#can hbo like make this happen

[bohemian-nights]

“What should have been, but never was.” -Bohemian-nights personal opinions on this crackship.

HOTD AU🔥: Viserys II x Daenaera Velaryon 🐉🌊

[atopvisenyashill]

i totally get not shipping jonerys but i think there's too much potential for george not to explore. i do think jon is going to be critical of dany’s methods and they’re doomed, but they have a lot in common too? like wanting to impose their beliefs and world view on others, and they can bond over having really bad pr too! i just hope that it’s more interesting than the show, for my own sanity.

I do think there's potential to explore but I just do not see the romantic potential. Their commonalities are not the sort that would make them get along. Jon's bad PR is he's a reclusive dick running off bad advice (from another Targaryen to boot) who won't explain his long term plans to people he doesnt like, sends every single one of his allies away, and is trying to break down long held prejudices in the span of a few months. Dany's bad PR seems similar except on top of "breaking down long held prejudices" she trusts violent, shady ass men at every turn (while Jon just straight up executes Slynt! Do you see Jon misstep wrt Alliser and Bowen? Yes, but he is not sitting here justifying their violence the way Dany justifies men like Daario), compromises in ways that completely undermine the prejudices she's trying to break down, and has now simply accepted that her dragons killing innocent people is an acceptable loss. Dany takes a profit off the selling of slaves and I simply do not believe Jon would react so cavalierly to Dany telling him about how she burned her slave alive to hatch her dragons, especially after whatever shenanigans Melisandre and Stannis are going to be getting up to in TWOW. Not for nothing here, but Jon does not use Ghost as a killing machine; anyone or anything Ghost has killed has been in defense of Jon while Drogon is very much a weapon of war.

Beyond that, Dany's identity is very tied up in the being the last dragon. She's going to be ten times worse in the books about finding a dragonseed in Westeros, especially if Rhaegar found out Elia was killed and married Lyanna, thereby legitimizing Jon above Dany's own claim. She's going to kill Aegon VI and destroy KL, maybe even Casterly Rock and parts of Dorne as well! The thing I think everyone overlooks here though is that she is not getting to Westeros until the very end of TWOW at the earliest! She's going to have wracked up a kill count higher than every other character on page, probably a kill count higher than the Conquerors or the Dance or the Redgrass Field. Regardless of any similarities they have in their backgrounds, what Jon is likely to feel when she lands is horror, and a fair amount of nerves. Do I think he will feel guilt for having a hand in his aunt's death, in ending the line of Targaryens? Yes, absolutely! It doesn't mean his guilt will drive him to side with a woman who lands with a slave army and then sets fire to half the continent.

And to be completely honest, if they do hook up, if she lands and she's lauded as a hero after destroying the city states of Slaver's Bay, after slaughtering the khals of the dothraki, after taking a profit off slavery and engaging in collective and cruel & unusual punishment, if murdering Aegon VI for *checks notes* being lied to about who he is and having a better claim than her but not "earning" his ending, and finds some sort of happiness with Jon, I'm saying that's 100x more misogynistic than what the show did, not to mention nauseatingly imperialist and classist. The reason I am very firm in saying Dany will go dark is because it is my opinion anything less is a betrayal of the themes of non violence, the costs of war, and the punishing of the poor. Like, Robb's murder is a tragedy but the book does not shy away from the harm he does! Dany will not (should not!) be treated any different just because she's a woman; that's like the basis of feminist theory!

[ellies-enrichment]

the cargo to family pipeline is my favorite

[sofargoneao3]

I haaaate the argument that there can’t be an order TV series because we know what happens to them. WE DONT!!!!!

