#damn that plot twist in the last episode

[r3dblccd]

This show is so good at making me doubt everything and have no idea what to believe anymore

[willbyersabyss]

Dark is such a confusing show but I actually predicted something and I’m proud of myself

[luxbub]

Luke watching any movie or tv series with you is my absolute demise. Because why wouldn’t he??? Like first of all, he’s just a boy that wants to spend as much time as he can with his gf, but when she’s too busy watching some little show about vampires—eyes twinkling in excitement and mouth slightly agape from all the plot twists, he just can’t stop himself from staring. And you wouldn’t even notice! That’s the best part; he gets to stare at your pretty face for hours!! You pay him no mind, too intrigued by the illuminated screen in front of you and little pouts from time to time just cause the scene was too tense. And when the episode/movie ended and you finally took your eyes off of the screen to look at your boyfriend; you found him already smiling at you. Laughing you tease him to take a picture cause it will last longer and he just takes out his phone to do that! Your illuminated face, smiling and giggling at him became his wallpaper for the next few weeks until another picture of your cute face came along and then another, and another and damn his whole gallery is filled with pictures of you but who tf cares when he can just wipe out his phone, swiping through pictures of you just cause you went to the toilet and left him for a few seconds.

[prettyinpwn]

How Gravity Falls Could Have Been Better + Poor Ford and Wendy (GF Writing Analysis Pt. 2)

GF Writing Analysis Series: Pt. 1 - Ford Pines: A Masterclass in Writing a Good Flawed Character Praise the Axolotl, I feel horrible just writing that title. But let me preface this post with three statements:

I've been in this fandom since the first episode aired. I participated in this fandom while it was airing, and I will always cherish this fandom, those memories, and Gravity Falls itself even when I'm a crusty old lady in a rocking chair someday.

Gravity Falls is still my favorite show of all time, even as someone now nearing thirty years old. Nothing's ever topped it since in my mind, and I don't think anything ever will for me.

Writing and making a show is hard. It's easy for me to sit here and smash my little lady hands on a keyboard and criticize the Gravity Falls writing team's decisions. I'm sure if I'd been on that team, I'd have done a lot worse under that burnout and pressure, and I doubt I'll ever write anything anywhere near that critically acclaimed or beloved.

But... every time I've watched Gravity Falls from beginning to end, I've always felt that there was something off. And in recent rewatches, after I'd studied creative writing in college as a part of my minor, plus just having studied and done a lot of writing in my free time for years... I found out finally what it was:

The flaw, in my opinion, is the pacing. Gravity Falls is - and I mean this in the most respectful way to the writers, and I'm saying this as someone who will praise this show to my grave - poorly paced overall.

So what do I mean by that? Each contained episode is tightly written and nearly flawless in the pacing, but the overarching plot? I'll describe it like this: Picture a rollercoaster starting on a very, very slow incline. The scenery on the way up is gorgeous and entertaining to look at, but damn, you want to get to that peak that was teased in the advertisement of the ride. That first tease is what keeps you going on the slow incline. You know you're going to get there, but...

Okay, we're focused on getting accustomed to the seat, the people around us, how this rollercoaster feels, but... you check your watch. Are we there yet? What about that peak that was advertised? No, it's still a glacial incline. You inch upwards. It's godawful slow. You wait - and for those of us who watched when it aired during the hiatuses (which were more Disney's fault than the core team's, to my understanding) - it takes months to years.

Jesus Christ, you think. What about that tease? I want to know what's at that peak! Yes, I get tension and slow buildup, but this is taking FOREVER, and there have been no glimpses of the peak for eons. And then... suddenly, it gets more intriguing. There's a little bump. And another. And finally... there's another hint of the peak that you saw teased all the way back in the Stone Age.

Now, the ride consistently offers you little fun hills after that long, slow first incline. But seconds later BOOM! You skyrocket to that peak so fast your facial skin is flapping behind you. WOO! This is a blast! But holy hell, this is going a little fast compared to what it was like before. The last third of this ride must be MINDBLOWING, with lots of loops and spins and turns and even greater thrills, right?

And then the ride just drops almost face first to a plateau again. There are no more bumps, really. No loops. No twists. Just an almost straight, logical line back to Earth. Half the ride was pretty and made you laugh a lot despite how long it took, but the other half of the ride went so fast in comparison that it was just a blur. You're at the finish line now. Yes, it concluded like it was supposed to, but... is that it?

Rollercoaster metaphor over with, that's the pacing of Gravity Falls. For a more detailed visual example:

(Note - each episode is listed by their overall number. For example, 1 is Tourist Trapped, the peak at 31 is Not What He Seems, and the finale Weirdmageddon episodes are 38-40. Also, this is a rough, subjective view of the pacing tension, but generally... episodes that hinted or contributed to the overarching plot and tension earned higher points, and ones that added almost nothing besides comedy and character development that didn't necessarily add to the overarching plot were lower. The Weirdmageddon episodes are at a plateau since they - as finale episodes - serve to create as much tension as they do resolving it.)

Now, there are no hard and fast rules in writing, and every writer plots differently, but generally, this is the kind of pacing tension that's considered "good" (and that most common outlining techniques follow, just in different forms):

(Credit - please check out this page for a full explanation of each act.)

Generally, the trend is slow buildup. There's no plateau for eons, BOOM, then faceplant, like Gravity Falls. So that gets us to my main thesis of this post, building on what I bolded before:

Gravity Falls was too short because it's a three act story squished into a two act structure; the first season is paced like they were expecting three seasons - a season for each story act - and the second season is paced like they had to quickly fit the last two acts into one.

Why do I say this? Because there's a common writing plot point called the Midpoint / Plot Twist. So for those unfamiliar with writing techniques, let's explore what a Midpoint is:

"The Midpoint occurs at the 50% mark, halfway through the Second Act and (obviously) halfway through the book itself. Although many writers neglect the Midpoint in comparison to more noted moments such as the First Plot Point or Climax, the Midpoint is arguably the most significant beat within the story. It is what director Sam Peckinpah called the “centerpiece” of the entire story. Everything hangs upon it. In many ways, it is the moment that decides the ultimate fate of the story." "The Midpoint will feature at least one, possibly more, momentous revelations. Within the primary character arc and thematic exploration, the protagonist will encounter a Moment of Truth that forever changes his or her view of the story’s central philosophy. This revelation, perhaps in partnership with a further external revelation about the nature of the conflict itself, will forever evolve how the protagonist approaches the conflict—on both a personal and practical level. It signals a thematic shift from Lie to Truth (or vice versa) and an external shift from ineffective “reaction” to increasingly effective “action.” (Credit).

"But PrettyinPwn!", I hear you protest. "Gideon Rises is the episode smack dab halfway through the story and seasons! And that has a big reveal. And we learn a truth about Stan."

Yes, my sweet friends. Gideon Rises - and the reveal of what Stan's hiding in the basement - is a revelation, but the way the first season is paced, in my opinion it's what writers refer to as the First Act climax or Break Into Two. The Break Into Two is:

"Main character makes a choice and to go on the journey, and our adventure begins. We leave the “Thesis” world and enter the upside-down “Anti-thesis” world of Act Two."

(Credit).

Traditionally, this Break Into Two is literally stepping into a new world. Harry Potter getting to Hogwarts. Katniss Everdeen getting to the Capitol. Yadda yadda. But in Gravity Falls, it's more subtle:

We go from the "ordinary" world of Gravity Falls in Season 1 / Act 1 (which is anything but ordinary, but you get the point) where things are bizarre but lighthearted, to the "new" world of Gravity Falls in Season 2A / Act 2 where things are bizarre and definitely not lighthearted anymore. We've started to see the dark underbelly of this strange place and family, the seriousness ramps up, and... lo and behold... a B STORY pops up right at this point in full force, just like B Stories typically do right during or after the Break Into Two point. And that B Story? Is Stan's work on the portal and his search to find Ford, which was teased in the hook, all the way back at Tourist Trapped.

So no, Gideon Rises is not the real story Midpoint. The real story Midpoint is this nerd:

Let's look at those two plotline graphs again; Gravity Falls' and the typical one you see with three act structures:

Yes. Ford's reveal / Not What He Seems should have been smack dab near halfway through the series. But it's not. It marks the 75% point instead. Technically, if we follow the idea that the Midpoint should be roughly around 50% through the story, Not What He Seems should have taken place near where Gideon Rises is in the episode roster, and Gideon Rises should have been halfway through Season 1 (roughly near Fight Fighters).

So what caused this? Oh boy, I'm getting into speculation territory, and I know Hirsch has said it was meant to be this way, but based on the pacing flaws, here's my theory:

Hirsch and team wrote Gravity Falls Season 1 assuming there'd be three seasons; a season for each act of the story. They burned out, so compacted it down to two seasons, and fit all of Act 2 and 3 of the story into Season 2. That's why, at the time the episodes aired, Season 2 was referred to in two halves: Season 2A and Season 2B. Translation? Season 2A is Act 2 and what was supposed to be Season 2 but condensed, Season 2B is Act 3 of the story and what was supposed to be Season 3 but condensed.

TL;DR: In Gravity Falls, Act 1 = 50% of the story, Act 2 = 25% of the story, Act 3 = 25% of the story. AKA poor pacing. The equivalent in, say, Harry Potter and the Sorcerer's Stone, would be if Harry spent 50% of the story at the Dursley's before getting to Hogwarts.

If Gravity Falls had had three seasons total, the slow buildup in Season 1 would be totally justified, as the first act of most stories takes its time to establish the characters and world. But we instead go from slow plateau to BOOM to faceplant, instead of a slow ride up to the top that consistently raises tension with a few peaks here and there, then a fun, bumpy ride of resolving the tension on the way down.

That's why Season 1 has a little hint of the overarching plot in Tourist Trapped with the Stan vending machine tease at the end of the episode - that's known in writer's circles as the "hook" or promise of the premise - and then literally almost nothing until the end.

I will reiterate: Season 1 is written like the writers thought they had enough time to pace Act 2 and 3 out over the same amount of episodes for each Act.

All this, combined with the fact that Season 2 has some very out of place episodes concerning the tension (*cough* Roadside Attraction *cough*, and no, I don't care that it was retconned later to have made sense), well... yeah.

But this didn't just affect the pacing. It also affected the characters' writing. Wendy barely got developed, Stan and Ford's backstory AKA the B plot got squished into two episodes, the government agents as an antagonist were "defeated" too soon to try to quick switch over to Bill Cipher for Season 2B / Act 3, and the most oof-worthy part? Ford got the short end of the writing stick.

I mentioned in another post that I think Ford is a fantastically written character as a concept, but unlike Stan, Dipper, and Mabel, his good writing relies more on subtext, rushed plotlines, and external materials (Journal 3, mainly). Thematically, as the show focuses on twins, parallelisms, juxtapositions, Ford should have had just as much "let's get to know this character!" focus and time to develop to the viewer as Stan did. But no, he got... what, roughly 4-5 episodes, some of them where his story was only the B plot? Literally, let's count:

Episodes with Stan plotlines: Tourist Trapped, Legend of the Gobblewonker, Headhunters, The Hand That Rocks the Mabel, The Inconveniencing, Dipper vs. Manliness, Irrational Treasure, Boss Mabel, Bottomless Pit, Land Before Swine, Dreamscaperers, Gideon Rises, Scaryoke, Soos and the Real Girl, Little Gift Shop of Horrors, The Love God, Not What He Seems, A Tale of Two Stans, DD&MD, The Stanchurian Candidate, Roadside Attraction, Weirdmageddon 1+3.

Episodes with Ford plotlines: A Tale of Two Stans, DD&MD, The Last Mabelcorn, Dipper and Mabel vs The Future, Weirdmageddon 1+3.

