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rachelbethhines · 3 years

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Tangled Salt Marathon - No Time Like the Past

While I wouldn’t call this the worst episode of the series, there are several others I dislike more, I would call this the most ill conceived story in the show.

All the other bad episodes have potential but are let down by poor presentation, boring predictability, or sloppy planning. This one however, is fundamentally flawed in it’s very basic premise and so ranks in the bottom of most fans lists. Even people who are far more forgiving of season three and than I am, and are hardcore New Dream stans, still dislike this episode. That’s how bad it is.

Summary: Rapunzel discovers Old Lady Crowley tossing out Cassandra's things. She is upset and demands that they be left alone. She then has Lance and Eugene help her save all of Cassandra's mementos and personal belongings, but she becomes saddened when Eugene reminds her that Cassandra turned her back on "her". Rapunzel takes a box of her things along with, unknowingly, a mysterious hourglass. As she examines it, she accidentally drops and smashes it and she and Pascal find themselves sent back into the past. They run into a teenage Eugene and Lance who keep calling Rapunzel "Sideburns". Rapunzel realizes that she and Pascal have inhabited the bodies of the Stabbington Brothers and decide to recruit the young thieves in getting the hourglass from the castle back.

Fun Fact! That Dummy is Rapunzel’s Doing

Minor nitpick here, but Cass had nothing to do with putting Eugene’s face on her sparring dummy. Rapunzel voluntarily did that back in Under Raps. Cas never requested it nor even expressed any joy over receiving said ‘gift’.

Basically the show is attributing one of Rapunzel’s mistakes/flaws to Cassandra in order to introduce a very nonsensical plot point later. So I need ya’ll to keep that in mind as we go along.

Lets Talk About the Episode’s Ordering

We don't have production codes for season three like we did for the previous two seasons. So we can’t know for sure what order everything was originally planned in, but I would argue that this episode should have came before Return of the King.

For starters this is a “bottle” episode; it takes place mostly in the past and the only present day characters who show up are Eugene, Raps, Lance, and Crowely. As such you could potentially slot this episode in anywhere before Cassandra’s Revenge. You can’t really do that with most of the other episodes so it could have been easily moved around when airing.

Therefore, I would argue that it should have been the first episode after Rapunzel’s Return for three key reasons.

It would have given Edmund time to travel to Corona and give Raps time to start up big building projects like fixing Old Corona. In fact she’s already approving building plans for the capitol city at the start of the episode. Which could even explain why she took so long getting to the castle repairs if she was taking care of the stuff that the Saporians messed up else where.

Rapunzel’s stance over wanting to keep Cassandra’s things makes more sense early on, both in universe and in a meta context. Raps would still have hope if Cass has only been gone for a month or two instead what would now be four or five months down the line. It also makes sense that Crowely wouldn’t wait around for that long. And from a meta standpoint, the audience would still be oblivious to what the heck Cass was up to and could theoretically side with Raps better; or at least empathize with her view point more, even while disagreeing with her.

Events in this episode better explains Eugene’s decisions in Return of the King and gives the audience more context for certain stuff.

So Why Is There a Random Magical Time Traveling Hourglass in the Storage Vault?

Slowly but surely the series has abandoned all pretense that there’s any logical world building in the show. Magical things just appear randomly now without any explanation whatsoever. Worse than that, things like the hourglass and map to the cursed tomb are treated as if they were always there, unlike the magical beings that they happened to run into in past seasons.

The problem with this is a lack of consistency. You can’t have sceptics like Eugene and Varian if magic is so common and wide spread that anyone can run into it at anytime. Not to mention it diminishes the specialness and importance of the sundrop and moonstone if powerful magical items can be so easily found and stirred, undermining important plot points and the tension surrounding them.

But most frustrating of all, is that this could have been easily fixed by just stating on screen at some point that magic attracts other magic. Meaning it’s only Rapunzel herself who routinely runs into these things and not just everybody and anybody.

None of This Stuff Holds Any Meaning

Show don’t tell!

At several points through out season three, both Raps and Cass morn over Cassandra’s left behind things. They tell us constantly that these objects hold significant meaning to them, but I, the viewer, have no damn clue as to why.

We were never shown on screen what was so special about these things other than the fact that it was junk Cass collected. There’s no story attacked to these assortment of objects nor any previous indication that Cassandra valued them beyond their usefulness. As such, any scenes involving her stuff fall emotionally flat.

Eugene is the One in the Right Here.

Eugene’s right.

Any well adjust and mature adult will tell you he’s right.

If someone doesn’t want a relationship with you, than that’s it. There is nothing you can do but to move on. It sucks, but its life. To ignore that is to ignore someone else’s boundaries and personal autonomy; while also devaluing yourself and you’re own needs.

In a competent show this would be a set up for Rapunzel to learn something about letting go and taking care of oneself emotionally.

But this isn’t a competent show.

But Lobster is for Poor Folk

Food history time!

Lobster, and shellfish in general, have been considered low class food for centuries. Especially around costal areas like Corona. It’s easy to attain, cheap, and not regulated like hunting was in much of Europe. In America, specifically, lobster was fed to prisoners and there’s historical accounts of riots being started over it.

Heck, less than forty years ago, no one lived on the coast but poor people. That’s why there’s historical communities of black people living on the southeastern islands in the US and why my father grew up in the swamps of Alabama during the 50s and 60s.

The gentrification of coastal property and seafood, like lobster, is a very recent phenomenon in human history, starting in the late 70s early 80s with the booming tourism industry and increasing globalization.

So while I understand that the joke here is meant to be reflective of our current understanding of lobster being a status symbol, in universe, it’s the equivalent of Eugene getting excited for chicken nuggets instead of his usual bowl of cereal because the story takes place before the 20th century.

This means that these kids are so poor that fucking mcdonald’s fast food would be considered a rare treat compared to the slop they usually eat. Yet again what is meant to be a lighthearted joke turns suddenly dark when you stop to think about it for all of two seconds all because the writers are so flippant about their world and characters.

This Wasn’t Planned Out, So the Timeline Doesn’t Add Up Anymore and Resources are Wasted

Remember the flashback in The Return of Strongbow?

Now I need you to remember that season three is two years later from season one and the movie. Eight years ago then, would be ten years ago now.

The Eugene and Lance in the bottom picture is suppose to be roughly the same age as the Eugene and Lance in the top picture; give or take a few months.

I know teenage boys can grow fast, but not that fast.

Eugene at 16 looks the same as he does at 26. All because the writers were too lazy to preplan things out ahead of time.

We should have seen the teen models with recasted voices back during that first flashback if they were going to tell this story later. Or the previous plot point should have been less than eight years ago.

In fact the first flashback no longer makes any sense being so many years ago given Eugene’s engagement and recent breakup with Stalyan, and the later reveal that he was working for the Baron during the original movie.

Sloppy planning like this not only makes for a confusing timeline but it also wastes limited resources. I like the new models, I like the actors cast for these younger roles, and I do like the concept of seeing more of Eugene’s past. But going through all of that trouble and money for what amounts to one throw away episode is mismanagement of the budget and work schedule.