Yes, we know the absolute endgame of James, Lily, etc, but what actually happened during the years after Hogwarts are a total mystery. How did Peter pull the wool over their eyes? What happened to snape when he joined the death eaters? How did Sirius come to distrust Remus? What happened with Lily’s pregnancy? What’s the deal with the Malfoys & the rest of the Black family (Regulus????)? Also just the general political climate of that time period is so relevant, it would be very interesting to explore (also 1970s period piece lolol)

There’s sooooo much opportunity for character development and to emphasize future plot points I honestly don’t think knowing most of them d*ed would put people off. Also most people who enjoyed Harry Potter are adults now and would prefer a story about adults imo

Thanks for coming to my ted talk (re: @petals2fish for posting about a tv series)

[vexic929]

ok but no actually I REALLY DESPERATELY want a spinoff of HBO's Titans about Jason, mainly because I miss Curran's Jason he's so precious (it doesn't even have to be an Outlaws spinoff though I'd like it to be) but ALSO because this universe's Bruce actually DID kill the Joker for Jason! he actually went against his code of ethics FOR JASON and the Joker stayed dead! I NEED to see how this changes their dynamic, as well as every other small but significant change to Jason's character (like the being addicted to a drug he synthesized, being manipulated by Crane, etc)

and also I want to see what happens with Molly! she just up and vanished in the middle of last season with no explanation??? where was that storyline going?! (I'm aware they might still expand on this but they also do have a bad record of leaving loose ends untied, mainly because they switched hands between companies and the writers kept changing and just all the mess between seasons 1-3)

[reachingfortheday]

there's something about the way joel says the words "sarah died" when he's telling ellie about his scar that makes me think he can probably count on one hand the amount of times he's said those words in that order.

[mastersoftheair]

Submitting my favourite MOTA quote/moment, Jimmy Stewart boating trips in Norwich. I really hope we get to see this because the vibes are immaculate

also really hoping we get scenes like this, even if they're off in the background! think those scenes in Band of Bros. with the men singing "oklahoma" or "i dream of jeannie". they really add to the tone of the show and the depth of the portrayals

[shadowbelle94]

Just to let y’all know, if Neil and Craig put Ellie in the shed in season 2, I stg I’m gonna lose every single one of my marbles

[daecaerys]

it's  the  way  they  turned  'a  targaryen  alone  in  the  world  is  a  terrible  thing',  a  line  about  maester's  aemon  helplessness  over  the  fact  he  is  old  and  away  and  incapable  of  assisting  the  only  surviving  member  of  his  family,  a  line  about  the  tragedy  of  someone  in  their  youth  having  to  carry  the  weight  of  a  three  hundred  year  dysnaty,  a  line  about  the  hyms  of  a  house  that  for  all  intents  and  purposes  was  woven  into  the  idea  of  a  family,  a  clan,  kin,  through  wars  and  conflicts  and  brotherhoods  and  sisterhoods  and  so  much  more  -  the  blood  of  a  gone  civilization  -  into  something  that  ties  into  the  terrible  notion  of  "targaryen  madness"  which  history  proves  is  not  that  accurate  to  begin  with.

[capsiclesteebrogers]

can you imagine aemond trying to braid his hair? he just wants to do a simple braid and he's starting to part his hair and begin. but he doesn't remember which piece goes over which piece and he has to start all over again. and his hair is too soft and doesn't want to cooperate with him. so after a few tries he gets frustrated and gathers all his hair in his hands and just drops his head on the table.

[bejeweledmp3]

EVERYTIME. i go to twitter for fandom stuff. i remember why one should never go to twitter for fandom stuff lmao

[atopvisenyashill]

imo the time jumps are where hotd gets messy, because they just really wanted to get to the dance by season two but that’s like having ned executed halfway through season 1 just so you can rush to the red wedding in season 2, i get the urge but pull it back a little babee, let the anticipation and tragedy build.

anyways, i think the biggest miss (and one of two that i think sinks the show from “excellent” to “great but i have notes”) is we don’t see alicent and helaena give birth because of the wacky ways they skip around in the timeline.

there are easy fixes for this tho. for the first time skip where you still have milly and emma, we should have seen alicent give birth to helaena. it doesn’t have to be the whole episode, but the end of it should be her giving birth to juxtapose with Aemma, and Helaena’s reception juxtaposed with Baelon’s, Joffrey, and Visenya. THEN you do the ten year skip EXCEPT it STARTS with Rhaenyra figuring out she’s pregnant again, go through most of the plot she goes through WHILE SHES PREGNANT, THEN a birth scene. second to last episode is laena’s birth scene & death, finale is driftmark fight, then a little jump at the VERY end where Rhaenyra gets the message about Vaemond and is like “guess we’re going back to court.”