Ford feels like an afterthought. Dipper, Mabel, and Stan get 100% of the story to develop, and Ford gets less than 25%. Also factor in how Ford is the peak the viewer is waiting for, the whole mystery that keeps viewers on their toes for most of the story... and he gets ~5 episodes, and none of those are 100% focused on him.

It's like hosting a multiple course meal promising the main course - the steak - is gonna blow your mind. And then you get it 75% of the way through the meal and it's like... dime sized. It's a damn good little nerd steak, but it's so small, and we ate like three hundred Dipper and Wendy crush and Mabel crush and really well written and funny but effectively filler episode salads on the way here, including ones that weren't even canon (Bottomless Pit and Little Gift Shop of Horrors), interspersed with the occasional hint of steak with episodes like Dreamscaperers. Which would have been fine had there been an equal and increasing amount of steak, but no. To ask an age old question... WHERE'S THE BEEF?

A summary of Ford:

Worse yet, let's compare his introduction to Stan's introduction.

Stan (in Tourist Trapped): "Heya, I'm a grumpy old conman runnin' a tourist trap, and all I care about is money, but... hey, you kids want something from the Gift Shop?"

Ford (in A Tale of Two Stans): "Greetings, I just returned from sci-fi sideburn land, I'm just going to punch a character - my brother - beloved by the audience in the face after he did something very nice for me, tell my long backstory that kind of makes me look like a douche in multiple ways, plot convenience the antagonist away, then tell said beloved by the audience character / brother to get off my lawn."

No wonder why - after ATOTS aired - lots of people thought Ford was a Class A, prime US Grade, grass fed dick. And to this day, more people seem to love Stan over Ford in the fandom. We get context for his decisions later in... drumroll please... Journal 3. And subtext. Not even an episode.

We THEN understand that Ford punched Stan because of the thirty years of hell he went through, that he was just about to defeat Bill Cipher when Stan activated the portal therefore interrupting him, and Ford was upset that the Shack had made a mockery of his paranormal studies plus Stan had literally stolen his identity, completely turned his house around, and made him look like a conman... so we then have an 'OH!' moment and realize, "Hey, wait a minute, this guy has reasons for what he did. Maybe he was more justified than we thought, or at least as justified as Stan was.".

But not in the show. In a book released after. He is actually equally as well-written as Stan is, in concept. He's a great protagonist with realistic flaws and reasons. But he got a sad little salad in the writing department compared to Stan, Mabel, and Dipper's whole ten course caloric explosion buffet.

So what would have fixed this? Just like the overarching plot's pacing... another season. Season 1 + the first half of Season 2 could have been solving the mystery of Stan, and the second half of Season 2 and Season 3 could have been solving the mystery of Ford.

And that, my friends, is why Gravity Falls is too short.

~

Where does this leave us? Well, er... my next thought is... how would I have written Gravity Falls using the typical pacing progress?

Well, for starters, let's decide this: how many seasons do we want overall? The two options are...

A. Two seasons like it is now, but shorten each story Act.

B. Three seasons, each season is one Act of the story.

If Gravity Falls were just two seasons long in this hypothetical outline, this is what I'd do:

Take out the Dipper/Wendy love subplot. I'm sorry, we all knew while we were watching it that it would go nowhere. I remember watching it as a teen girl as the show aired and being so damn bored with it as a subplot. Especially because... as it stands, most of Wendy's purpose is as Dipper's crush. She never got her own episode.

Put Gideon Rises as Episode 10 instead of Fight Fighters. Make Not What He Seems as the Season 1 finale.

Take out a lot of the "filler" episodes in Season 1. I hate to say this, because I love a lot of the Season 1 episodes. But to pace it better, I'd say order the episodes in Season 1 like this: Tourist Trapped The Legend of the Gobblewonker The Hand That Rocks the Mabel The Time Traveler's Pig Little Dipper Boss Mabel Carpet Diem Land Before Swine Dreamscaperers Gideon Rises Scary-oke Into the Bunker The Golf War Soos and the Real Girl Sock Opera (Any of the "filler" episodes from Season 1 or 2 here) Blendin's Game Society of the Blind Eye Northwest Mansion Mystery Not What He Seems

And as for season 2:

A Tale of Two Stans Dungeons, Dungeons, and More Dungeons Then... Here we have a big gap, because we put many Season 2 episodes in Season 1. We squished all that plot into Season 1, so what do we fill episodes 3-17 of Season 2 with? I'll tell you what: More Wendy and more Ford. In this version of the outline, Dipper and Mabel are present characters in every episode, with a special focus on Stan and Soos to a smaller extent in Season 1. So to make it even, I'd make this version of Season 2 have a big focus on Ford and then Wendy to a smaller extent, mirroring how Stan and Soos are focused on in Season 1. And just like the antagonist of Season 1 - Gideon - with a little bit of the government agents, have this season have a few more episodes with the government agents and then Bill as the big final bad.

This gap here gives us ~14 episodes to develop these characters. I also think The Last Mabelcorn should be in here somewhere, so make that 13. If we parallel Season 1, then roughly... Bill should get two episodes as a main antagonist like Gideon did before his finale in Gideon Rises. Wendy should get two episodes as a deuteragonist like Soos did in Season 1.

The Bill episodes could hint more at his backstory like Journal 3 did, have him mess with Ford more and tease at Ford's "sing to me O Muse" backstory with him (because more Ford parallels with Odysseus are always welcome).

The Wendy episodes could delve into the same issues Soos' episodes did: Wendy Episode #1: Her dating issues, but instead of finding someone like Soos did, she's happily single at the end. I vote a plot where Wendy is ready to date again after the Robbie fiasco, Mabel tries to set her up with someone new, tied to a B plot with Ford where Mabel digs into his dating life, finds little to none, and then both Ford and Wendy realize at the end that it's okay to be single and not ashamed of it in a romance obsessed society (also Ford on the ace spectrum ftw, personal headcanon though). Better yet, have it have a kid friendly explanation that some people love differently; actually show that Wendy is Bisexual and Ford is - I'd argue - Ace (or straight or gay but just super bad at relationships because of pouring himself into his work and his other flaws, fear of sharing his baggage with others, etc). Not that Disney would have allowed LGBT+ at that time, because, well... Disney.

This would simultaneously make Wendy A. NOT just a crush figure tied to romance, as female characters often get relegated to, and B. help Ford parallel some insecurities about how he compares himself to Stan, just like Stan compares himself to Ford in the episodes that actually aired, especially if we keep The Stanchurian Candidate as one of the episodes but involve Ford more in it. Have Mabel pull a Jane Austen's Emma and learn to stop being a busybody matchmaker. This idea - in my opinion - is way cooler and less ethically ambiguous than The Love God.

Wendy Episode #2: Her family issues, AKA her dead mother. Make it real tearjerky with a B plot tie to how Stan or Ford never got to see their parents again after the portal accident and before their parents died, and parallel it with Wendy regretting something regarding her mother before she died. This would give us a chance to explore more about Wendy as a character, and both Filbrick / Caryn (AKA Stan and Ford's parents) as characters, as well. I would also lean more towards having her bond with Ford over Stan in this episode. Or, alternatively, you could tie this to Dipper and Mabel and their parents. Because you can't tell me that their parents did NOT have questions about what was going on after Mabel sent that letter home about her "two grunkles".

But why so many Ford with Wendy plots? Because Soos is already the Shack employee tied a lot to Stan, so to parallel, you could have Wendy bond more with Ford. At first glance, this seems like it'd be an odd duo, but Wendy probably could relate to Ford's experiences of feeling like the responsible one in the family, hiding how much they care about things under a more calm facade, the fact that Wendy's dad built the Shack for Ford, maybe add Wendy having an underlying interest in science or the paranormal that she deadens down to fit in that Ford finds out about and tries to encourage her to not hide anymore to tie in with his theme of "it's okay to be weird". You could do a million things with Ford and Wendy subplots.

So that leaves us with a total of nine other episodes to devote to Ford here in this season space. I mean, picture it... in my original counts of how many episodes Stan vs. Ford got in the real version of the show that aired, Stan had around 23 episodes that featured him.

In this version of the outline, Stan would get 14-15 episodes featuring him. Ford would get 14 episodes featuring him. CHEF'S KISS; EQUAL TREATMENT BY THE WRITING. But what would these episodes be about?

A. More bonding and arc between Dipper and Ford. Dipper would go from "notice me Ford senpai / hyperventilating" to "holy crap the Author is as awesome as I thought he'd be!" to "wait a minute, this guy's got some flaws" to "maybe this isn't who I want to become?" to make Dipper's rejection of the apprenticeship feel more natural and take the blame heat off of Mabel (as the fandom's been eager to place).

If Dipper's reasoning for rejecting the apprenticeship was not just "Mabel needs me" but a combination of "Mabel needs me, Stan needs Ford more than I do, Mabel was right and I don't need the Journals / the Author / Ford to be a hero, and I don't want to become Ford", it'd make a lot more sense. Because thematically, the plot of Gravity Falls resolves BECAUSE Dipper and Mabel don't become Ford and Stan; they avoid the mistakes they made, and in doing so, heal the literal and metaphorical rift. And it also makes more sense for Dipper's character arc, which was always about self-confidence.

That, and I think it'd have been great for Dipper to have had a trust - distrust - trust again arc with Ford like he did with Stan. "Oh, Ford's so cool" to "Ford lied to me about Bill!" to "Ford is flawed, but he's still the great uncle I love now". Put a Dark Night of the Soul in there, where Dipper literally 'Trusts No One!'. Not even Ford. Have him teeter on the precipice of going down Ford's dark path, but Mabel saves him from fully falling into it. And have Ford have a Dark Night of the Soul, where now even Dipper doesn't trust or like him, and so Ford feels totally outcasted by his family like Stan felt years ago.

B. Slower plot twist revelations about Ford's past with Bill Cipher. Start him out reluctant to talk about it, especially in front of Dipper, who views him as a hero that Ford so desperately wants to be. Explore some of his trauma, what his choices have cost him, etc. Hell, I'm pretty sure Ford's got some form of PTSD, so throw a plotline in there about Ford isolating a lot because of it. Of course, since kids are a primary audience of the show, you can't get too dark, but you can't tell me Ford didn't experience some messed up stuff on the other side of the portal.

C. Goddamn, take some of Ford's multiverse explorations from Journal 3 and make them actual episodes. What a wasted opportunity in the show. And it better have Jheselbraum in it, or I riot.

D. More Ford bonding with Mabel. Please, for the love of God, I know Dipper and Ford are nerdtopia buddies, but Ford and Mabel would get along so well. They're both weirdos at heart, sweater twins, the older twins, and love the odd and the artistic. Make a B plot with Stan and Dipper bonding, maybe even after Dipper's loss of respect for Ford, and have Dipper "side" with Stan while Mabel starts to "side" with Ford more, almost getting lost in Stan and Ford's rift themselves. Because goddammit, we're riding this juxtaposition and parallelism and thematic train into the Sun!

E. GIVE FORD MORE MOMENTS TO LOOK LIKE A CARING, SWEET GRUNKLE. Stan got a truckload of chances to shine and for the twins to bond with him. Can... can Ford have the same thing? Please? Here, elevator pitch: Ford being forced to put science away to watch the twins for a day because Stan's busy, he reluctantly agrees, and by the end he's just as much of a softie for them as Stan is. Or have Dipper and Mabel get in trouble, Stan and Ford have to work together to save them; have them sabotage each other, trying to look like the better Grunkle, but then pulling their heads out of their asses and working together reluctantly and realizing they actually have fun on adventures like they used to (which would foreshadow their choice to go on Stan-O-War II adventures later).

F. By God, I don't care if Gideon's already in jail by this point, plot-wise. This boy spent episodes chasing the Author's journals. I need to see the look on his face when he realizes the Author is his arch-nemeses' twin brother / great uncle. Please. Have him start a rivalry with Ford that goes as horribly as you'd expect because Ford would use 30 years of multiverse experience to punt this kid into the next dimension for multiple reasons, one of them being having summoned Bill Cipher, another being having used his journal for nefarious purposes.