Baby Varian Is the Episode’s Only Saving Grace

I know people are divided on the deign here. Some love it and some hate it, but that’s a personal taste thing. The actual scene itself is golden either way, because it’s such a funny eater egg. Fans on both sides made memes out of this for days. It’s legendary.

Personally I’m more in the ‘love it’ camp, though I can see the issues people have with the design. My main defense of it is more the fact that we got kid designs for the other OCs in the show and it’s only fair Varian got one as well. The fact that he’s in smaller versions of the S1 clothes doesn’t bother me anymore than when Lance ran around for two seasons in the same outfit, including when he was a kid.

So if I like it, then why am I talking about it a salt review?

Cause the most memorable part of an episode shouldn’t be a throw away gag!

People bring up baby Varian way more than they do about anything else in the episode, and no it’s not just because the character popular. It’s because most would like to forget what comes after this scene.

Where is Quirin, by the Way?

Why is your six year old son running around the big city unsupervised?

This wouldn’t get talk about as much it wasn’t for the fact that Quirin being neglectful in season one was a motivating factor in his conflict with Varian. A conflict that was suppose to be resolved back in Rapunzel’s Return but we the audience have yet to visually see any difference in behavior since then.

Quirin’s absence here in the past highlights his absence in the present day and reminds the audience aware that we’ve not been given a satisfying conclusion to one of the most important arcs in the series.

Lets Talk About Wasted Potential

Like I said, I like the idea of exploring Eugene’s past. But we should have gotten that back in season two when it was more relevant. Part of why this episode fails is because Eugene has reached the end of his original character development. He’s now on an identity crisis arc which has nothing to do with this episode.

But you know who still hasn’t finished developing? Rapunzel.

Rapunzel has lots to still learn and viewing her past through outside eyes could have turned this story into something really special. Especially with the ‘inhabiting another body’ plot point.

You have no end of options here,

Have Raps inhabit Cassandra’s body for a day and gain insight into what motivates her. It could have been either before or after they met, both offers up possibilities.

Have Raps inhabit Eugene’s body and experience what he had to deal with growing up and come to see his point of view. (This could have also worked with the Sabbingtons set up had the writers not been stupid.)

And my personal favorite, send her back to right after Queen for a Day and have her stuck in either Varian’s or Ruddiger’s bodies. Force her to see what she did to him and have her acknowledge she was wrong.

And those are just the most obvious choices, there’s other more out of left field things you can do that would still work with good writing. Like exploring Lady Caine’s past, inhabiting Arianna’s body and learning how to be a real queen, get dumped into actual young Gothel and lay out clues to the future Zhan Tiri plot, or possess one of the Brotherhood and experience the final days of the Dark Kingdom; the list just goes on and on and on.

But I Thought You Didn’t Put Kids in Jail Frederic?

Remember that Raps and Pascal are possessing the Stabbingtons who are still teenagers here. They can’t be much older than Varian.

This means that Varian isn’t some special case. Teens have received harsh and deadly punishments in the past for non-violent crimes like theft.

Also teens are called kids still by the majority of the cast. They’re aren’t considered adults with the same rights as someone in say their twenties, yet they can be punished the same as an adult would. Which is horrendous in any time period.

So in conclusion, Frederic is a fucking liar!

Tangled the Series can’t decide if it’s in the far past or a reflection of the modern day. As such it winds up supporting the worst of both worlds. Barbaric practices like hanging for minor crimes and prison slave labor are treated as the norm and never called out for the horrific things that they are; treated as a joke even, but we’re suppose to accept that this world also somehow views adolescence through the lens of late 20th century sensibilities even as it forces minors to go through such atrocities.

Like what are you trying to say show? What is your message on the transition of adolescence to adulthood regarding rights and responsibilities? And don’t tell me ‘it’s not that deep’ because this is suppose to be a coming of age show! That’s the entire premise of the series!

So How Old Are Stan and Pete Again?

I was always under the impression that Pete was a newbie guard, closer to Cass and Eugene’s age than say Cap or Frederic. That’s why he screws up so much because he’s inexperienced, why he seemed to be the closest thing to a equal colleague Cass had in the guard when she was also just starting out, and why I assumed those braided girls from the movie were his sisters.

I mean there was nothing on screen previously that would necessarily contradict this reveal, it just doesn’t feel right, that’s all. I guess he could be like 20 here and be 30 in the show. That would make him only a few years older than Eugene, but still doesn’t explain why he’s so useless a decade later.

I’m fine with Stan being here though. I always thought of him being the older of the two. In fact I headcannon Willow as his mysterious wife that he talked about back in Monty’s episode during season one. (She’s Stan and Pete’s beard, and they’re totally in a open poly relationship. That’s why they’re allowed to stay in the royal guard despite being so incompetent cause they’re technically Ferderic’s in-laws and Rapunzel’s uncles. Just no one ever talks about it cause it’s a minor sandal for a princess to marry lower class and Willow’s hardly ever there.)

And Why Does Xavier Have All Those Plot McGuffins?

I know we’ll never get an answer, but at this point Xavier’s exposition fairy powers border upon ridiculousness. It’s just lazy and a waste of character.

So How Does Time Travel Work In This?

There are three types of time travel stories in fiction.

First is the ‘Changeable Past, Changeable Future’. You see this in Back to the Future. What you do in the past will change the future, i.e. your present. You may or may not remember that you did it, but be warned you could change things too much and break stuff. Like erasing yourself from existence, or ruining your love life ect. The only way to fix it is to go back in time again and change stuff again. But beware of paradoxes or you may destroy the universe altogether.

The second is the ‘Alternate Timeline’, where changing things creates new realties and it’s a matter of finding the right reality again. The tv show Sliders is a great example of this. Each new timeline is a different dimension. What you do in one won’t effect your original point of origin, only that particular world. The challenge if often getting home again because the probable diverging timelines are infinite and the changes of getting back are a zillion to one.

Third is the ‘Closed Time Loop’. No matter what you do nothing will change. The future is inevitable and whatever you do in the past was always meant to happen anyways. Gargoyles handles this really well. You can also have ‘fix points’ where certain important things are set in stone but small things can be changed like in several Doctor Who episodes. Braking a fix point breaks the universe once again, while paradoxes are often the solution rather than the threat.

So which type of time travel is Tangled dealing with here?

Scenes like the conversation regarding Pete’s and Stan’s mustache or the ones involving Eugene working on his smolder suggest a closed time loop. Yet the ending to this episode reveals a changed future. Further still the grandfather paradox revolving around the hourglass would make you think an alternate timeline yet, we’ve no indication that anything else changed other then Eugene’s opinions on Cass, and Raps shows no concern about getting back to her original point in time indicating that it actually isn’t another dimension.... so what is it then?

You don’t have to have a tightly plotted time travel story to have an entertaining piece of media. Endgame is riddled with plot holes and contradicts itself constantly, but what it lacks in coherent plot it makes for with fun characters, emotional story beats, and good pacing that manages to balance the action with the drama while hiding the cracks just enough that you don’t lose immersion.