THAT WAY season two can start with HELAENA having MAELOR and also we get more time with the little versions of the black & green kids. ALSO season two can then include aegon in flea bottom so we get LADY ESSIE HAVING GAEMON and a juxtaposition of how noble women are treated during birth and how smallfolk are!!!!!!

[misfittq]

having so many (good) feelings about s3 ep9 of dc titans

[thetriumphantpanda]

new religion | joel miller

Summary | Joel's never much been a religious man, but if he were, he'd ask the Lord what he'd ever done to deserve you.

Pairing | Jackson!Joel Miller x F!Reader

Word Count | 1.5k

Warnings | Explicit. Religious imagery, basically porn without plot, oral (f receiving), unprotected PiV sex, cumshot, dirty talk, Joel worshipping you like you deserve, nothing bad happens to him ever and he dies peacefully in his sleep at age 101, no use of y/n. Written and edited on phone so please excuse any mistakes.

Authors Note | God bless hbo for that teaser am I right? I just want Jackson Joel to always find peace. Also thanks to All Time Low and their song New Religion for the Inspo. I hope you enjoy!

Main Masterlist | Ko-Fi 

Divider by the ever wonderful @saradika

I found God and we found heaven, On the bedroom floor.

Joel Miller isn’t sure how he got here. Knees creaking and painful, a dull ache in his back that never goes away, and years behind him that have led him to right now.

Years of being closed off, scared to open up to anyone in case he failed them as well. Years of using his anger at himself to reign terror on others. Years with Tommy that were strained, years with Tess that were less so, even good sometimes, and now years with Ellie, good, bad and everything in between. The relative safety of Jackson was unsettling, after years of fighting to survive and barely making it, scars on his body testimony to that, the normality was unsettling.

He’s getting used to it though, slowly but surely, and he thinks that along with his brother and Ellie, it has something to do with you.

You, stood in front of him, backlit by the setting sun, nude and waiting, whilst he kneels in front of you. Pained be damned, he’s going to worship you like the goddess you are.

Tommy has spent the past year absolutely rinsing his older brother for this. When Joel and Ellie had arrived back, he’d made it his mission to set Joel up with one of the many fawning ladies available. There was Esther, who was nice enough, and Lindsey who had been far too forthcoming, and others that Joel would rather not remember, telling Tommy that he didn’t need anyone, didn’t want anyone, was more than happy on his own.

Then he’d met you, sunshine to his clouds, sharp, quick-witted and funny. A take-no-shit kind of gal that had gotten under his skin more than he cared to admit. The first few times it was quick, fumbles in the alley behind the tipsy bison, or hurried moments bent over the dusty couch at the lookout on patrol, convincing himself that once again this was nothing but stress relief.

Then things changed, you started making him laugh, started sitting on his porch with him, laying on his couch whilst he played his guitar, and then he started spreading you out on his bed, started taking his time, learning what made you respond best, how you liked it, how you clenched so tight around him when he clasped your fingers in his and pounded you into the mattress.

Joel has never been much of a religious man, not since the end of the world, but he thinks, right here on your bedroom floor, that he’s found God. When you walk towards him and run your hands through his greying hair, tilt his chin up so he’s looking at you, hands on your hips like you’re his altar.

He brings his face closer to you, tongue licking through your folds as you stand before him. Your fingers tighten in his hair when the tip of his tongue finds your clit, your own head tipping back, face to the real Lord if he exists, muttering his name over and over in your own twisted prayer.

His jeans are tightening as he licks at you, the sounds you make doing what they always do, shooting straight to his cock. It’s why he can’t quit this, even if in the back of his mind he knows he probably should. You’re younger than him, though not scandalously, and he can feel that the years of his prime are fading the more comfortable he gets here. He knows that wanting you as much as he does is a sin in itself, but walking away? That somehow seems worse to him. He finally wants to be selfish, to think of himself and his own happiness for once, and it’s the taste of you on his tongue when he drags it down to where you’re leaking for him that convinces him he has to stay.