G. Don't make the government agents go away so easily. Foreshadow Stan's return of memory in Weirdmageddon 3 with the agents remembering what happened before the memory gun wipe in Not What He Seems, not only to utilize them better as antagonists, but to increase the stakes, and also to make Stan's memories returning later seem more plausible. Have Ford play a part in getting rid of them as a threat.

Or have them switch from antagonists to allies once they realize Bill Cipher is the real threat, but have them fail to neutralize Bill to make him seem that much more insurmountable and the Pines' defeat of him that much more of a feat. To wrap up them as an obstacle, just have them thank the Pines at the end and then have them put forth the whole "Never Mind All That" act and keep the stories of the weirdness contained to Gravity Falls. Have them try to lock Stan and Ford up still, though, but realize that they're gone on the Stan-O-War II trip (which, if that story's ever made into a show, they could serve as continued antagonists chasing after the Stans).

H. More Pacifica. Make her redemption more believable. Give her another subplot in Season 2, maybe following the plotline she had in the Lost Legends comic side story with Dipper. In fact, give her a B plot episode storyline with Ford; have them bond over having had to be perfect golden children with a parent(s) that care way too much about money, and it gives Dipper and Mabel more context and understanding about Ford's struggles. There. It writes itself.

I. More McGucket. I want to see Ford angst more about what happened between them. Then, finally, after all these episodes with The Last Mabelcorn somewhere amongst them... Dipper and Mabel vs. The Future Weirdmageddon 1 Weirdmageddon 2 Weirdmageddon 3

And ta-da! You'd have a version of Gravity Falls with two seasons with more fair attention to Wendy and Ford, more evenly paced tension and plot twists, and an antagonist cycle that goes from town enemy to world enemy to multidimensional enemy. ~

As for a three season version of this outline, keep Season 1 completely as is, make Not What He Seems episode 10 of Season 2, and... this is a bold suggestion, but turn the Season 2 finale into Dipper and Mabel vs The Future and make the Weirdmageddon episodes into a whole season. Make the failure to stop the rift really hurt, and use the whole of Season 3 to have the Pines figure out how to stop the end of the world. Use some of it to rebuild the portal, explore some of the Multiverse to find a solution, have them try to find Jheselbraum to help discover more about Bill and his weaknesses and his previous attempts on Earth to break reality (like Modoc's story in Journal 3, in fact, have an episode where they time travel back to Modoc which would give him inspiration to have drawn the prophecy wheel on the cave wall that Ford found hundreds of years later), gather the whole gang and build the Shacktron, have it fail and have to use the prophecy wheel... But wait, it fails, too, and Bill scatters everyone involved across the Multiverse instead of making them into banners - while also destroying the portal - to buy himself some time to get Ford to give up the solution to breaking free from Gravity Falls. Explore the Multiverse more to gather everyone again, use each episode to devote yet more time to developing each character, parallel Ford's journey in the Multiverse for 30 years. Maybe even have a bit of a subplot where Ford breaks from Bill and tries to rebuild the portal to get everyone back, paralleling Stan's struggle to get him back for 30 years.

Learn more about who Ford was those thirty years he was gone. Use the Multiverse episodes to make Stan sympathize more with what Ford went through for thirty years. Have Jheselbraum reference the whole "you have the face of the one who will destroy Bill" to Stan instead of Ford like she did in the past, and have Stan be confused at first, thinking Ford will be the hero again. Dark Night of the Soul up in this season, man, and make the prophecy wheel fail again, and Stan realize yep, time to brain zap, Jheselbraum was right, but HE'S the one that has to stop Bill, not Ford. And THEN try Stan's conman trick to trap Bill in his mind.

And that's how I'd rewrite Gravity Falls as three seasons.

~

I'll say this: after all that criticism I just laid out, you might think I hate Gravity Falls as it is now. No. I love this show. It won't leave my brainspace and lives there rent-free, like Bill does in Stan's mind. And I will say, I understand 100% why it was written the way it was. They seemed to have had a plan in Season 1, switched gears between seasons, and tried to wrap up two seasons of plot in one season for Season 2.

And they did it with little to no flaws in terms of the overarching plot. They told the story they wanted to. They pulled a Stan and took some shortcuts, but had good intentions and got the job done. And the show is still like... an A- to solid A grade show even with these flaws.

But it could have been nearly flawless and A++ had they either planned for two seasons from the start, or powered through the burnout to make three whole seasons (which is easy for me to say, as someone that didn't have to live through what must have been hair graying levels of stress).

All in all, I'm curious to hear others' thoughts on my critique, or if anyone would like to add more about what they'd put in this hypothetical Season 2 or 3. Or if you'd prefer the two seasons still as they are, or as I hypothetically rewrote them, or as the three seasons idea I explained above. Or if you think I'm just crazy, and that Gravity Falls is perfect as is.

[anxresi]

So, it turns out Chloe IS going to return for S6... this hot off the press from her voice actor... (actually from back in Jan, but who's counting?)

...So why, my dears, couldn't I give a damn?

Probably because, as arguably the writers had no idea what to do with her in S4 and S5 other than strip her of all personality, agency & likability, what's the point in her still remaining?

*She's not going to be a hero again, Manbaby Astruc has made this PERFECTLY clear thankyouverymuch. IMHO, she's far more useful as a tool for him to take out his warped misogynist humiliations on, apparently. Why he doesn't just buy himself a blonde mannequin, call it 'Chloe' then beat it with a wooden stick whilst shouting various profanities within the privacy of his own bedroom, IDK. Maybe it's good therapy for him to expose his weird hang-ups in front of a mass audience? Hey, if it works for him... good for you, buddy! I just wish the rest of us didn't have to suffer to aid his treatment.

*As a villain, Chloe's threat level is arguably less than 0%. She is now written to be dumb as a post, no-one trusts or likes her and everything she says and does seems more cartoonishly infantile with every tortuous appearance since S3. The ONLY time she posed any vague threat is during her massively overhyped team-up with Lila where basically she was little more than a pawn to the Mary Sue Of All Lying B*tches... and those two episodes where she took over Paris as Mayor with a bunch of robots were undebately the most stupid ones of S5. Which if you've seen the competition, you KNOW that's some achievement.

*My prediction is: They're gonna rehash the same tiresome schik we saw before she got on that plane at the end of S5... perhaps they'll give us a one episode Hope Spot upon her unexpected arrival back where it looks like she's changed after attending a 'tough school' in New York/London but OH MY WORD WHAT A SURPRISE it turns out to all have been a ruse to become Queen Bee again. YAWN. She'll move straight back into her old room... Andre and Audrey will reconnect... and it'll be like nothing ever happened. In case you hadn't noticed, this show handles plot continuity or character development about as well as Marinette keeps her distance from her crushes.

*'But where does that leave Zoe?' You might ask, to which I can only respond with a succinct 'If you had the Hubble Space Telescope on full power, you still wouldn't be able to locate how little I care about that particular subject.' Maybe she'll carry on as Vesperia. Maybe she'll get a girlfriend. Maybe she'll do something halfway interesting, and give the viewership a heart attack out of sheer shock value alone. It doesn't matter to me one jot... less because I curse the ground this insipid plot device masquerading as a serious character walks on, but simply because I have no faith in the utterly abysmal writing this show has displayed for years and years now. Chloe could take over the lead role in a SHOCKING twist, they could change the name to Miraculous Queen and I STlLL wouldn't give it a second glance. The fish rots from the head-up, guys.

(Okay, so that's a bit of a lie. I would probably sneak a peek at ONE episode out of sheer curiosity, but you and I both know with HIM in charge the standard won't improve one iota. Plus, it isn't gonna happen anyway... so why am I tying myself in knots speculating about an impossible scenario?)

Anyway, I've nattered on for too long. I'll just leave you by answering Selah's somewhat disingenuous last question there about 'your favorite Chloe line of season 5'.

This implies we were watching 'Chloe'. As far as I was concerned, we weren't. Not the Chloe I fangirled for in the very beginning and got me involved in the show in the first place because I could relate so much. Not the Chloe who got so many other fans emotionally invested in her personal and familial struggles, before her character was comprehensively trashed by a ruinous creator with a grudge.

So in answer to your question Ms Victor, none. Because it simply wasn't Chloe.

[primonizuto]

oh my god yall i forgot to write about this until right now but last night i had a dream that in the last episode of succession there was a massive plot twist which was that this whole time kendall had been a puppet. like a ventriloquist puppet that the other siblings had been puppeteering, he was literally made of wood and painted, like he looked like if someone made a puppet inspired by kendall?? and everyone on tumblr was freaking out bc jeremy strong wasn't in the episode at all after this reveal, it was literally just a wooden puppet sitting flopped over in a chair and everyone was having to come to the realisation that kendall was just a puppet, INCLUDING roman and shiv which doesn't even make any sense bc they were the ones puppeteering him but i guess it was something like logan had been doing it but after logan died they had to take up the kendall-puppet mantle and it was a coping mechanism or something i don't KNOW but then there was like a montage of kendall scenes with the puppet instead to show that like everyone had just been seeing a literal wooden man doing all the stuff kendall did in the previous seasons. and the funniest part of all of this was that i woke up and i was like half awake but lucid enough to clock that i'd been dreaming and i was like "damn that's such a good fucking idea though... kendall was literally a wooden puppet the whole time... i should write this down..." and then i went back to sleep

[theolivebranchreview]

My Love Letter to 2000s Network Television

by @arianna_mitchell

As I sit in my cramped apartment, surrounded by the unbridled chaos of unpaid bills, constantly checking my phone to see if “Julia,” the latest messy situation I’ve gotten myself into, has answered any of my embarrassingly numerous consecutive texts, I find myself yearning for an escape. But rather than confront these absolutely terrifying facts of life head-on, I’ve discovered a foolproof method of avoidance: rewatching my favorite early 2000s TV shows.

In times of stress and uncertainty (how badly would you beat me up if I still called these times “unprecedented”?), there’s something incredibly therapeutic about immersing yourself in the familiar comfort of old TV shows. It’s like slipping into your favorite worn-out sweatshirt that you stole from your ex whose last name you’re not actually sure you remember and feeling instantly at ease. These shows, with their dated fashion trends, now-vintage pop culture references, and occasional sprinkles of racism and misogyny that makes your skill crawl, provide a much-needed escape from the pressures of modern life.

But it’s not just about escapism. Rewatching these early 2000s gems is a form of self-care, a way to reconnect with a simpler time and a more carefree version of ourselves. And dude, if you do it right, it’s so much cheaper than therapy. I mean still go to therapy. But if you play your cards right, you can watch damn near 10,000 hours of television for nearly nothing. I’m still using my roommate’s Disney+ account and I haven’t lived with them for almost two years. But it’s okay because they’re on my Hulu (well actually my parents’ Hulu but you get the idea). As we follow the trials and tribulations of our favorite characters, we find solace in their struggles and triumphs. We’re reminded that, no matter how overwhelming life may seem, we’ve overcome challenges before and will continue to do so.

In a world that often feels chaotic and unpredictable, these shows offer a sense of stability and familiarity. We know every plot twist, every punchline, and every heartfelt moment. I am so tried of surprises, you have no idea. Well of course you do. You’re a human being living in this god awful year 202_. There’s a certain comfort in that predictability, in knowing that, no matter what happens in our own lives, these characters will always be there, frozen in time, ready to welcome us back with open arms. Sure, sometimes they might be poorly written, poorly filmed, and poorly acted, but I’ll be damned if they aren’t the one constant in my life. And let’s be real, sometimes it’s just nice to watch gorgeous people whose lives are even more of a shit show than your own. Sure, I may be drowning in student loan debt that I haven’t paid in seven months (seriously…is the government going to say anything about that or am I like…good?) and questioning every life choice I’ve ever made, but at least I’m not Marissa Cooper, who seems to attract drama like shit attracts paperclips, or whatever the expression is.