Tangled however fails at even this because it gets the character beats so fundamentally wrong. Like you may dislike where the characters ended up in Endgame, but can’t say that those developments didn’t match the characters’ previous storylines and logical trajectory. Tony finally becomes the selfless hero by committing the ultimate sacrifice, Steve learns self care as a mirror to Tony’s arc as they were always parallels to each other, Bruce learns to accept himself, Thor processes his grief and lets go of the role he was assigned at birth but never truly fit into, and Nat becomes the leader she was destined to be rather than the sidekick.

What happens to the characters in this episode however makes no sense.

This is Another Missed Opportunity to Explore Eugene’s Past

The other problem behind the episode is that we don’t actually learn anything new. If you’re going to promise a story focusing on Eugene’s past then I expect to actually glean some new insights.

We still don’t know why he’s working with Baron or how he fell in/fell out with him, what his relationship with Stalyan is like, how he became so cynical; not just the general basics, like the orphanage, but that point in his life where decided that survival meant giving up his morals and ethics; where did he first learn his better ethics that he originally suppressed (cause it sure as heck wasn’t Rapunzel), and when did he and Lance become separated?

This are questions that series decides to raise by making allusions to them and building conflicts off of them but never wants to explain the details of where they originated from. It’s super frustrating and wholly unnecessary. If you didn’t think the story of Eugene’s past worth telling then why did up repeatedly bring it up Chris?

Why Are You Surprised by This Rapunzel?

Rapunzel you know Eugene’s past. You know what he used to be like. You were literally there in the movie and saw him being an ass before this. You didn’t start to like him until he dropped his guard down in the flooded cave back when you both where about to die.

You fell in love with him when he showed you his real self and he fell in love with you when you proved that you were accepting of that. You earned each others’ trust. This here; angrily yelling at him and judging him, when you’re already hiding who you really are from him both literally and figuratively, is a breaking of that trust.

Who the fuck are you any more, Rapunzel?

Cause you’re not the same character from the movie. You’re not even the same character from season one. But whoever hell you are now, it’s not an improvement I can tell ya that.

So How Did The Hourglass Go From the Treasury to the Basement Storage, and How Would Raps Know It Was There At This Point and Time?

I’m guessing the implication here is that Crowley put Cass’s stuff in the vault, but like why the fuck would she do that? We’re not talking about a family attic here, but the royal safe. The most heavily guarded room in the castle with the kingdom’s most priceless treasures and antiques. Nothing Cass owned was that valuable.

Rapunzel Is Full of Shit

Oh let me count the numerous ways in which this whole lecture is stupid.

Rapunzel left Varian behind. Rapunzel left Varian behind multiple times, including that time he was thrown in jail. She was not a good friend, and no, this is not a case of her learning from her past because not once has she ever admitted that she was wrong to do that. So this scene just makes Raps look like a hypocrite.

Eugene does not need to relrean a lesson on being a better a person. He did that during the movie and has progressed beyond that point. This ‘lesson’ is a waste of time and a misuse of the characters.

This reframes Rapunzel as being in the right during her argument with older Eugene at the beginning of the episode, even though she’s not. In fact this is such a counterintuitive plot point that it boggles the mind. Who structures a narrative this way? Why so blatantly point out how the main character is wrong if not to have her learn something? Why frame the story to make the person who’s personal conflict isn’t even the episode’s focus, into the one who needs to learn something? Especially if that something is already a lesson that they’ve learned on screen beforehand.

And why, oh good heavens why, would you teach children such a toxic message? Like on the surface it sounds like something you’d hear in a children's show, but the context of it is justifying harmful behavior where you selfishly ignore other people’s wishes and boundaries just to satisfy you’re own personal desires.

And finally, Eugene and Lance do not work as a parallel to Raps and Cass. Cassandra is an adult who left of own free will. Lance is a teenager who was arrested due to Rapunzel’s own actions. Eugene isn’t the one who is responsible here, its Rapunzel. Who also left them both behind in her carelessness. Secondly, Eugene’s decisions are spurned by years of trauma and a healthy fear of dying, while Rapunzel’s is wrapped up in her own need to always be right and to keep her immature and fanciful outlook of the world intact. As harsh as it seems, what Eugene did was based off a predetermine agreement and presumably Lance would have acted the same way or been pressured to act the same way by Eugene. In short, Eugene’s cynical world view as a teen is not the source of his disagreement with Rapunzel but an adult perspective back by common sense and a respect of others choices. It makes no sense for present day Eugene to ‘learn’ anything from this misadventure that he didn’t already know and for Rapunzel to not learn anything that would actually tie the parallel together.

Locking Another Teen Inside a Jail Cell With Another Adult as a Joke, Does Not Erase the Inappropriateness of Varian’s Story

The episode tries to add another joke about Shorty sneaking into the prison without the guard knowing, but that still doesn’t excuse the fact someone had to have tossed Lance in there with him on purpose. Otherwise Lance wouldn’t have assumed Shorty was a fellow prisoner if he or the guard that locked him up saw Shorty sneak in before then.

Furthermore Lance’s nonchalant response suggests this is not an out of the ordinary occurrence. Nor do any of the other guard comment upon the irregularly of teens being jailed with an adult. Now add in the fact that the show fails to clarify that previous ‘cellmate’ line from Rapunzel’s Return and now gives us more confirmation that Varian was underfed and malnourished for a year with that gruel joke and you have a horrifying picture.

Shorty might be non-threating, but that doesn’t mean Andrew, a known attempted murderer and manipulator, is too. Nor any other adult who previously was housed with a teen before then. This is still very much not okay and no amount of ‘jokes’ will suddenly make it right.

Raps, Who is an Adult, Just Physically Threatened Two Teenaged Boys and It’s Played as a Joke....

How many times do I have to say it? Humor does not fix bad writing. I’m not laughing when a heroine at age 20, threatens a couple of kids for merely annoying her. Especially when said heroine has a history of abusing children; because let me repeat once again, neglect is abuse!

This is a Lie

No you wont.

Rapunzel never tells Eugene what happens on screen. I suspect that if she ever did, they would no longer be together, because what she wound up doing here was a violation of trust and boundaries in the worst possible way.

And This is Now a Time Paradox

A Grandfather Paradox to be specific. How can Rapunzel be here in the past to break the hourglass if the hourglass that sent her here is broken?

In a competent series this would be the point of a future conflict and not the actual resolution. It’s not a closed time loop because of the paradox and the changes we’ll see in the future.

So either she’s in an alternate timeline/dimension and just doesn’t gives a shit; leaving the real Eugene, Lance, Cass, ect. to go on without her; or she’s just broke the universe and everything is slowly unraveling around her; galaxies are dying as she whines about being dumped, people in the future are being eased from existence, and God is cursing her name for ruining his creation, all the while she carries on oblivious to the destruction in her wake, as usual.

That’s it. Those are you’re only two options now. Is everyone from here on a fake copy or is Rapunzel the damned destroyer of worlds? You decide.