“Oh, Joel,” You whimper, knees shaking, “Keep going.”

“Ain’t plannin’ on goin’ anywhere, pretty girl.” He groans into your pussy, his big hands holding your hips in place to keep you upright as his tongue drags back up from your fluttering hole to your clit.

You widen your stance a little, spreading the lips of your cunt for him so he can fuse his mouth over your clit, suckling at it whilst his tongue works against the swollen bud in the way that he knows will have you tipped over the edge in no time.

He loves when you come for him. A reminder that he’s still got it, that he can learn your ins and outs and keep you satisfied, even at his age. He has to press his fingers into your hips a little tighter when you do come for him, keeping you upright before you knees can buckle underneath you as you cry his name out into the darkening room. Pulling his mouth away from you before you start whimpering that it’s too much.

Normally he’d pull you over to the bed, but there’s something in him tonight that means he can’t wait the extra seconds, so he’s pulling you down onto the floor with him, cradling the back of your head with one of his hands so you don’t hit in on the wood as he crawls on top of you, legs spread wide for his thighs as he pops the buttons of his jeans and drags the zipper down.

He’s in too much of a rush to undress properly, pulling his jeans and underwear down just enough to free his cock. You’re reaching down, taking his length in your hand, dragging it up and down as he pulls his shirt over his head.

There are tiny droplets of sweat across your forehead, the open window and the breeze no match for the heat in the room, and he doesn’t know why he does it, but as he leans down, your hand guiding his cock to your soaked cunt, he lets his lips kiss across your forehead, like it’s holy water and he’s being reborn as he slips into your tight heat.

He doesn’t think he’s heard a sweeter sound than the ones he hears from you as he drags his cock in and out of your pussy. Gasps and whines and whimpers, never too loud, like they’re just for him. No-one else needs to know how good he makes you feel, just him. He presses his mouth to yours as he grips your wrists, pinning them to floor, swallowing your sounds as he fucks you.

Joel knows that it takes him a little longer these days, knows from the way you’re squirming that the ache in your hips is setting in. He knows that your body aches the same as his does, that your back aches and your knees hurt after a long patrol, but you’re being so good for him.

“Such a good girl,” He coos into your ear, “Y’can take it, can’t you?”

You arch your body up into him at his praise, “It’s so good,” You moan, your hands reaching behind him to sink your nails into the meat of his ass, “Harder, please.”

He can never deny you, so he pushes himself up, takes your knees in his hands and presses them down towards your chest, hooking his arms there to keep you spread open as he guides his cock back into you. He can feel his own sweat appearing across his skin as he does exactly what you asked for, he fucks you harder, as hard as he can, listening to the squeals you make as he bottoms out inside you and the slapping of his skin against yours.

“M’close,” He moans at you, “M’gonna come, baby.”

“Please,” You groan back, squirming underneath him, “Come for me Joel, please.”

And he does, pulling out at the very last minute, letting go of your legs to pump his cock with his fist before he comes, splashing his spend across your belly as he tips his head back and praises the Lord for you.

He knows he will pay for it tomorrow, but he collapses onto the floor next to you, pulling you into his chest. He can feel the sticky cum mixing with the hair across his stomach, but he doesn’t much care, pressing a kiss to your forehead as you settle together on the cool ground. His fingers trail up and down your spine as you lie together in the quiet of the early evening, finding peace with it all for once. After years and years of being on his own, of being scared to open up and let someone in, he finds he doesn’t much mind the thought of it anymore.

And above all, whether he makes it to the real thing or not when his time is up, that he’s found heaven, right here on your bedroom floor.

