moreover bc these partners seem written in just to be eventually written out, there to help the main character's plot along, aid in some personal growth and add drama, maybe attract more viewership for those interested in seeing more (temporary) female characters.

but it is.. *sigh* tiresome, indeed. let Buck have a stable partner - like Hen, and Chim, and Bobby do - and let their relationship be woven into the narrative to create a richer tapestry like those other pairings do. that is so much more satisfying in terms of storytelling and character growth, than trying to insert drama snags that threaten to unravel things. you can still have drama with committed pairings - every other committed pairing in the show is proof of that.

and if we take off the shipper googles: Tommy is good as Buck's partner, he makes sense, and he has great potential in the longrun both as Buck's boyfriend/husband and as his own character within the wider narrative of the show. he's a natural fit, but he's also entertaining and he has history with most of the main characters already.

i really do see Tommy as Buck's endgame btw, bc they work so well together as a pairing but also as independant characters. BUT i wouldn't be mad about them breaking up/taking a break (as i mentioned in that post: uncertainty about having kids; a potential permanent job position out of state) and then come back together stronger for it. we saw it happen with Henren (but i don't want to see cheating with our boys bc it doesn't fit who they are) so we know if they do breakup it doesn't have to be permanent - and i actually would love the mirror to Buck's first serious relationship where Abby leaves him - only Tommy comes back to him.

[himehomu]

“Homura callously destroys everything and everyone else because she's selfish and she only loves madoka” right that's why, when she rewrote the entire universe, she not only made it to where Madoka would be surrounded by her friends and her family, but she also gave Sayaka a second chance with not only Kyoko, but with Hitomi and Kyoske as well. That's why she gave Nagisa and Mami a life together. Because she's callous and selfish and she doesn't care about anyone but Madoka. That's why she took on the brunt of immortality for Madoka to be human again, even if it's temporary, choosing to suffer alone whilst everyone else has a second chance at a life. Go fuck yourself. I'm so tired of seeing ppl minimize Homura's love for Madoka and her friends by writing off her actions as “oh she's just a selfish evil edgelord who destroys everything and everyone who isn't madoka bc she doesn't care about anything else bc selfishness vs selflessness themes!!” like you do know that you can point out Homura's selfishness and Madoka's selflessness without blatantly lying and trying to rewrite canon to fit your narrative, right?