So This Confirms That the Stabbingtons are Indeed “Family”

Another reason why I place this before Return of the King; it explains why Eugene considers the Stabbingtons ‘family’. Though if it was Rapunzel he actually bonded with and not the real Sideburns, then how much of his feelings are real and how much of them were fabricated by her? How much agency did this episode steal from him?

So What Exactly Did We All Change?

Well the dummy no longer has Eugene’s face, but Cass’s painting of the three of them still has him ripped out of the photo, soo... Keeping in mind that Raps painted the dummy anyways and considering that Moonandra tries to kill him later on; I’m going to guess that Cass’s feelings weren’t actually altered. If anything their relationship might actually be worse now, cause Cassandra keeps acting like she’s never had friends and Eugene has taken up Rapunzel’s blind devotion.

All that development in season one is just, poof, gone. Also it’s quite possible that the first movie as well has now it has been erased from existence as Eugene got his needed character development eight years too early. How the hell that’s suppose to work, I don’t know.

Outside of the that we get no confirmation how anybody else was effected, even though a more brainwashed Eugene running around would undoubtedly have caused a butterfly effect. Don’t expect that to be explored anytime soon.

Though, it would explain why he’s suddenly such a doormat in season three, if this was the second episode as theorized.

No! This is the Wrong Lesson!!!

Let me explain narrative promises.

Everyone, on some basic fundamental level, understands how stories work. We hear them recounted to us over and over again from the day we're born to the day we die. It’s integral to how we communicate as human beings. Everyone knows innately how to tell a story even if that person couldn’t tell you how stories or structured or what certain literary terms mean, but they do it every day just through speaking. And while most audiences can’t always pin point what upsets them about a story they can for sure notice when things are off and not satisfying to experience.

Now that doesn’t mean that everyone can write an awarding winning novel, that study of a craft isn’t important, nor that every amateurish critique thrown at any given media is valid. But it does mean that people have come to expect certain storytelling practices and can pick up on narrative cues. We’ve familiarized ourselves with the language of film, novels, comics, ect, into order to comprehend what’s going on.

Rules of writing are just following that established language so that the audience can keep up. You can break these rules, sure, but unless you know what you’re doing and have a good narrative reason to do so, then you can easily lose you’re audience. And if you’re making money off said audience that’s something you want to avoid.

A narrative promise is a cue; a set up that lets the audience know that ‘hey this is important, pay attention to this cause it’ll come back into play later’. Now that the audience has been alerted to the plot point they expect fulfillment of the promise. If you break that promise, either through poor set up, lack of follow through, or by breaking an established convention of writing for no other reason then because you just wanted to, your audience is going to walk away unsatisfied.

The argument at the beginning of the episode was a narrative promise. It was a cue that set up the interpersonal conflict of the main character. For add context, I know that this is a coming of age story. Convention would dictate that the protagonist would resolve this conflict by learning they were wrong.

That’s not what happened here.

Convention was subverted. It wasn’t the protagonist who grew and change, it was the person they were in conflict with who did. And it wasn’t subverted because of any greater narrative reason, or future pay off, or even as effort to be shallowly ‘clever’; it was subverted because the author just didn’t want to hold the main character accountable for anything. Because said character has now become his avatar for his wish fulfillment fantasy and having the main character admit fault would be to admit fault in ones own self. Rapunzel doesn’t feel like Rapunzel this season because she’s just Chris in a wig.

The episode broke a narrative promise to the audience; both within the episode and in the greater premise of the story, because of ego.

I don’t claim this episode is bad just because of personal taste nor because I find it morally repulsive (even though both those things are true), I call it bad because it exhibits bad writing. Plain and simple.

Way To Undermine The Entire Point of the Original Movie, Show

Speaking of breaking narrative promises....

TTS is suppose to be a squeal to the original movie. It’s even in the title of the show; both of them. In one fell swoop, the series has managed to sabotage it’s very reason for existing, as it erases Eugene’s motivation and the inciting incident that kick started the film.

Way to fucking go.

To further twist the knife, it diminishes the duel protagonist of said film in order to prop up a series original character, who isn't even present in the episode itself.

I don’t mind Cassandra’s existence. I don’t even mind her being the new deuteragonist and one of the main villains; even though she wouldn’t have been my first pick to fulfill those roles given her lack of set up. But I do fucking mind it if she upstages other characters and/or derails their character arcs in the process.

This is the Death of New Dream

I was still in denial when this episode first aired. I honestly believed that this and The Return of the King was build up to a third “betrayal” where Eugene finally became fed up with Rapunzel’s bullshit and joined forces with Zhan Tiri. I thought the end of the series would have Rapunzel apologize to everyone she did wrong, Varian, Cass, and Eugene, in order to break ZT’s hold on them, and that true love’s kiss would reunite the sundrop and the moonstone and that would just tie everything together into a neat little bow and give us a truly daring character study of a Disney hero.

Oh dear merciful heavens, was I ever wrong.

How did we go from season one’s challenging and mature storyline, complete with Disney’s first real anti-villian, to this?!

What the hell happened!?

Rapunzel not only disrespects Eugene’s opinions, violates his privacy and trust as she manipulates him as a teen, and then brainwashes him to think like her (even if accidentally), but doesn’t even have good grace to tell him. She instead has the audacity to look all happy and self congratulatory because she got want she wanted. She, and the show at large, doesn’t care what evil thing she does to get the desired outcome Rapunzel wants.

Rapunzel in this show is a spoiled brat. And the image of her and her now lobotomized boyfriend staring dead eyed at a picture of the creator’s previous waifu OC with plastic smiles on their faces, sums up this series perfectly.

Conclusion

This isn’t even the worst episode of the series guys. I don’t know if it would even make it onto a bottom five list. That’s how much crap I have to wade through when it comes to this show. This is however the most damaging episode to the franchise as a whole.

Not even the most hardcore of New Dream fans want to acknowledge the existence of that final scene, and Rapunzel stans won’t defend her beyond, ’well she didn’t mean too, it’s the writing that’s bad.’ Yeah, the writing is bad, that’s why the character can’t and shouldn’t be defended, not here and not in other badly written episodes where she also does bad things and never makes up for it.

Anyways I’m finally caught up to where I left off, before the move, though sadly I don't think I’ll get this series done by the end of the month like I had originally hoped. But if you would like to help out I have a ko-fi you can drop a tip into if ya want.

https://ko-fi.com/rachelbethhines

#tangled #tangled the series #rapunzel's tangled adventure #Eugene #anti-rapunzel #anti-tangled

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thehollowprince · 4 years

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But since I brought it up! I am *pissed* we never saw the Bennett family as an actual family, and even more so as a functioning coven. We could expand on the traditions and history of the Gemini + Mikaelsons, but not the Bennetts? They're basically witch nobility given all they contributed + accomplished, but we can't have Black ~servants~ esteemed. And it was a way to isolate Bonnie so she had no network to lean on so she was at the disposal of Elena and Damon

One of my true regrets when it came to this franchise was that I stuck around as long as I did, hoping that, as a set of shows meant to focus on Family, that they would expand on all the families in meaningful ways.