So, as I navigate the stresses of being an actual independent human being out in the world– the impending sense of doom that comes with each new political headline that I try to ignore, the constant pressure from every single direction to have it all figured out, and the nagging feeling that everyone else is more successful than me (seriously, do you guys have like 40 hours in the day, what the hell is going on?) – I find solace in the healing power of nostalgia television. And with that, I press play on another episode of Gilmore Girls, ready to lose myself in the fast-talking, coffee-fueled world of Stars Hollow. Because sometimes, the best therapy is the kind that comes with a side of pop culture references and a heaping dose of early 2000s fashion. And did I mention it’s free? (If you steal it)

So here are some recommendations if you’re unsure of what to (re)watch.

Buffy the Vampire Slayer: Slaying My Real-Life Demons

When the weight of the navigating the post(?)-pandemic dating scene gets to be too much (and let’s be real, it was pretty terrible long before the world broke), I turn to the ultimate demon-slaying hero, Buffy Summers. As I watch her navigate the perils of high school cliques, teenage romance, and the occasional apocalypse, my own problems seem to fade into the background. Sure, I may be casually drowning in capitalist sludge but at least I’m not tasked with saving the world from literal demons and vampires. And can you believe she did it while wearing low-rise jeans? I swear to God if those actually make a comeback, you will be hearing from the lawyer that I definitely have.

There’s something oddly comforting about watching Buffy and her friends face the end of the world on a weekly basis. It puts things into perspective, you know? Like, sure, I may have paid my rent late four months in a row. It’s not because I didn’t have the money, I literally just forgot. Sorry, Jeff, I just don’t think about you that way. But hey, at least I’m not having to sacrifice my love life for the greater good of humanity. And yeah, I went on three tinder dates this month just because I didn’t feel like cooking and wanted a free meal (but I didn’t sleep with them so it’s not sex work and even if it was, there’s not a damn thing wrong with that, you fascist), but at least I’m not having to balance homework with slaying vampires and preventing the apocalypse.

Buffy’s world may be filled with darkness and danger, but there’s a certain comfort in knowing that no matter how bleak things seem, she and her friends will always find a way to save the day. And if Buffy can do it while rocking some seriously questionable ’90s fashion choices (my lawyer is on standby, kids), then surely I can find a way to navigate the challenges of adulthood without completely losing my mind (though I make no promises when it comes to the questionable fashion choices).

Gilmore Girls: A Caffeinated Escape

Picture this: it’s 2 AM, and I’m elbow-deep in a pint of over-priced, freezer burnt Ben & Jerry’s that I bought from the bodega, scrutinizing how I managed to screw up yet another potential relationship. Enter Lorelai and Rory Gilmore, the fast-talking, coffee-chugging duo who make even the most stressful situations seem manageable with their quick wit and obscure references. They are not perfect, they are not always helpful, they are definitely not real, but they are always there to talk me through a difficult situation. As I watch them navigate the ups and downs of life in Stars Hollow, I can’t help but feel a sense of comfort wash over me. Sure, my problems may not involve a love triangle with a diner owner and a coffee shop entrepreneur, but the Gilmores remind me that no matter how much life (or love) throws at you, there’s always room for a good laugh and a cup (or seven) of coffee.

Screw it. Speaking of love, let’s talk about my latest romantic endeavor, shall we? Enter “Julia,” the girl who I’ve been texting on and off for the past three weeks, analyzing every emoji and exclamation point like it’s the goddamn Da Vinci Code. I know, I know, I’m bordering on being about as clingy as Kirk when he’s trying to win over Lulu, but what can I say? I’m a sucker for a girl with big brown eyes who laughs at my jokes and shares my love of obscure ’90s bands (even if she thinks Hootie and the Blowfish is obscure, bless her heart).

But here’s the thing: watching Lorelai and Rory navigate their own romantic ups and downs reminds me that I’m not alone in my struggles. Lorelai may have a thing for emotionally unavailable men (looking at you, Christopher), and Rory may have a habit of falling for guys who are all wrong for her (ahem, Logan), but they never let their relationship drama define them (looking at you, girl avoiding eye contact in the mirror). They pick themselves up, dust themselves off, and move on to the next adventure, whether it’s opening a new inn or running for student body president.

So, when I find myself obsessing over whether or not to double-triple-quadruple-text Julia (because apparently, I’ve regressed to my teenage self), I channel my inner Lorelai and remind myself that there’s more to life than waiting for a text back. I’ve got dreams to chase, coffee to drink, and a whole world of pop culture references to explore. And who knows, maybe one day I’ll find my own Luke Danes, a partner who appreciates my quirks and keeps me grounded (and caffeinated). But until then, I’ve got the Gilmore girls to keep me company, and honestly, I couldn’t ask for better role models.

Where’s My Central Perk?

When the daily grind of life starts to wear me down, and I find myself longing for the simpler times of coffee shop hangouts and rent-controlled apartments, I turn to my old friends from Central Perk. Rachel, Ross, Monica, Chandler, Joey, and Phoebe have been there for me through thick and thin, offering a much-needed escape from the harsh realities of the modern world.

But as I sit here, alone in my apartment with only my cats as the only real constant in my life, I can’t help but feel a sense of bitterness toward the corporate greed and capitalistic systems that have fostered a generation of lonely, disconnected individuals. The world of Friends, with its tight-knit community and affordable living situations, feels more and more like a distant fantasy with each passing year.

In a society that prioritizes profit over people, the concept of “third spaces” – those beloved hangouts like Central Perk – is becoming increasingly rare. We paved paradise and put up a Santander. Coffee shops and cafes are being replaced by banks, soulless chains, or empty storefronts always promising development, while local bars and restaurants are being priced out by skyrocketing rents. The places where we once gathered to forge connections and build communities are disappearing, leaving us with fewer opportunities to connect with others.

And let’s not forget the ever-increasing cost of living, which has created a generation of transient twenty-somethings, constantly on the move in search of affordable housing and stable job opportunities. How are we supposed to build lasting friendships when we’re always saying goodbye? Frankly, I’ve just stopped trying.

It’s no wonder that so many of us turn to TV shows like Friends for comfort and escapism. In a world where genuine human connection feels increasingly out of reach, we seek solace in the familiar faces and laugh tracks of our favorite sitcoms. We long for the kind of deep, meaningful friendships that the show depicts, even as we recognize how unrealistic they may be.

But here’s the thing: we can’t let the pursuit of profit continue to erode the very things that make us human. We need to fight back against the systems that prioritize money over people, and work to create a world where genuine connection and community are valued above all else.

Maybe that means supporting local businesses and fighting for affordable housing. Maybe it means creating our own “third spaces,” even if they look different from the ones we see on TV. Or maybe it just means reaching out to the people in our lives, and reminding them that they matter to us, no matter how far apart we may be.

Because at the end of the day, that’s what Friends is really about: the power of human connection, and the way it can help us weather even the toughest of times. And in a world that seems hellbent on keeping us apart, that message feels more important than ever.

So here I am, a single woman sitting alone in her apartment, watching TV with her cats. But I know that I’m not really alone, because I have the love and support of the people who matter most to me. I have my friends from college, I have my friends online, I have this little column that I contribute to whenever I feel like so I can at least feel like an old man yelling at a cloud. And that’s something that no amount of corporate greed or capitalistic bullshit can ever take away.

Conclusion

As I sit here, surrounded by the comforting glow of my laptop screen, I can’t help but feel a sense of gratitude for the early 2000s TV shows that have been my constant companions through the ups and downs of adulthood. In a world that often feels cold, unforgiving, and increasingly isolated, these nostalgic gems have provided me with a much-needed escape and a reminder of the power of human connection.

From the demon-slaying heroics of Buffy to the quick-witted banter of the Gilmore Girls, these shows have taught me valuable lessons about perseverance, friendship, and the importance of chasing your dreams. They’ve been there for me through breakups, job losses, and countless other challenges, offering a comforting sense of familiarity and a reminder that I’m not alone in my struggles.

But more than that, these shows have served as a catalyst for self-reflection and growth. They’ve inspired me to be braver, kinder, and more authentic in my own life, even when the world around me seems to be crumbling. They’ve reminded me that it’s okay to make mistakes, to be vulnerable, and to lean on the people who matter most.

So, to all the early 2000s TV shows that have been my rock through the turbulent waters of adulthood, I say thank you. Thank you for the laughter, the tears, and the countless hours of comfort and companionship. Thank you for reminding me that, no matter how bleak things may seem, there’s always hope to be found in the power of storytelling and human connection.

And to all my fellow twenty-somethings out there, navigating the challenges of adulthood in an increasingly uncertain world, I say this: keep holding on to the things that bring you joy, the things that remind you of who you are and what you stand for. Whether it’s a beloved TV show, a cherished friendship, or a secret dream that keeps you going, hold onto it with all your might. Because in the end, it’s those things – the things that make us feel seen, heard, and understood – that will carry us through even the darkest of times.

So go ahead, press play on that next episode of Buffy or Gilmore Girls. Let yourself get lost in the familiar comfort of Stars Hollow or Sunnydale. And remember, no matter how lost or alone you may feel, you’ve got a whole gang of early 2000s TV friends waiting to welcome you back with open arms (and maybe even a few outdated pop culture references). Trust me, it’s the best therapy money can’t buy.

[respectthepetty]

Because when a color demon is summoned by @negrowhat and @mggsttn's post, I show up!

Top 5 - Color-Coded Storytelling in BLs

Y'all already know what number one is, but let's pretend you don't. Instead follow me on this journey into BLs that gave the best color-coded storytelling. In order to be considered for this list:

The story had to integrate the colors into multiple aspects of the series: wardrobe, lighting, accessories, setting, etc.

The colors had to be meaningful to the plot.

The narrative did not explicitly state what the colors meant.

The color coding had to be consistent and featured in each episode.

The series has to be finished.

So let's begin!

Honorable Mention: Oh No! Here Comes Trouble

This isn't a BL (yet it's queer, so anyone who says it isn't can argue with the ghosts), but that damn red thread of fate had me and Yiyong messed up all season! The appearance of the color red in the series was less of an alarm, and more of a signal that every single moment was connected. All those single red threads that Yiyong and his unlikely crime-solving buddies weaved each episode came together at the last minute not only to solve the crime, but to stitch Yiyong together and bring him back from the edge of death because the true message of the show about fate and dying was how connection is what makes life worth living.

#5 - Moonlight Chicken

Director Aof and Cinematographer Rath never miss, but this particular story being told in this series through the symbolism and lighting depicting moon vs. sun, coldness vs. warmth, dislike vs. love, and so much more was phenomenal. Watch the scene of Li Meng holding a crying Heart in Heart's cold, blue, dark room then witness the two kissing in Li Meng's warm, orange-ish, bright living room or watch the hatred and blue melting off of Alan as he begins to find love again and you'll understand that the color coding in this show wasn't just a simple red versus blue dynamic. This was the work of PROFESSIONALS. This color coding was like tiramisu made by the best Italian chef; it had layers and was effing delicious!

#4 - My Beautiful Man

This show did several visual devices oh-so-well. We got Hira always being lower than Kiyoi. We got the duck. We got Hira capturing Kiyoi with his camera instead of being present with him. We got traditional colors but with that Japanese twist. And all of the elements worked together to give us an elite visual story. Hira was blue. Kiyoi was white. Hira was the loyal and reserved servant. Kiyoi was a god. Yet this was the point of contention between the two. Kiyoi wasn't a heavenly being. He was a human boy devoid of love. He wanted Hira to love him, not worship him. He wanted Hira to stand with him, not lower himself. He wanted Hira to live with him, not through him. So we saw Kiyoi struggle with his color when he didn't feel stable in their relationship, but once Hira made it clear that he loved Kiyoi, Kiyoi never shined brighter.