[beetlejuicyy]

criston cole is such a female-experience coded character and it is exactly why he is hated so much hear me out

his whole character is built around the idea that rhaenyra seduced him, had taken his dignity and made him feel like her whore. his vow and his duty are close enough to the idea of women's purity and value. you were sullied, you have to marry the man that devalued you, otherwise you are spoiled and unworthy.

on top of that, his identity as a knight, as kingsguard means he is submissive. he is not seen having a lot of opinions or plans to how things are done, the big guys in the council decide and he has to obey to their orders.

on top of that, when he does act at last, it's portrayed in the form of scheming, behind the backs of people, and it's mostly attributed to his sentimental nature, to his inability to think straight, be logical because of his personal feelings. that's how women have been portrayed for centuries.

another thing that makes his character harder to grasp is the choice to have the same actor play the pre-timeskip and past-timeskip criston. 20 years have passed and yet people see him as the same person who refused to be rhaenyra's whore but now he is hypocritical because he is alicent's whore. 20 years have passed and, even if you can't see it on his face, he's bound to have changed too.

in his relationship with alicent he doesn't talk as much. he is obedient, she's the one in charge. she gets to say when and how things happen, he is just at her service.

his entire character is build up to revolve around rhenyra, like women's lives are supposed to revolve around men. if he refuses to acknowledge his status in his youth he is no longer allowed to later (after 20 years mind you) find some sort of comfort in another master. it's like saying "if you say you hate the system why take part in it"?

his pent up rage and hatred is evil, because what happened to him was behind closed doors where no one saw or heard of it. because if they knew of it he would lose everything, exactly the way women have often refrained from talking about their condition in fear of being villainized themselves. in the meantime, the one in power will keep their dignity and spotless reputation like rhaenyra is not even held accountable for having bastards pushed forward as heirs, not to mention the fling she had with criston.

this rant is in no way trying to portray criston cole as a saint or a good guy or trying to justify his behaviour. this is actually the problem with hotd, the effort to draw a line between the good guys and bad guys. have it be either balck or white. it's not, it can't be. you either have complex, morally grey characters with flaws and mistakes or you go watch marvel or something. even there villains are more humanized than in this petty effort of righteousness.

LE: thank you everyone who mentioned the aspect of criston being a man of colour from dorne and the power dynamic between a royal and a lower born who fought his way into the world! this rant was written in a rush and while i couldn't express the latter as eloquently as most of you in the tags/comments, i completely overlooked the former. i love looking through everyone's tags and comments and seeing your takes. as @jazzyclarinet pointed out in the comments, seeing criston's character in this light does not erase or diminish the injustice other women in the story experience.

on another note, i feel like part of the blame is on the way hbo marketed the season with the pressure to pick a side. however, i think what we've been lacking as a society in the post covid years is actual unbiased analysis of art. swallowing up content without any question and making said content a personality trait is harmful. as i said, i don't like criston as a character, but i can make these points about him simply because i watch the show critically and i don't blindly defend a character while trashing another.

[flanaganfilm]

Mr. Flanagan, I’d like to ask a question and I deeply hope that it does not offend or upset you. I am strongly considering canceling my Netflix subscription due to their new password sharing policy. However, Midnight Mass is one of my favorite shows of all time and I know it isn’t available on DVD, and I’m also profoundly anticipating your take on my favorite Edgar Allen Poe story. So I wanted to ask your take on people accessing your work through, uh, other means. If it’s something that’s offensive to you or will harm you or the other people who work so hard on these shows, I’ll happily keep my Netflix just so that I can keep supporting your work. I respect you far too much as an artist to do otherwise.

Again, I really hope I’m not upsetting you by asking this question. Thank you for everything, and I hope you’re having a great day!

(NOTE 6/4/2024: I'm editing this entry because, well over a year since it was posted, some journalists dug this up and used it to create click-bait headlines that are misleading, out of context and artificially combative. While I was of course disappointed over the years that Netflix opted not to release my work on physical media, I never experienced any hostility or aggression in those discussions, and I sincerely regret the manner in which this post was used in the press this week.)

Hi there - no offense taken whatsoever, in fact I think this is a very interesting and important question.

So. If you asked me this a few years ago, I would have said "I hate piracy and it is hurting creators, especially in the independent space." I used to get in Facebook arguments with fans early in my career when people would post about seeing my work on torrent sites, especially when that work was readily available for rent and purchase on VOD.

Back in 2014, my movie Before I Wake was pirated and leaked prior to any domestic release, and that was devastating to the project. It actually made it harder to find distribution for the film. By the time we were able to get distribution in the US, the film had already been so exposed online that the best we could hope for was a Netflix release. Netflix stepped in and saved that movie, and for that I will always be grateful to them.