Boy was I sorely disappointed!

I think that's why I'm so spiteful toward it now, all these years later. We got entire sobstories regarding the Salvatore Family Drama. For being an orphan, Elena had more parents and family than you could shake a stick at. Caroline's relationship with her mom was front and center when it came to her story. Hell, even Matt, who didn't have a storyline, had a relationship with his family.

But Bonnie? Tyler?

Isn't it ironic that the only two characters of color on the main cast got shafted when it came to the issue of Family?

Let's start with Bonnie, since she was the whole basis of this ask. I mean, how many times over the course of the show was the Bennett Family mentioned? How many times did something hinge on one of Bonnie's ancestors being the one who cast a spell, or craft a curse or create some object object, all of which required a direct descendant to break and/or use? And yet, how often does Bonnie get to be the one who interacted with them? Emily interacted more with Katherine, Stefan and Damon. Ayana, who was just a recast actress (she was a math teacher in season one) only ever interacted with Esther and Rebekah. Qetsiyah had one scene with Bonnie!

The only members of this illustrious family that Bonnie really interacted with was her Grams, and most of that happened after her death. Her own parents were barely there (insert absentee black parents stereotype here). And then there was Lucy. Lucy, who was shown to be more experienced and powerful than her younger cousin, only to have her interact with Katherine for the most part before being killed off screen that we only find out about through a one liner.

For a show that constantly mentioned the Founding Families (seriously, how many Founding Day events happened on that show?), you'd think we'd get something to do with the Bennett Family, seeing as how they, along with the Maxwell Family, were the true founders of Mystic Falls. Of course, that reveal was pulled out of Plec's ass at the last moment in the show's final season, and only really focused on Matt as they turned Bonnie and Caroline into Elena.

How much more powerful would this scene have been if we'd actually explored Bonnie's family? Like you said, we spent how much time exploring the Mikaelson Family and the Gemini Coven, despite the characters connected to them just being recurring guest characters, but we never actually explore the Bennett Family outside of them being powerful witches and that's it. Those women (no men in this family?), have no other characteristics aside from being strong with magic and then dying so that their descendant can suffer as she tries to undo whatever it was that they done, and always for someone else, never herself.

Moving on to the Lockwood Family.

Yes, the Lockwoods did play a more significant role in the series, with the mayor of the town being played by two different Lockwoods over four seasons. But was there any exploration into their history as werewolves outside of interactions with Katherine? First that ancestor who bargained for the moonstone and then Sexy Uncle Mason, but never really anything with Tyler, the main Lockwood on the cast.

The only werewolf stuff that Tyler got to explore was his excruciatingly painful transformations (Trevino acted the hell out of that first transformation, fight me on that) in an old slave cellar (racist much?)

No, instead, all of the werewolf lore was given to the Werewolf Queen of the Bayou, Hayley. And in a show dedicated to the constant battles between the various supernatural factions of New Orleans, it felt more like them trying to add more than the show could handle. The thing that makes it even more infuriating is the fact that they introduce the concept of seven different werwolf bloodlines, and yet we only focus on Hayley and the Crescent Pack. Only to pull out all that crap with the Hollow and mention that, "Hey, Tyler's family had a big role to play here, but we obviously only thought of this after we killed him and his entire family off, so it'll have to go through Hayley, like all things werewolf."

So the potential was there all the time, but it was never followed up on by Plec and her cronies. Instead, we had to wait four seasons for rhem to introduce a white character that they could write for, by introducing her as a potential threat to Tyler's romance (thus letting that Kl*roline bullshit gain traction) before having her literally sell out Tyler and his family for the sake of her dead parents?

Aaaahhhh!

Thankfully, I have not watched Legacies at all, otherwise I'm sure I'd be even more frustrated with how they handled (or didn't) Rafael Waithe.

It's like you said, all of this was done deliberately by the production to make everything revolve around their central white characters by not having their characters of color have anyone to rely on outside of them. They did this with Bonnie and Tyler, as well as Marcel and Vincent. I get so mad when I think of the potential these shows could have had that was all thrown away for the sake of some two-dimensional romances.

#russianspacegeckosexparty #ugh!#bonnie bennett deserved better #bonnie bennett #tyler lockwood #tyler lockwood deserved better #anti julie plec #anti the vampire diaries #anti the originals

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forever-animated · 4 years

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TDP Season 4 Preliminary Predictions, Part One (1-12)

So with S4 in production, no trailer in sight, and a TBA release date, it looks like there’s still a wait before we get any news on the upcoming season.

That being said, we do have some information to go on regarding what might be in store for our favorite characters. (Previous SDCC interviews, the recent Instagram Live and Reddit AMA with the creators, Callum’s Spellbook, and of course, Through the Moon.)

So I decided to put together some preliminary predictions based on the info we have so far. My desire is to create a TDP S4 bingo board just before the season airs, so that gives me 24 guesses/predictions to come up with (not including the free space). I’ll probably tweak most of these once we get our trailer, since I’m sure it’ll provide more insight as to the direction of the show.

So without further ado, here are my first 12 TDP S4 preliminary predictions...

1. Spring 2021 Release

During the Reddit AMA at the beginning of October, the creators gave the following update:

Since it’s been over a month, we can safely assume they’re in production now.

From what I understand, pre-production is mostly writing and storyboarding, possibly voice recording as well. If they’re in the production phase, that means animation has begun.

Let’s consider the turnaround time for past seasons. S1′s airdate was September 14, 2018; S2′s was February 15, 2019; and S3′s was November 22, 2019. This means that there was only a five month gap between S1 and S2, and a nine month gap between S2 & S3.

The gap between S3 & S4 has been longer than both of those. But considering that we’ve had a global pandemic and that we’ve been waiting on Netflix to greenlight more seasons, this is to be expected. We only heard about the renewal back in July. Assuming the team started work around that time, they’ve already been working for about four months.

If we estimate that it’ll be another five months before we see S4, (nine months in total, same as the wait between S2 and S3), that means it will air around April 2021. Of course, it could air before or after - depending on how long production takes. But I believe it’s safe to say that we could be seeing TDP S4 air in spring 2021.

2. Timeskip < 6 Months

We know from interviews that there will be a timeskip between S3 & S4. If you’ve read Through the Moon, you know that there’s a few weeks in between the end of S3 and the beginning of the graphic novel, and that the events of the story happen in the span of about two weeks. So we can estimate that it’s been about a month between the end of S3 and the end of TTM.

We also know there will be a bit of a timeskip between TTM and the start of S4, per the Reddit AMA, but we’re not sure how long that will be.

My guess? The timeskip between S3 & S4 will be six months or less.

I was initially going to play it safe and say “less than three years,” because anything more than that would require a recast to account for teenage Ezran. (And given how much the creators and fans LOVE Sasha, I doubt a recast will ever happen in the show.)