#3 - My Love Mix-Up

Nobody does colors like Japan. It color codes its ties. It leans into the religious aspect of the light versus dark color scheme. It invents new ways to color-code and is always evolving . . . like Aoki's orange color did in this series. Our disaster bisexual started the series with a muted color and as he discovered he liked a boy and not the girl he originally was crushing on, his color started to emerge. At first it was a soft yellow, but by the end, it was a vibrant orange. Ida was a solid blue, so watching Aoki's feeling deepen for him was electric each time the blue lighting lingered on his face until it overwhelmed him. Oh, and that color exchange is the best that has ever been done!

#2 - Semantic Error

This show tricked us. Jae Young played us the way he played Sang Woo, yet Jae Young's true colors were revealed as the boys spent more time with each other because isn't that the entire point of color coding? Seeing people's true colors without having to be told? Jae Young started off as red solely because quiet and introverted Blue Boy Sang Woo HATED red. That was it! That was the entire reason Jae Young became red. He just wanted to piss off Sang Woo. But as the boys worked together and Jae Young's personality shown through, Sang Woo realized Jae Young wasn't the devil he made him out to be and was actually a pretty chill Green Guy who he wanted to hug longer than two weeks.

#1 - Big Dragon

The only reason 82% of the crowd decided to watch this show was because of the visual above. Let that sink in. This one visual piqued y'alls interest enough to watch a show about a guy drugging someone to have sex with him and blackmail him with the tape of it so he could *looks at notes* get the girl? A girl?! And the guy who was drugged, almost sexually assaulted, and blackmailed was *checks notes again* HE WAS IN TO IT?!

Y'all hated this show. I loved it. Y'all think it was ridiculous. I love it. Y'all are rolling your eyes right now. I will always love it because it understood the assignment! I can't keep repeating the same points over and over, but here I go again:

Everything was color coded!

And it all supported the story. It never distracted from the story. It never became its own story. It was laced into the story. It did exactly what visual rhetoric is supposed to - show don't tell.

And it showed me when Yai opened his heart to Mangkorn.

And how Mangkorn's love transformed Yai.

It showed me that Yai's sister was his only source of light living in that isolated house.

It showed me the warmth Yai felt from Mangkorn's mom.

And it showed me that no matter how much he protested, Yai was deep in love.

And to think it all started here.

And ended up here.

That's the power of color coding and remarkable visuals.

It makes you see the beauty is in the details.

[simply-whump]

My Journey to You (云之羽) - Whump List

Whumpees : Gong Zi Yu played by Zhang Ling He, Gong Shang Jue played by Ryan Cheng and Gong Yuan Zhi played by Tian Jia Rui

Synopsis : The series tells the story of Yun Wei Shan, a spy longing for freedom, who infiltrates the Gong residence to complete a mission. In the eerie and treacherous Gong residence, she encounters love and friendship, embarks on a journey of self-discovery, and finds the determination to move forward. Together with the rebellious nobleman Gong Zi Yu, they grow and mature through their shared experiences. (MDL)

Genres : Romance, Wuxia, Fantasy, Mystery

Note : In Chinese dramas, my attention is usually focused on the male lead but here it was the other characters that caught my eyes! The fights were also beautiful.

Warning! Possible spoilers below!

Gong Zi Yu

Didn't like him at first but he grew on me, especially towards the end

Ep 1 : None

Ep 2 : Fighting, hit, grabbed by the neck — Called a failure, teary-eyed, upset

Ep 3 : Crying, grieving — Crying

Ep 4 : Slapped

Ep 5 : Crying

Ep 6-7 : None

Ep 8 : Crying — In an ice bath, cold

Ep 9 : In bed, sleeping, agitated, wakes up

Ep 10 : Dives into icy water, almost drowns, saved

Ep 11-14 : None

Ep 15 : Takes poison willingly, in pain, passes out — Coughing blood, in bed, looked after

Ep 16 : Worried for someone, crying

Ep 17 : None (But damn I nearly cried at the end of this episode )

Ep 18 : Crying

Ep 19 : None

Ep 20 : Crying

Ep 21 : Crying (you may think he cries a lot seeing this list but… there is a lot of sad stuff)

Ep 22 : The plot twist was so satisfying — Fighting, face scratched, hit, spitting blood, poisoned?, helped to walk, collapses — Energy transferred to him

Ep 23 : Crying — Suddenly in pain after standing up, coughing blood

Ep 24 : None (If you want a satisfying ending, don't watch the last 5 min)

Gong Shang Jue

The charisma of this man was off the charts, I was rooting for him for the whole drama

Ep 1-10 : None

Ep 11 : Teary-eyed

Ep 12 : None

Ep 13 : Crying — Worried for Yuan Zhi

Ep 14-17 : None

Ep 18 : Cool fight

Ep 19 : Cool fight (3 vs 1, so unfair) —Unconscious, blood at his mouth, concern for him —Unconscious in bed — (Flashback) Injured by Zi Yu — (Present) In a lot of pain (Too complicated to explain why)

Ep 20-22 : None

Ep 23 : Fighting, hit, spitting blood, hit again, unconscious, concern for him

Ep 24 : Teary-eyed

Gong Yuan Zhi

Great Whump! Also I loved his brotherly relationship with Shang Jue.

Ep 1-3 : None

Ep 4 : Slapped

Ep 5 : Teary-eyed

Ep 6-8 : None

Ep 9 : Fighting — Bruises on his back treated

Ep 10 : None

Ep 11 : Crying

Ep 12 : Crying — Teary-eyed 

Ep 13 : Stabbed by a piece of glass in the chest, collapses, put to bed, piece of glass painfully removed from his body, in a lot of pain, bleeding from the mouth, passes out (almost killed accidentally by his beloved brother) — (Flashback) Crying — (Present) Unconscious in bed, looked after, inner energy transferred to him, wakes up briefly 

Ep 14 : In bed, given medicine 

Ep 15-17 : None

Ep 18 : Fighting, sword at his neck, restrained, gagged, paralysed, bites himself on purpose, bleeding, released 

Ep 19 : Fighting — Treating bruises on his back — Teary-eyed

Ep 20-22 : None

Ep 23 : Fighting, hit, spitting blood, grabbing a blade with his bare hands, collapses, bleeding from the mouth, worried for Shang Jue, groaning in pain, crawling towards him, crying, screaming — (Flashback) Poisons himself to know the effect of a poison — (Present) Hit 

Ep 24 : None

>> More Whump Lists

[animebw]

Seasonal Reflection: Winter 2024 Anime

My feelings on the first anime season of 2024 can be summed up thusly: Most of my favorite shows from winter 2024 were continuations of shows that were already great from last season, not new entries. That's not necessarily a bad thing, and there were plenty of new anime I at least enjoyed watching. But it became clear about halfway through the season that aside from a couple fall 2023 holdovers, there was barely anything truly exciting going on here. Most of the adaptations I watched didn't do much to truly elevate their source material, and most of the few original series we got ended up the worst of the bunch. I can't say nothing good came out of winter 2024, but if this is any sign of how the rest of the year is gonna go, we may be in for a slog. For now, though, let's take stock of the anime I watched this season, and which ones are worth your time.

Metallic Rouge: 3/10

If you asked me what the worst show I finished this season would be at the start, I never would've guessed Metallic Rouge. I mean, it's a cool-ass original sci-fi anime from Bones with slick 2D mecha animation, surely that's gotta be at least a little cool, right? Sadly, no. Because this is, without question, one of the most baffling scripts I've ever seen in anime. Almost every single detail of its world and plot are barely explained, if at all, and the mechanics of what's even supposed to be going on are so nebulous that every attempt at a plot twist feels like a twist on something that never actually existed. Characters are plopped into the story without even an introduction. At times it feels like whole scenes have been cut out entirely. The only thing I can compare it to is the original Suicide Squad movie from 2016: a story so cut to the bone in the editing room that you can barely tell what's supposed to be happening half the time, and yet enough of the original story remains to suggest it was never any good in the first place. The one thing it gets right is the prickly chemistry between its two leads, and then it fucking keeps them separated for like half the damn runtime! How do you even unforced error that badly?

Bucchigiri: 3.5/10

Man, this was not a good season for original anime. Bucchigiri might not have been as staggering a writing trainwreck as Metallic Rouge, but its sin is arguably even worse; it's boring. It's a wacky, colorful high school delinquent romp with rainbow-haired Jojo's punks beating the snot out of each other with genie powers, it's sort of a re-imagining of Aladdin, it's got freaking Hiroko Utsumi at the helm, and it's boring. Why? Because this show gets absolutely stuck in the quicksand of its own status quo and refuses to budge an inch. Character growth is nonexistent, the protagonist is an aggravating loser wimp who never learns his lesson, and nothing of actual meaning happens from the first episode to the end. Literally everything you think is setting up a character arc where someone learns a lesson or grows as a person, all of it amounts to nothing. It's a limp, inert world that perpetuates the same overdone jokes and contrived, misunderstanding-based drama over and over again until all the outsized Utsumi visual personality feels like a tacky coat thrown on top of a lifeless corpse. What an utter waste.

Urusei Yatsura Season 2 (1st Cours): 5/10

I'm still not quite sure what to make of the Urusei Yatsura remake. is it charmingly dated? Annoyingly dated? A welcome throwback or a sign that some things should stay in the past? If nothing else, it never fails to get at least a couple chuckles out of me every episode. But the more it tries to lean into being actually sincere, the more its inherent cheesiness and lack of depth starts becoming a problem. I'm sorry, this cast of characters is just too abrasive and purposefully insane to take seriously, and none of their relationships are healthy enough to unironically root for. Lum and Ataru are not a couple I want to see actually get together, at least not unless Ataru stops being such a fucking shithead. And if him being a jackass could be charming in season 1, then this season is really starting to test my patience with him. It's one thing to be a serial skirt chaser, but his actions this season regularly cross a line from womanizing to unambiguous sex pest, and there's only so many wooden mallets he can get knocked over the head with before it stops feeling like like he's getting punished as much as he deserves to be.

Undead Unluck (2nd Cours): 5/10

Good news, everyone: Undead Unluck finally gave up on those awful groping gags that were ruining its central romance! Bad news: at the same time, it spontaneously developed one of the worst cases of recap padding I've ever seen! I'm not just talking overlong recap segments at the start of the episode, I'm talking constant flashbacks to events we just saw just moments before, straight up playing the same footage again just minutes apart, all climaxing in a truly unforgivable episode that spends seven goddamn minutes on recycled footage. Not even Tokyo Revengers was this bad with its time-wasting. And to add insult to injury, once it finally gets its feet unstuck and returns to a reasonable amount of recap for the final arc, it's probably the best arc of the entire show! It's some of the most bonkers high-concept emotional storytelling I've ever seen attempted, let alone pulled off so spectacularly. It's proof that there is so much brilliance to Undead Unluck, if it could just get out of its own way. But as long as it continues suffering from such massive systemic flaws, it's only ever going to be an also-ran.

Solo Leveling: 5.5/10

Okay, look; is this show dumb as a bag of rocks? Absolutely. Is it as nakedly an adolescent power fantasy as any anime has ever been? Ditto. Does it solely exist for dweeby incels to feel like swaggering douchebag chads getting revenge on all the normies who looked down on them by becoming The Bestest Strongest Chadliest Awesomest Of All Time? You know it. But god dammit, it's actually fun. I cannot pretend I'm too mature and sophisticated to enjoy a big, helping heaping of dumb edgy schlock when it's actually done well. I'm the one person on the face of the earth who still caries water for Akame ga Kill, for crying out loud. And Solo Leveling makes two really smart storytelling choices that keep it (mostly) on the entertaining side of dumb fun: building a genuinely interesting and intricate world that exists well beyond the scope of the protagonist's actions (for now, at least), and making sure that no matter how stupidly overpowered Jinwoo gets, his opponents are always just a little bit even more stupidly overpowered, so he's still pushed to his absolute breaking point and barely scraping together a win by the skin of his teeth every time. There is an art to edge that's too often taken for granted, and this show is proof that being the living embodiment of a twelve-year-old boy's wet dreams is no excuse not to be at least a decent version of that. That said, let's be real, Jinwoo was so much more attractive before his supposed glow-up. Give my boy back his scraggly rat locks, you cowards.