However...

Working in streaming for the past few years has made me reconsider my position on piracy.

In the years I worked at Netflix, I tried very hard to get them to release my work on blu-ray and DVD.

It became clear very fast that their priority was subscriptions, and that they were not particularly interested in physical media releases of their originals, with a few exceptions.

While companies like Netflix pride themselves on being disruptors, and have proven that they can affect great change in the industry, they sometimes fail to see the difference between disruption and damage. So much that they can find themselves, intentionally or not, doing harm to the concept of film preservation.

The danger comes when a title is only available on one platform, and then - for whatever reason - is removed.

We have already seen this happen. And it is only going to happen more and more. Titles exclusively available on streaming services have essentially been erased from the world. If those titles existed on the marketplace on physical media, like HBO's Westworld, the loss is somewhat mitigated (though only somewhat.) But when titles do not exist elsewhere, they are potentially gone forever.

The list of titles that have been removed from streaming services is growing.

I still believe that where we put our dollars matters. Renting or buying a piece of work that you like is essential. It is casting a vote, encouraging studios - who only speak the language of money - to invest more effort into similar work. If we show up to support distinct, unique, exciting work, it encourages them to make more of it. It's as simple as that. If we don't show up, or if they can't hear our voice because we are casing our vote "silently" through torrent sites or other means - it makes it unlikely that they will take a chance to create that kind of work again.

Which is why I typically suggest that if you like a movie you've seen through - uh - other means, throw a few dollars at that title on a legitimate platform. Rent it. Purchase it. Support it.

But if some studios offer no avenue for that kind of support, and can (and will) remove content from their platform forever... frankly, I think that changes the rules.

Netflix will likely never release the work I created for them on physical media, though I'll always hold out hope.

Some of you may say "wait, aren't The Haunting of Hill House and The Haunting of Bly Manor available on blu-ray and DVD?" Yes, they are, because they were co-produced with Paramount, and I'm grateful that Paramount was able to release and protect those titles. (I'm also grateful that those releases include extended cuts, deleted scenes, and commentary tracks. There are a number of fantastic benefits to physical media releases.)

But a lot of the other work I did there are Netflix originals, without any other studio involvement. Those titles - like Midnight Mass, The Midnight Club, and the upcoming Fall of the House of Usher - along with my Netflix exclusive and/or original movies Before I Wake and Gerald's Game - have no such protections. The physical media releases of those titles are entirely at Netflix's discretion, and don't appear to be priority for the studio at this time.

At the moment, Netflix seems content to leave Before I Wake, Gerald's Game, Midnight Mass, and The Midnight Club on the service, where they still draw audiences. I don't think there is a plan to remove any of them anytime soon. But plans change, the industry changes.

The point is things change, and each of those titles - should they be removed from the service for any reason - are not available anywhere else. If that day comes - if Netflix's servers are destroyed, if a meteor hits the building, if they are bought out by a competitor and their library is liquidated - I don't know what the circumstances might be, I just know that if that day comes, some of the work that means the most to me in the world would be entirely erased.

Or, what if we aren't so catastrophic in our thinking? What if it the change isn't so total? What if Netflix simply bumps into an issue with the license they paid for music (like the Neil Diamond songs that play such a crucial role in Midnight Mass), and decide to leave the show up but replace the songs?

This has happened before as well - fans of Northern Exposure can get the show on DVD and blu-ray, but the music they heard when the series aired has been replaced due to the licensing issues. And the replacements - chosen for their low cost, not for creative reasons - are not improvements. What if the shows are just changed, and not by creatives, but by business affairs executives?

All to say that physical media is critically important. Having redundancy in the marketplace is critically important. The more platforms a piece of work is available on, the more likely it is to survive and grow its audience.

As for Netflix, I hope sincerely that their thinking on this issue evolves, and that they value the content they spend so much money creating enough to protect it for posterity. That's up to them, it's their studio, it's their rules. But I like to think they may see that light eventually, and realize that exclusivity in a certain window is very cool... but exclusivity in perpetuity could potentially limit the audience and endanger the work itself.