But realistically, I don’t think the timeskip will be more than a half a year. The events of TTM imply that the story is very much moving forward, and anything too far in the future would give the audience too much to be caught up on. So it’ll likely be only a few months of a gap between seasons, and definitely less than six.

3. New Clothing & Hair for Characters

Many of the characters in ATLA received either new hairstyles or clothing between the seasons. So following that logic, and given that Ehasz is behind both shows, it stand to reason the same will hold true for TDP.

The creators have confirmed that Callum will be going “sun’s out, gun’s out” for S4. (Their words, not mine.) This makes sense since he now knows how to cast mage wings, and he wants them to be readily accessible at a moment’s notice.

We also see that Rayla’s sporting a new cloak when she leaves at the end of TTM, so she’ll likely have this for S4 as well.

Ezran may get new garb as well, as he settles into his new role as king.

I also think it’s possible that their hair could change as well. Rayla’s on her own now, so her hair will probably just get longer. Maybe she’ll braid it or wrap it up in a ponytail to keep it out of her face. If Callum returns to Katolis, he might get a haircut in-between seasons. But if he goes straight out to search for Rayla, his hair might be even longer.

Either way, new hair and clothes seems like a given.

4. Older Zym

The creators have assured us in prior interviews that Zym is still very much a part of this story. It is called The Dragon Prince after all.

That being said, I think it’s possible we’ll see a slightly older Zym next season, especially due to the timeskip. I doubt he’ll get much bigger. He’ll probably go from being the size of a puppy to the size of a full-grown dog. And I don’t think he’ll talk yet. That seems like it won’t be for many years in the future.

Still, I think we can reasonably look forward to seeing an older Zym.

5. Mid Season Rayllum Reunion

I already have a post highlighting the reasons why I think Callum and Rayla will definitely reunite in S4, as I know many fans are wondering if they’ll spend the whole season apart.

But I think this reunion may happen sooner rather than later. By that, I’m guessing it’ll happen at the midway point - either episodes 4 or 5.

This gives us the chance to have three or four whole episodes with them apart, which seems like a reasonable amount. Then we get their reunion, which’ll likely be it’s own episode. Then we get four or five whole episodes with them together again, dealing with the fallout of Rayla’s decision, working together, and hopefully reconciling by the season’s end. This seems like it could be a nice, tidy arc for them to have for the season, so that’s what I’m going to guess will happen.

Plus, it’ll have us feeling all the feels.

6. Janai’s Brother Wants the Throne

It’s been confirmed that Janai and Khessa have a younger, unnamed brother. We know nothing about him, and the creators decided not to comment when asked about him during the AMA. This means that he’ll likely be an important player for S4.

One of the writers (I believe it was Devon) also confirmed via Twitter that Janai is next in line for the throne after her sister’s death, calling her Queen Janai.

This raises a very interesting potential plotline for S4. What if Janai decides to ally with the humans that helped during the battle at the Storm Spire? What if her brother is not happy about this? Letting a human into Lux Area was the reason Khessa died, after all.

What if Janai’s brother decided to make a play for the throne - either by contesting Janai’s rule, threatening civil war, or by trying to usurp the thone?

The creator’s have mentioned that despite the Zym being returned to Xadia, there is still a long road to peace between the elves and humans. They alluded to an “event” that makes Ezran aware of this.

Unrest / war between the Sunfire elves could very easily be what they’re talking about. And Janai’s brother wanting the throne could very easily be the catalyst for that.

7. Aaravos in the Shadows

Many fans are speculating that our main characters may now finally become aware of Aaravos’s existence in the series. As for me? I’m not so sure.

Keep in mind, outside of Viren, Claudia, and perhaps a handful of Sunfire elves, no one else in the show knows of Aaravos’s existence. He’s been keeping to the shadows, pretty clearly using Viren as his puppet.

With the end of S3, he’s in the cocoon, leaving Viren and Claudia on their own. We don’t know how long it’ll take for him to emerge, or even what form he’ll take when that happens. But we do know that he’ll be back for S4, per Erik Todd Dellums. (And apparently, he’ll have an even sexier voice.)

I imagine he and the dark mage fam will have their own arc in S4, which may eventually intersect with whatever the main cast is up to, but not for awhile yet. As for Aaravos himself, I think he’s playing the long game. And I think part of that means staying in the shadows as much as he possible can, while he consolidates power. The goal it seems is to make his form stronger and stronger, and eventually finding a way to leave the mirror realm entirely. Why would he want to play his cards too early?

So with Viren and Aaravos out of the way for much of S4, who does this leave as the main antagonist?

8. Sol Regem, Main Antagonist

Enter Sol Regem. It’s been confirmed that we’ll see him again, after all. And we know just how much hatred he has for humans. He was hellbent on frying Callum to a crisp, even after he had agreed to return the human kingdoms.

It was revealed that Sol Regem was once revered by the Sunfire elves, before he became a symbol of rage and bitterness. Still, this reverence is an important part of Sunfire history.

This is something Janai’s brother could leverage if he’s looking to usurp the throne and pit the human-hating Sunfire elves against those that are loyal to Janai. With the literal Sun King on his side, he becomes a formidable foe.

This could be the event that leads Ezran to act. Will the humans who fought at the Storm Spire come to the aid of Janai and her people? Will the Dragon Queen weigh in on this matter? Will they need to gather the other elemental dragons together in hopes of defeating Sol Regem? (If so, this is a way we could bring Rex Igneous into the story.)

This might be a bit of a stretch, of course. But it does lead for an interesting direction for S4, and S5 as well, and would be a way to introduce more dragons and keep Zym and his mother in the story.

And, as I stated in my Rayllum S4 reunion post, this gives Rayla incentive to stop hunting Viren and shift gears to focus on the more emergent threat. Which in turn could reunite Team Zym once again.

9. Rex Igneous Eats a Jelly Tart

It’s pretty much a given that we will meet Rex Igneous (the Earth dragon) in this season. You can see a sneak peak of him in Callum’s Sketchbook, which has the following caption:

It was also revealed by the creators that some “very important figures” would be eating jelly tarts in upcoming seasons.

Given this information, it doesn’t seem farfetched to imagine that Rex Igneous will be one of those figures.

10. Soren & Ezran Adventure / Bonding

Soren used to share his screen time with Claudia, but now that she’s out on her own with her dad, he’ll need a new buddy to share screen time with.

I nominate Ezran, mostly because S3 dealt a lot with their relationship, and it just makes sense to continue to develop this in S4. Plus, Ezran’s the king and Soren’s the guard. Where he goes, Soren follows.

So it makes sense that they’ll have an adventure together in S4.

11. Dramatic Claudia Reveal / Confrontation

I had this on my list for awhile, but Ehasz tweeted this and nearly confirmed it:

I think we’re going to get either a really dramatic reveal or confrontation between Claudia and another character. Either Viren, Soren, or possibly Callum. (I don’t think it’ll be Rayla, since she has no real connection to Claudia.) Or perhaps it’ll simply be a dramatic reveal for us, the audience.

Either way, stuff’s going down.