Bang Brave Bang Bravern: 6/10

What happens when a campy, cartoony 70s-style super robot anime crashes headfirst into a much grittier real robot anime? Well, what happens is Bang Brave Bang Bravern, the latest ten-car pileup of mismatched genres from the Cygames masterminds behind "What if horse racing but idols?" Take a desperate war story of survival against impossible odds, airdrop a skyscraper-sized superhero into the mix, and watch him completely shatter the original tone one cheekily ironic powerup and power-of-friendship speech at a time. It's a beautifully bonkers sendup of mecha tropes that has some of the funniest individual moments in this entire anime season, and the absolutely wild twist it pulls with the titular robot's identity in the back half is more than worth the price of admission on its own. Unfortunately, if it wanted to be as perfect a parody-until-it-isn't mecha series as Akiba Maid War was a parody-until-it-isn't mob flick, it probably should've tried being as long as most mecha series tend to be, i.e. more than just twelve measly episodes. There's just not enough time to develop any of the characters or world beyond the most essential parts, resulting in huge chunks of the supporting cast hanging around with nothing to do but take up space. And it leads to this show, which is trying to be so big and over the top, instead feeling so small and half-formed. Also, the secondary romance is gross. Like, really gross.

A Sign of Affection: 6/10

I think this show has helped clarify something for me: I'm really getting tired of how quickly modern romance anime get their main couple together. As much as we rag on the endless will-they-won't-they of ages past, taking so much time to build up the characters and their relationship before they finally make it official can result in some truly one-of-a-kind storytelling when done right. I might agonize over how long Sawako and Kuronoma take to get together in Kimi ni Todoke, but the payoff is so transcendent that none of those complaints matter. Whereas Yuki and Itsuomi getting together so quickly in A Sign of Affection... I mean, they're cute, I guess? His cool demeanor plays off her sincerity very well? But it feels like the show's in such a rush to get to the good stuff- and so determined to make Istuomi the dreamiest, most perfect boyfriend ever- that it skips over so much of the careful character-building that makes all the best anime romances so special. It's a sugary sweet confection, but wipe the frosting away and there's just not that much cake underneath. Honestly, I find the side characters a lot more interesting because they're allowed to have messy internal conflicts with a bit more meat on their bones. But hey, props for putting a deaf heroine at the center of your shoujo romance and taking so much time to explore how that affects the way she interacts with the world. That's a cause well worth celebrating.

Sengoku Youko: 6.5/10

Rejoice, everyone, we finally have an adaptation of a Satoshi Mizukami work that doesn't look like absolute garbage! After the flaming disaster that was Lucifer and the Biscuit Hammer's barely animated hackjob production, Sengoku Youko has arrived to give the cult fave manga artist a chance for his work to actually shine on the silver screen. As someone who only knows him through Planet With, I've always wondered if Mizukami deserved the reputation his manga gets, and with White Fox delivering as tight and intense a production as they gave Re:Zero, I guess it's time to finally find out. And the answer is... mostly? Like, the biggest problems in this sci-fi/feudal fantasy mashup are the characters being a little too eager to state the themes out loud and one pretty crummy death that's about as hamfisted and over-telegraphed as I've seen in a while. But there's a shockingly gripping narrative underlying it all, a story about the scars trauma leaves on people, of characters making bad decisions and facing real consequences for them, of hatred and poisonous ideology forced to reckon with the more complex reality of the world as a whole. And it all climaxes in an absolute barn-burner final episode that knocked my score up a half point all on its own. If future seasons can make good on all the potential this first season has set up, then I may just end up a Mizukami fan myself when all is said and done.

Blue Exorcist Season 3: 6.5/10

I'm of two minds about Blue Exorcist's second return after a six-year gap between seasons. On one hand, it's clear the new staff is just nowhere near as talented as the folks who first brought this series to life at A-1 Pictures. The action is abysmal, the storyboarding is clunky, and the animation feels like it's constantly fighting for its life to maintain a passable standard. And it sucks that a series that once brought such great life to its story is now held back by such a mediocre production. But on the other hand... holy fuck, am I glad Blue Exorcist is back. I once described The Devil is a Part-Timer as the mathematical average of anime as a concept, but if you were to ask me what the best possible version of that mathematical average looks like? It would be Blue Exorcist. This is, hands down, one of the best straightforward shonen action stories in the whole medium, a reminder of why all the most generic and overused tropes were once powerful enough to become generic and overused in the first place. It's proof that even the simplest of "superpowered teens kick demon butt with the power of friendship" concepts can result in a wonderful goddamn series when handled with good old-fashioned storytelling fundamentals. And not even the rough-as-hell production is enough to keep season 3 from delivering on the thrills, tears, laughs, and cheers that make this series so magical. Just, please, give the next season more time in the oven so it doesn't feel like it's wading through molasses to hit those heights. Okay?

Delicious in Dungeon (1st Cours): 7/10

Delicious in Dungeon's biggest problem is that it takes a while to really settle into itself. The opening scene of the protagonist's sister being devoured by a dragon sets the tone for an intense and desperate rescue mission, but the actual series that follows this harrowing opening is as lackadaisical as can be. And it's jarring to be thrust into a gag-filled, character-driven fantasy cooking comedy where the harsh tone of that opening scene and the ticking clock of Falin's digestion completely disappear from the characters' heads in favor of how beast to cook and eat the various fantasy monsters they encounter in the dungeon. Yes, it makes a little more sense once the mechanics of death and resurrection are explained later on, but it's a weird note to start on. Which is a shame, because once Delicious in Dungeon gets a handle on what kind of story it's trying to be, it's really fun! Its sense of deadpan comedy coupled with Trigger's expressive animation makes for some really unexpected gags, and the way it explores its fantasy cuisine is genuinely some of the most creative stuff I've ever seen in the cooking anime genre. Plus, with the dark tone coming back in at the end of the first cours- and landing much more naturally this time- I have high hopes for how this series will marry those two sides of itself moving forward. If the manga fans' reactions are any indication, I think we're in for a damn good time.

Frieren: Beyond Journey's End (2nd Cours): 8/10

So remember in my last post how I said that it was kind of disappointing whenever Frieren turned into an action show because of how disconnected the fights were from the beating heart that makes this show so special? Well, apparently the writers heard me and decided what I meant was I wanted this peaceful, meditative tale about grief, change and the passage of time to turn into the goddamn Hunter Exams for ten episodes straight. It's one of the most shockingly ill-advised storytelling swerves I've seen in an otherwise good show, discarding all this series' strengths in favor of a half-baked tournament arc with tonally jarring grimdark elements and a bland, overstuffed cast of characters who only start becoming interesting in the rare moments they're allowed to stop slinging spells at each other and just, like, talk about life? You know, the stuff that Frieren's actually good at? Not this brainless slice of shonen envy that only avoids being a complete slog thanks to how spectacular the action is across the board? Ugh. Look, Frieren is officially the most beloved anime on the goddamn planet right now, and its best moments are so incredible that I wish I could join that chorus as well. But it's so disappointing to me that a show this singular and special has so often chosen to be the least interesting version of itself.

The Dangers in My Heart Season 2: 8.5/10

It's official: director Hiroaki Akagi is the master of middle school rom-coms. No other creator so perfectly grasps the specific blend of immaturity, awkwardness, cringe, and heart-on-sleeve sincerity that defines the love stories of early adolescence. That was already clear with his work on Teasing Master Takagi-san, but now that he's pulled it off twice, there's no room left for argument. And just like with Takagi-san, the second season of The Dangers in My Heart takes a show that was already shockingly good and catapults it into all-time greatness. This is a coming-of-age triumph, a soaring tribute to embracing your own cringeworthy self, flaws and all, and sharing that self openly with the people who matter most to you. Ichikawa's journey toward maturity, Yamada's journey toward self-love, and the way their romance sparks the best in both of them is the stuff that dreams are made of. I laughed, I cried, I squealed like a little girl, and I felt my heart grow three sizes by the time it was done. This is a new gold standard for anime rom-coms, and if you can stomach a bit of groanworthy fanservice, it more than deserves your attention.

The Apothecary Diaries (2nd Cours): 8.5/10

Most of the time when I cover a two-cours show on these seasonal reflections, I end up in a pretty different place by the end of the second cours than I did at the first. Either it sort of fell apart in the second half, or found its footing and took it to the next level, or it changed in some interesting way that affects how I view the show as a whole. But The Apothecary Diaries has stayed the course from the first episode all the way to the end. Start to finish, it's remained pretty much the same show, with the same ideas and attitude, exploring the same themes in the same ways. And you know what? When you're as good as The Apothecary Diaries ended up being, there's nothing wrong with that. This is a spectacular historical drama that builds such a rich, compelling world for its equally rich, compelling characters to inhabit. It's a powerful exploration of how old society treated the disadvantaged- women, poor people, people with all severities of disability- and how one deeply abnormal girl carves her way through this viper's den with her body and soul intact. It's the kind of mature, thoughtful series we so rarely seen done this well, and with the announcement of a season 2 already confirmed, we may well end up with close to 50 episodes when all is said and done. That, folks, is what a true shoujo/josei renaissance looks like. And I'm so happy such a deserving series is leading the way in reminding us how damn good women's stories can be when they're given a chance to shine this brightly.

DROPPED

Cherry Magic: Dropped at 2 episodes for looking like butt and the central romance feeling pretty lifeless.

High Card Season 2: Dropped at 1 episode because I realized I didn't care anymore.

Ninja Kamui: Dropped at 2 episodes for being dull tryhard edgy bullshit with overdone fight scenes that are impossible to follow.

[lunarspiral1127]

X-men 97 episode 7 *SPOILERS*

Gambit's funeral

UGH, WHY?!?!? GAMBIT, NOOOOO!!!! 😭

I didn't recognize everyone at the funeral, but are they his friends from his past or his family? Cause I have no idea.

Nightcrawler with the eulogy. He sure has a way with words. Plus, him being there as a priest makes sense. Also, he looks so adorable with the robes.

Logan comforting Jubilee was sweet, bit it got me thinking that her screentime has been spent most with Roberto than the other X-Men.

Rogue going solo

Honestly, I don't blame her for hunting down Gyrich and Trask. Especially when it was later on revealed that they were involved but not the mastermind.

Cameos of Thunderbolt Ross and Captain America. Now, last time I saw 90s Steve Rogers was in the Spider-Man animated series during that show's own version of Secret Wars. Before that, he was trapped in a vortex with Red Skull. So, I guess he got out which is why he was there?

I was bummed that he didn't go help Rogue get Gyrich, but I get that he has to do things by the books. Cause that's who he is. Although, Rogue did him dirty by throwing his shield far into the mountains. It was funny and I don’t blame her for doing that. But I do kinda feel bad for him.

Her fighting Ross's army was cool. Also, if the base was durable against the Hulk, does that mean she's stronger than the Hulk?

Nightcrawler best brother! The way he talked to Rogue, hugged her when she was finally mourning over Gambit and Magneto (still don't like the Rogueneto ship), and even called her "sister"! God, I love this blue devil man! 😭 And if anything bad happens to him in the next three episode, Imma be pissed!

Roberto "coming out" of the Mutant closet to her mom

Well, it went better than when Iceman told his family in the X-2 movie. It was a relief to see his mom accepting of him and not hating him.