12. Callum Learns Moon Arcanum

The creators have mentioned that Callum will be learning more of the primal sources in future seasons. I think it stands to reason that moon will be next for him.

S3 already showed him starting to grasp a lot of the fundamentals of the source - both in their evasion of Sol Regem and in casting the spell to see Rayla’s parents. Through the Moon builds on this even more, with him using moon opals to cast more moon magic, and learning even more from Lujanne regarding the nature of the primal.

Being separated from Rayla might be the push he needs to finally unlock the arcanum once in for all. Perhaps it’ll be key to tracking her down, if he goes after her.

If not, perhaps understanding Rayla’s past and the decision that she made, and their reconciliation is what will trigger it.

Hard to say for sure, but I feel like this will relate to Rayla in some way. And it will definitely happen in S4.

Okay, that’s it for now. I’ll do a part 2 eventually and go through my last 12 predictions.

#tdp #the dragon prince #tdp season 4 #tdp speculation #tdp season 4 predictions #is it season 4 yet?#through the moon #through the moon spoilers #rayllum #ezran #rayla #callum #zym #soren #claudia #tdp fandom

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aion-rsa · 3 years

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25 Best Sports TV Shows

https://www.denofgeek.com/wp-content/uploads/2020/09/TV-High-School-Travel-Guides.png?resize=400%2C400

Sports stories have traditionally belonged to the movies. Something about the rhythms of competition, in which an athlete or team trains, plays, and then either wins or loses, is a natural fit for the film world’s three act structure.

Television, with its multiple episodes and seasons, is often more discursive and therefore less viable for truly great sports stories. Thankfully, that all seems poised to change. While some sports TV shows have found success in the past, now the medium has really kicked things up a notch. Sports stories like Brockmire, Ted Lasso, Cobra Kai, and more are not only welcome on television, but an essential part of the cable and streaming landscape.

The United States of TV High Schools

By Alec Bojalad

Movies

The Best Sports Documentaries To Stream

By Scott Fontana and 2 others

With that in mind, it’s high time we pay homage to TV’s great sports programs. What follows is a list of 25 of the best sports TV shows of all time, hand selected by Den of Geek (i.e. me: the arms-crossed weirdo in the picture at the bottom of this article).

It’s important to keep in mind that these are the best scripted sports TV shows. Television is, of course, no stranger to live sports and the various programs that surround them. Consider these unscripted American sports shows as honorable mentions: Hard Knocks, Last Chance U, Ken Burns’ Baseball, The Last Dance (and most other 30-for-30s), Cheer, Inside the NBA.

Enough of the undercard, now onto the main event.

25. Red Oaks

Amazon Prime’s Red Oaks examines the bougie tennis lifestyle of the 1980s. It all comes through the lens of David Myers (Craig Roberts), a college student looking to pick up some cash by taking a summer job at an upscale Jewish country club in New Jersey. Sports stories and coming-of-age stories fit particularly well because the end goal of each one is usually growth. It’s hard to say whether David grows during his time at Red Oaks, but he certainly changes over the series’ three seasons.

24. The Mighty Ducks: Game Changers

A TV show based on Disney sports movie behemoth franchise The Mighty Ducks was all but an inevitability, particularly when the major conglomerate secured its own streamer in Disney+. We’re all lucky then that The Mighty Ducks: Game Changers turned out to be quite good rather than completely perfunctory. The show is bold enough to recast its Ducks’ franchise as the villains and to rally around the radical idea that youth sports should be fun.

23. One Tree Hill

At first glance, One Tree Hill doesn’t seem too different from the other teen shows of its era on The CW (though The CW was still “The WB” for One Tree Hill’s first two seasons). It’s about high schoolers in a small town, doing high school things. Where One Tree Hill excels (at least in its early, still high school seasons) is the introduction of basketball as a storytelling crutch. Half brothers Lucas (Chad Michael Murray) and Nathan Scott (James Lafferty) have a turbulent enough relationship to begin with. What better way to contextualize that relationship than through the high stakes lens of high school basketball?

22. Lights Out

Not to be confused with the 2016 horror film of the same name, Lights Out is a boxing series from FX that ran for one excellent season in 2011. Holt McCallany (best known now as Agent Bill Tench on Mindhunter) stars as retired heavyweight champion Patrick “Lights” Leary. Despite displaying signs of neurological trauma from his career, Lights can’t help but want to return to the ring for one more shot of glory (and to pay off his family’s many debts). Lights Out is a sad, elegiac little story about how one man who sees a sport that broke his brain as the only realistic option for success.

21. Big Shot

Big Shot premiered shortly after its bigger-named Disney+ cousin The Mighty Ducks: Game Changers. And while Game Changers made a slightly bigger splash, Big Shot might be the better sports show. The story follows Marvyn Korn (John Stamos), a tempermental basketball coach who ends up at an elite all-girls prep school to shepherd its basketball program. Big Shot runs through all the tried and true tropes and beats of sports stories and does so with aplomb. Consider it Hardball meets Hoosiers with plenty of Stamos charm.

20. Hangin’ with Mr. Cooper

Sports are somewhat incidental to Hangin’ with Mr. Cooper’s mission. Sure, lead character Mr. Cooper (Mark Curry) is a former Golden State Warriors basketball player turned PE teacher. But like its TGIF programming block peers, this show is a charming hangout comedy with few lasting conflicts to speak of. Still, you don’t spend that much time in a gym without some three-pointers and lay-ups.

19. Coach

Before Craig T. Nelson was Mr. Incredible (or made this truly amazing televised statement), he was best known for portraying the title role in ‘90s ABC sitcom Coach. In fact, many of our archetypical perceptions of what makes a football coach likely come from Nelson’s portrayal of Coach Hayden Fox (who first coached for a fictional NCAA football team and later an NFL one). This is a man whose skill at molding young athletes belies his lack of skill at…well, everything else. Ultimately, Coach is a worthwhile multiseason experience in which a grown man grows up.

18. Kingdom

Kingdom is probably the best sports TV show that you’ve never heard of. Don’t worry, it’s not your fault. That’s just the kind of thing that happens when a show is damned to languish on AT&T’s ludicrous “Audience Network”. Kingdom is set in an MMA gym and captures all the drama provided in the heightened world of mixed martial arts combat. The show is blessed with some great characters and an even better cast. Frank Grillo (Captain America’s most annoying foe, Brock Rumlow), Kiele Sanchez (Lost), Matt Lauria (Friday Night Lights), Jonathan Tucker, (Justified) and Nick Jonas (yes, that Nick Jonas) all make their mark on the series.

17. The White Shadow

Premiering in 1978, CBS’s The White Shadow was uncommonly progressive for its time. The series follows Ken Reeves (Ken Howard), a white NBA player who retires after a knee injury and elects to take up coaching at Carver High School in South Central Los Angeles. Coach Reeves’s team is made up primarily of Black and Hispanic players and the show deals with the social ills of life in the inner city. It’s also quite funny and charming and features a commitment to realistic basketball scenes.