However, it's unfortunate that she told him to keep it a secret because of their business reputation l. It would've made more sense if it was to protect her son due to the humans' stances on mutants and what happened in Genosha. At least, that way, it would've been more of a good reason than about their business.

Jubilee being supportive and being there for him was sweet.

Yeah, that's pretty much it. Jubilee isn't really part of the main plot, though, so I don't know if we'll see her in action, nor if we'll see Roberto use more of his powers.

Genosha aftermath

More of Jean and Scott talking, so that's good. They're communicating and are still working as a team despite what happened. So, there may be hope that their relationship will survive, but we won't know for sure. So much crap has happened, and I blame Sinister for all of it.

Emma Frost survived, and she got her diamond form! She must've been stuck in all that debris for days. Also, how is she gonna react when she finds out Sebastian Shaw is dead?

Beast and the reporter. Considering how all these relationships have been going in this show so far, I was very, VERY worried about Beast. But, because of what Trish (I think that's her name) said, it ended before it even started.

Trask

Y'know when he said he didn't want to be made a monster more than what Sinister did, I thought he was talking about Genosha, but I think he was talking about him turning him into a human sentinel.

Also, yes, we're getting Prime Sentinels, which is very very bad. They ain't no joke cause Trask as one took out the X-Men one by one. Rogue was knocked out with a single hit!

Speaking of Trask, I have no sympathy for that sunuvabeech. But, it was messed up how his body was twisted.

And, all because Rogue dropped him off the building! Like, DAMN ROGUE! Again, I have no sympathy for Trask, and I get why she did it but it was still a holy crap moment. Also, everyone else could've tried to save him, but they just stood there. I think only Wolverine was cool with it.

Thank god, Cable was there to save them. Doesn't seem like he likes Scott despite him being his dad, even though he cared for his mom back in episode 5. Then again, daddy issues have been a thing in the Summers' family. But, I hope that's not the case cause animated Scott is cool.

Bastion

This whole time, Bastion was the true mastermind?! God dammit, how did I not see this coming! OZT was Operation Zero Tolerance, I should've seen this coming, but I thought it was Apocalypse or Nimrod!

This is his first animated debut, btw. And, I'm surprised he was working with Mr. Sinister cause he's a mutant, and Bastion is a human looking sentinel thing. That explains the Genosha massacre cause, of course, he'd wanna exterminate them.

Magneto's alive! But, he's held captive by Bastion. Okay, I don't know how the hell he survived or how he got captured when he was in Genosha. I hope that'll be explained. But, if he's there then where's Leech? Where are the Morlocks? Cause they were there with Magneto.

I'm really really worried for Magneto. He must've been captured for days or weeks, and I think Bastion is gonna turn him into a Prime Sentinel like Trask. That would be so so terrible if that happened. He'll become the thing he fought against. The thing he despises. God, what's taking Xavier so long?! He gotta go save him!

So, a good episode again. But next week begins the three-parter finale which I'm really nervous how it'll turn out. I hope the show will stick the landing, but I can't handle it more of my favorite characters get killed or worse.

[thegeminisage]

star trek update time. monday we watched ds9's "in purgatory's shadow" (ohio edition), "by inferno's light" (ohio edition), and "doctor bashir, i presume" (ohio edition), which did blow my tits clean off, and then last night we watched voy's "unity" and "darkling" (south carolina editions, sadly).

in purgatory's shadow (ds9) (ohio edition):

kira and odo's little moment at the beginning of this episode 🥺 he was soooo embarrassed to be caught attempting to try and learn how to snag a spouse but she didn't judge even a little. girl, break up with your stupid ass boyfriend. odo is right here

i really loved bashir pointing the phaser at garak when he figured garak was lying. i was like oh damn he knows him so well and i love when this twink has had enough and becomes a little evil BUT THEN IT LITERALLY WASN'T HIM! what an incredible plot twist. we literally had to pause the episode and work out the timelines to see how long we had been living with changeling bashir. it was sooo good and i wasn't expecting it at all. mwah

jadzia and worf are so good. her personality being settled into like, comic relief makes for such a good match to his whole straight man aura. obviously she taunts him with his klingon operas. please.

also lol "at the first sign of betrayal i will kill him" <3

i do NOT like whatever they are doing with garak and ziyal. first of all, he's gay. secondly, she is like at LEAST 20 years younger than him. i want to trust them but after jake dating all those older women i am so suspicious

the backpedaling they're doing on fun and friendly former facist dukat is insane. not to say i'm not enjoying it. also, i like when he threatened kira and she was like "pffft whatever" like what a blow to his fucking ego. get his ass

VERY cool to see martok again - totally unexpected

our last wonderful surprise of this ep was tain being garak's DAD- it makes so much sense and puts so much into perspective, and, hi, JULIAN WAS IN THE ROOM DURING THIS. garak could have asked him to leave and he would have. garak could have told tain he was there. but he didn't, because he wanted the moral support, and because he wanted julian to know something true about him. AUUUGHGHGH

like, we haven't had NEARLY enough garashir since s2, but this was SUCH a good moment, even though it feels like they're trying to backpedal on that too. what a series of plot twists for this ep 10/10

by inferno's light (ds9) (ohio edition):

dukat's betrayal here i like vaguely saw coming, but jesus christ lol. he is back to FULL villain status...such a change from his little fireworks show for sisko and jake

garak's claustrophobia <3 absolutely loooved this especially since julian had to go in and get him. bangs tankard on table MORE GARASHIR! there literally has NOT been enough. i would love to know more about tzenketh but i know they will never ever tell us but wow <3

i am SO tired of seeing worf lose fights this episode was fucking great. not only did he not lose any fights except under an extremely unfair circumstances he totally kicked ass even while injured. FINALLY. even that jem'hadar guy was like i can kill him but i can't defeat him so i give up. SOOOO true finally let's respect my boy worf. why don't you bitches call him a pussy NOW

anyway, the little moment worf and garak had at the end of this episode...mwah. put them on the fuck chart

extremely excited to see gowran in this episode. he and his freaky eyes are so special to me

"this station was built by cardassia" "that's funny i thought it was built by bajoran slave labor" I LOVE WHEN SISKO IS FUN AND FERAL.

also i know the circumstances were extenuating but i cannot BELIEVE julian just fucking murdered that jem'hadar <3

watching little fake julian run around was so distressing...i kept yelling when he came on screen because nobody KNEWWWW he even fooled US! what a cool twist, again

overall these two episodes were incredibly good even though the strong action-y episodes are usually not ds9's forte. absolutely baller content for everyone except ziyal. i will at least take comfort in the fact that garak looked very uncomfortable to be hugged

doctor bashir, i presume (ds9) (ohio edition):

AGAIN. THIS ONE BLEW MY TITS CLEAN OFF

i'm mad garak wasn't in it. AUGHGHGH

okay, my main beef with this one was pacing...i thought they resolved the problem extremely quickly after the cat was out of the bag, and it's because they spent so much time on the doctor and leeta and rom. which would have been a GREAT b-plot for any other episode, i LOVE leeta and rom and i was cheering for him the whole time, but even though the EMH (sorta) cameo was very welcome, i do not welcome it at the expense of time taken from one of the most pivotal episodes for julian bashir probably in this whole series, especially when i have the sneaking suspicion that it won't be brought up again

and i did LIKE the resolution of this episode, his parents paying for what they'd done, but it didn't feel like he got to sit with it for long enough, and it certainly felt like we skipped over a few pivotal moments - the scene where he found out his best friend knows could have been EXTREMELY meaty. is he afraid of judgement? is he angry? is he worried miles will be angry? etc. but we just kind of breezed right on by it. like, i loved the way miles sat and let him get it out of his system in a fun inverse of julian talking him down from suicide but we could have had SOOO much more

anyway side from that i love. I LOVE. holy shit

like, i can't even talk about the episode itself, just this entire concept. like, they did essentially kill their kid. they made him the way he is, a new kid, and then hated him for the way he is. SPOCK CORE. and then to find that out as a teenager...

like, you know he had to google "does being genetically enhanced make me a bad person" and then of course what google spits out is "did you know about khan noonien singh and would you like to?" and he was like Oh No

like, he went into MEDICINE. and i know he had other reasons and all but he went into MEDICINE because that's the most harmless you can possibly be. he's using all his ill-gotten brainpower to HEAL PEOPLE because his first reaction was to not want to be khan...2! you can enhance genetics but just like o'brien said that can't grow compassion, which is what makes julian who he is

I WISH GARAK HAD BEEN THERE.

anyway, i will continue to think about dr bashir for a very long time and he definitely just rose a couple of notches in my character ranking

unity (voy):

i actually liked this one a lot. i love borg eps and i'm fascinated by a post-borg life lived by these people

that said, this lady gave off SUCH evil vibes that even after the truth was revealed and she and chakotay fucked i kept waiting for her to stab him in the back. which only kind of happened i guess

also, :( that chakotay is out here running around on janeway. SAD

i did love the borg meld scene though. it was incredibly scary. and i was TWIRLING MY HAIR when he got possessed or whatever the fuck

it was also so fun that he spent half of this episode dazed and stumbling around because of his little head injury. excellent material overall

oh yeah and i KNEW that corpse was gonna wake back up. i think it's so terrifying that when you're borg, even if you die, you aren't done. you can be revived because nothing kills you, not even the vacuum of space. that is easily the most horrifying part of it all

i also really liked chakotay and janeway's moment at the end. like, she was distrustful the entire time and he was too trusting, as he tends to sometimes be, and then at the end she was like aw but they weren't so bad and he was like [thousand yard stare of guy who has fucked 2! women who later betrayed him and has now been radicalized against the borg]

like i'm not saying it wasn't 99% consensual with riley or seska but i AM saying that he was hopped up on the borg meld when he fucked riley and later riley was willing to use chakotay's body for her own means when push came to shove and i'm saying that seska knew full well the whole time it was happening that it was under completely false pretenses and she stole his dna without his consent to make a baby he also didn't consent to, even if it turned out she fucked up and got that kaxon baby instead. like, chakotay better be careful or he's gonna start fitting into captain kirk's niche

darkling (voy):

this one fucking sucked so bad

like, sure, yes, emh evil now. does he have to keep creepy-touching all the women

also, WHAT? we get ONE LINE about kes and neelix breaking up and he's not even IN this episode? why did they even break them up??? just because they wrre planning on having her leave soon????? absolutely baffling

i don't think evil emh was very compelling...i am glad he got to act or whatever, but i didn't even get the usual "battle of the selves" that we often wind up with when we do these kind of tropes. it was just...a malfunction, and eventually it was corrected

also, what a BAFFLING b-plot. if you measure each of kes's years (except the first, i suppose) as a decade in human beings, we can assume she's in her thirties now, so she just...breaks up with her boyfriend to smooch the hot alien guy she met a few days ago and then maybe wants to run off with him? in her THIRTIES?

i DID like the EMH quoting the oath at the end, but without any sort of battle of the selves or real emotional investment in what he did when he was evil, it feels kind of wasted on this episode. it's a fine concept, but the execution falls soooo flat

NEXT TIME: voy's "rise" and "favorite son."

[late-draft]

Some thoughts on S2 from a first-time watcher!

It's good that I saw a bunch of spoilers before watching S2 and S3, because after seeing how the plot arrived to some of these points, I feel like what I imagined would have worked better; useful for understanding one's own likes and writing.

I thought Toph would have been in bigger danger while in the metal box. In canon she's technically just being dragged back to her family, right? But the emotional impact of her success of bending metal (something believed to be impossible) would have been stronger if she was in a much bigger danger, in worse circumstances, for longer.

Long Feng was so quickly "taken down" at the start when the Earth King decided to stop following him! Yeah the Dai Li still answer to Long Feng but it felt like him losing outward power happened too quickly and he was actually scared that he had lost all power instantly. He even allowed the kids to try to show the king the truth. So which is it, do Long Feng and Dai Li have huge power, or little power?

I liked the plot twist with plot twist with plot twist with plot twist with plot twist with Azula and her goons in Kyoshi warriors' disguises, and the Dai Li still answering to Long Feng. This uplifted the plot part a bit that had been sunk in my mind just before.

I can't believe I'm saying this, but Jet was actually ok in S2; he succumbed to a weakness of his by getting obsessed with "random" firebenders, but then he truly tried to be of help, he beat the goddamn brainwashing and did everything he could to help Aang and his allies. He was given a "heroic death" offscreen! Perhaps he survived, gravely injured but who knows. The writing portrays him as an ok person at the end.

If he was supposed to be an "evil version" or "irredeemed" version of Zuko, that could have been portrayed only if Jet had demonstrated more, and persistent negative traits that he would refuse to change. Before giving him an on-screen death.

It wasn't very believable to me that Iroh managed to follow Zuko so quietly and so well under lake Laogai; but from spoilers, I was convinced that Zuko had arrived to a moral decision to set Appa free and let go of his need to belong back at the royal family of the Fire Nation, all on his own. That might have been a bigger triumph of character, but... even coming to this decision because Iroh pressured him into thinking about choices (the fact that he had choices), doesn't diminish what he decided by a lot.

Fever was excellent lmao. Iroh gave him some ibuprofen But the subsequent very cheery behaviour feels like big and heavy Copium from Zuko to me!

Damn. Aang literally speedrun all those chakras opening. Guru Pathik seems alright to me and doesn't feel like a huge deus-ex mechanism considering many other elements the show has used. But I feel like the show would have benefitted a LOT more if separate episodes were devoted to unblocking the chakras. Those are supposed to be a big deal, something difficult to overcome for the hero. But also; Aang refusing to let go of Katara right at the moment when he sensed she was in danger, is actually a correct choice (from a narrative standpoint) - we aren't supposed to cheer for him to let her die. Of course we as the audience want him to try to help Katara! However what Guru Pathik had told him about attachment still stands in the writing (maybe it could have been made more clear that this attachment in question means a selfish possessive one). The writing still sets it up so that it seems like Aang WILL have to let go of the attachment in the future to successfully open the last chakra. Just... later, because this is not the right moment! ^^

Oh man. The best the writing could do for Katara was to have her make a dumb joke about Momo knocking over figurines in the war meeting? And the plan was just... "go forth and attack the Fire Nation during a solar eclipse"? This was the best the text could do?? No bits of additional strategy, problem-solving, no Katara being serious about it? And after that she decides to go for tea despite being on a crucial mission? And why would the delicate scroll requiring the Earth King's seal to set the entire army in motion be left to be carried around outside by one girl. Just so that she could run into Zuko and blow his cover, despite having last seen him as broken, crying over his uncle, fighting against his sister the Fire Nation princess. Feels like the plot really got super convoluted here just to get to points it wanted. Sadge.

[gnomescarfcomics]

Rings of Power: Episode 6 - Udun

Rewatch mini review. Chaotic and out of order.

This episode really benefits from having essentially just one plotline.

The Southlands plot may have been my least favorite overall this season, at least when it came to the villagers themselves. Adar and Arondir were the strong characters that held it together up to this point (honorable mention to Waldreg). But the slow burn of their collective story pays off here.

On the surface, it's a pretty standard underdog battle with some nice buildup and a rather predictable last minute save from a cavalry charge. A mini Helm's Deep in a lot of ways. But it works as a nice vessel for the Southlands and Numenor plots to come together. And the individual beats of the battle are unique because the villagers have to get creative with their small numbers. The part where they trap the orcs and ambush them feels like a nice nod to the Scouring of the Shire in the book, which had similar circumstances.

The detail of the two elves, Adar and Arondir, planting seeds before the battle is such a nice touch. Both sides are fighting for a home. One side has chosen darkness, despair, hate, and selfishness. While the other has chosen light, hope, love, and compassion.

Adar may have good intentions in his own twisted way, but his cruelty and one-track mind keep him and the orcs rooted in evil. He's only bringing his "children" further into harms way and making the rest of Middle-earth see them as nothing but slaves and creatures that must be wiped out, which is what he wanted to escape from.

Arondir started the series essentially as a somewhat reluctant jailer of the people of the Southlands. But he's chosen to focus on the good in them, no matter how much may go wrong. He acknowledges the darkness but holds onto the light, while Adar has given up on the light completely and pretends darkness is an acceptable alternate.

The big reveal of the villagers realizing they were killing their own people is such a perfect representation of this season's themes. Everyone is fighting the darkness within themselves and finding unnecessary conflict with people that should be friends and allies. And this is the ultimate result of when those inner struggles fail and the petty differences escalate beyond repair.

I'm not a fan of fake out deaths in general. They have to be done very well and used sparingly for them to work for me. So having two for Bronwyn an episode apart feels really weak, especially considering she won't even be in the second season. That wasn't the original plan, but still…

The scenes with Galadriel, Adar, and Sauron are some of the best in the entire season. They explore the moral ugliness of slaughtering orcs and Tolkien's own unease with the fact that he essentially created a "damned" race. Delving into this was such a great idea and executed very well. The orcs are kept pitiable without ignoring their evil. I'll really miss Joseph Mawle as Adar. He was one of the highlights of this season. I especially love the subtleties of his acting when he's reunited with Sauron. Does he actually recognize him and just refuses to acknowledge it? So much is accomplished in just a few moments.

And just how redeemable is Sauron? Knowing who he is makes every interaction so fun to watch and interesting. His scene sitting beside Galadriel is one of the best. Their relationship was such a surprising aspect of the series for me, but it worked so well. On paper it sounds like such a lame idea. Yet with the right amount of thought and care, along with a couple of skilled actors, they created a significant connection between characters that holds the themes of the season together. While it may have gone further in some places than I would have liked, you can at least see the roots of every choice being inspired by bits and pieces from Tolkien's writings.

The creation of Mt. Doom may not be 100% practically sound, but its combination of dark magic and soulless machinery feel thematically right for the story. Just as Galadriel surviving getting engulfed in fire and smoke might not completely make sense. It's a stunning visual that works perfectly for her arc.

(And let's not pretend Frodo and Sam wouldn't have been instantly suffocated and cooked alive at Mt. Doom).

[hexedwinchester]

Walker S01E06 Bar None

Denise, the boar, kinda funny when you realise where the name came from

i get why Cordi wants to hold onto the bar, especially on Emily's death anniversary. I don't blame him for wanting to save it. It's a place filled with Emily's happy memories.

Cordi to Denise, the boar: you had to make this about you, didn't you, Denise? 🤣

Stella's choice in men has always been questionable. Even before they reveal Trevor, I didn't like the guy at all

Speaking of Trevor, what's with Abeline's behaviour? She almost didn't let the kid have a sandwich??! Damn that's cold

Cordi accidentally nailing his hand with a handgun 😝😝

i know Micki acted out from a place of love but I felt she was projecting her own insecurities about her mother and was pinning it on Cordell's psych evaluation

Cordell to Micki: your default is avoidance 👏👏

Jared Padalecki flipping chairs is hot!

Also it's kinda unfair that a lot of people gave Cordell grief about making everything about Emily on the day of her death anniversary when these same people didn't let him grieve his wife's death earlier. Of course he was making it about her. Y'all didn't leave him much choice!

Cordell to kids: your mom always said these nonsensical phrases 🤣🤣🤣 sucha a husband thing to say

i like how this episode is slow and sweet without the crime drama but then in the last two minutes they throw these awesome plot twists! Kinda wished the other twist was twister than the reality if you know which one I'm talking about

We need more Walker gifs!! 😭😭😭😭

[eshtaresht]

holy. fuckin'. DAMN. I was pretty good at predicting the plot so far, but this episode proved that stampede is going in a whole new direction for real. spoilers for ep 9!!! (and manga a bit)

first of all, we still haven't got a full story of the great fall, but I think it's something they'll reveal in this season, probably during confrontation with knives. and still no scar reveal!! I'm angy but it's something that could be relevant to the standoff with knives, hope we'll get it

the piano scene... oh we're eating GOOD, it's just so wholesome but goes to confirm my theory that twins weren't completely fine on the ship. vash feeling useless because he can't do cool plant shit, knives envying vash for being good at human shit.... oh it's great

so glad knives is getting proper characterization and not just "he evil because he evil"! the fear, the hurt, the genuine care for vash, but then frustration with him – it's right there and I'm eating it up so yummy

the way they recontextualized vash's arm loss is GORGEOUS! I've seen ppl reading this scene differently, but to me it was an act of care from naï. he looks really scared for a reason: we see that the gate consumed all matter, including the hand. vash couldn't control it, so it would only grow bigger and destroy him. NAÏ REALIZED THIS AND SAVED VASH THE ONLY WAY HE COULD

he didn't want to fight him, this was not an act of anger, like in previous versions. all he cared about in that moment was saving his twin..... and what did he get in return? a gun pointed to his face. a gun he gave vash to kill human scum. oh, the DRAMA

ahem, now to the less intense stuff

homeboy has so much trauma, like, damn... how is he gonna fit any more from his impending epic brother fight...... I'm quite curious on how they're gonna characterize him in the next season. concidering that we're taking off earlier than previous versions, he might end up with the same unhinged vibe 98' vash had, as a coping mechanism (if depression didn't work, try dissociation and silliness). but then it would be even more interesting to see meryl's and wolfwood's reactions: they knew him before the accident and saw the big sad

vash has sense in the prosthetic arm, so it must've hurt when he damaged it... probably it hurts less than the real one, and it's clearly painless to take off. but the hand seems to be rather sensitive and fic writers are gonna go crazy for this

age reveal! also brad and luida being in cryosleep makes sense, I was racking my brain on how they're still alive. seems like they're using much more plant power tho... both for cryo and the vegetation, while in manga they tried to keep it as low as possible and send signals to earth

saw someone say that they're probably not doing that here because the earth is destroyed... could be that they decided to go the hard way. but in the manga the earth was still fucked, and it wasn't clear if they communicated with the ppl left on the planet or the fleet that was in some new place. what I'm saying is, there is a possibility that they are looking for help in stampede, we just don't know it yet

meryl was so cute! go off, comedy relief goofy girl, while you can, there is more trauma coming your way :3 yeah, enjoy roberto calling you by your first name... oh it would be such a shame if he gave you his derringer before his untimely death..........

pretty weird that nobody knows why they fell on no man's land, but ppl probably were too ashamed of their past and 150 years later the new generation is oblivious. also so funny that luida has to explain what vegies are..... they have so many plants but haven't see any plants

tbh I wasn't expecting the zazie twist at all, but I'm excited! they are SO gender in stampede, might be the best redesign in the series, love me a genderless bug creature with bold fashion choices. really cool to see that storyline adapted, it was barely touched upon in the last volumes of trimax

btw the multiple bullets story about a plant, worm and human who went around figuring out if their species could coexist and just.... creating this foud family and then building a town there all were equal...... that's my favorite mb story for sure

wolfwood saying "I'm not your friend"... I know what you are. and we got a "you'll have to decide one day"... oh oh the misery, but the context was lacking. it just doesn't hit the same when he isn't daring vash to shoot him in the most homoerotic way possible. on and he looks so goofy trying to ride with his cross

in the last ep's rant I assumed that luida lied about rem saving everybody for some reason?? but no, she actually saved them, I just got a bit confused

so, as I predicted, the gang separated (tho not because of vash) and by the end of the next episode vash'll be in july and meet naï. the poster, man.... that gorgeous futuristic city is getting obliterated for sure

btw vash's gate being opposite to knives and sort of a black hole is nothing new. but there are new layers to this, like vash willingly giving away energy, but destroying things against his will, and knives with the opposite of this. ying yan twins go brrrr