16. The League

FX comedy The League works as a sports show (and as a TV show in general) because it has a deep understanding of sports from a fan’s perspective. Sure, fans watch collegiate and professional sports to marvel at the athleticism, training, and skill on display. But more importantly, they watch sports to have something to talk about with their friends. Though the participants in the titular fantasy football league at the center of The League grew up as friends, who’s to say they would have stayed friends so long without this league keeping them together? Ruxin (Nick Kroll) is an asshole. Andre (Paul Scheer) is annoying. And Taco (Jon Lajoie) is, well…Taco.

15. Rocket Power

If the ‘90s taught us anything it’s that extreme sports are sports too, man! Rocket Power is a lovely little slice of life Nick Toon that follows four kids in a fictional California surfing community. Otto Rocket, Reggie Rocket, Maurice “Twister” Rodriguez, and Sam “Squid” Dullard spend their days skateboarding, surfing, playing street hockey, and occasionally snowboarding. It’s a wonderful ode to childhood and all the athletic activities that make the day (and years) go by far too quickly.

14. Luck

If things shook out differently, perhaps Luck could have been considered one of the five or so best sports shows of all time. All of the pieces were in place. This 2012 HBO series had the right creative team (created and run by Deadwood’s David Milch and starring Dustin Hoffman with a pilot directed by Michael Mann) to go along with an intriguing premise (complicated characters’ lives intersecting at a horse track). But alas…the dead horses. Oh so many dead horses. Despite stringent safety measures put in place, Luck lost three hoof bois during filming of its first season and was canceled shortly thereafter. May they all rest in peace.

13. All American

High school is a turbulent time in all our lives. And when the high stakes world of competitive football is added in, things can only get more intense. The CW’s All American opts to take the world of high school football and opts to add in a welcome dose of sociopolitical commentary. This series is loosely based on the life of former New York Giants linebacker Spencer Paysinger and follows his character “Spencer James” as he is recruited from South L.A. to play for the affluent Beverly Hills High. The show wisely understands that sports (particularly when they involve Black teenagers) are a marvelous portal to explore American society.

12. Pitch

Cruelly cut short after just one season of 10 episodes, Pitch is the kind of sports show that will inspire sports stories for years to come. This baseball series for Fox comes from Dan Fogelman (This Is Us) and Rick Singer. It follows the saga of Ginny Baker (Kylie Bunbury), who becomes the first woman to play in Major League Baseball when she’s called up to pitch by the San Diego Padres. Pitch was blessed with an excellent cast including Bunbury and Mark-Paul Gosselaar as a veteran catcher nearing the end of his Hall of Fame career. More interestingly, it was blessed with an actual MLB licensing deal. There are no silly fictional teams in this show like the Tuscaloosa Barn-Burners or the Helena Hellcats. It’s all real MLB team names and logos, adding to the realism of a cool premise.

11. Ballers

Of course, Elizabeth Warren’s favorite show has to be on this list. Ballers has a bit of an unearned reputation for being cringe thanks to its ridiculous name and Dwayne “The Rock” Johnson’s delightful cornball energy. In reality, this is an exceedingly watchable TV show and one that examines the corporate side of professional sports quite well. It’s also noticeable for being most viewers’ introduction to eventual Tenet star John David Washington.

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10. GLOW

Is professional wrestling a sport? Vince McMahon would argue that it’s “sports entertainment.” I would argue that that’s more than good enough to get the excellent GLOW on this list. GLOW tragically fell victim to Netflix’s whimsical cancellation procedures. Why the almighty algorithm decided a show needed to be canceled after it was already renewed is beyond me. But don’t let that sour three seasons of superb sportsy storytelling. GLOW follows the fictionalized rise of the very real “Gorgeous Ladies of Wrestling” and it centers it on the conflict between two former best friends, Ruther Wilder (Alison Brie) and Debbie Eagen (Betty Gilpin). GLOW differs a bit from the usual sports fare in that the “sport” at its center wasn’t necessarily plan A for the athletes. But the experience of watching the ladies train, grow, and succeed is pure and sublime sports story stuff.

9. Cobra Kai

Cobra Kai absolutely could have been phoned in. The streaming world runs on nostalgia and there’s nothing more sweetly nostalgic than The Karate Kid franchise. Instead, this Netflix series changes the original franchise’s perspective by focusing on the “villainous” Cobra Kai dojo and re-examines things from Johnny’s point of view. Ralph Macchio and William Zabka deserve credit for embodying realistically adult, yet flawed versions of their original characters. Equally deserving of credit though is a whole host of young actors bringing the martial arts to a whole new generation.

8. Blue Mountain State

A lot of the shows on this list are, let’s say, reverential to the sports, teams, and athletes they cover. Spike comedy Blue Mountain State is decidedly…not. This series, following the Mountain Goats football team for the fictional college Blue Mountain State, understands that not all depictions of athletes have to be saints. Sometimes college football player can just be the big dumb animals you want them to be. Through three seasons, this show developed a cult following that would follow it over for a lifetime of reruns on Netflix. Blue Mountain State is crass, dangerous, and entertaining, not entirely unlike football.

7. Sports Night

Speaking of being reverential to sports…like all Aaron Sorkin-created TV series, Sports Night can be a bit full of itself sometimes. That only works when the topic at hand, like the federal branch of the U.S. government, is consequential. Thankfully, sports can be pretty important sometimes too! This late ‘90s show follows the goings-on at a Sportscenter-esque news program hosted by Dan Rydell (Josh Charles) and Casey McCall (Peter Krause). It has all the witty dialogue you’d come to expect from a Sorkin venture. And if you can make your way through the inexplicable laugh track of the early episodes, you will find a mature, entertaining show that properly understands and contextualizes professional sports’ role in American society.

6. Survivor’s Remorse

Survivor’s Remorse came into the world with two strikes against it. One is a bizarrely overwrought name, and the other is that its home network, Starz, isn’t a given on many cable packages. Still, this LeBron James-produced comedy is shockingly one of the best sports TV shows ever (and perhaps still the best creative venture James has been involved in yet). This story follows NBA athlete Cam Calloway (Jessie T. Usher) as he tries to balance the business and basketball aspects of his life. At first the show focuses on Cam’s guilt for having got out of his impoverished neighborhood when so many couldn’t (hence, the show’s title), but ultimately it evolves into a family comedy drama featuring some truly remarkable characters and performances like Cam’s cousin and manager Reggie Vaughn (RonReaco Lee) and his baller half-sister “M-Chuck” (Erica Ash). Even Monica Rambeau herself, Teyonah Parris, is a part of the proceedings.

5. Playmakers

Sometimes I can’t even believe that Playmakers is real. Surely, this ESPN series about a fictional football team in a fictional league that is clearly the NFL was just a post-9/11 fever dream we all endured together. Alas, Playmakers was real and it was awesome. This series follows the players on the Cougars as they navigate a football landscape filled with ripped-from-the-headlines strife including Performance enhancing drugs, good old-fashioned drugs, domestic abuse, concussions, and more. The series even introduces the outing of a gay player more than a decade before Michael Sam and Carl Nassib revealed their sexual orientations. Naturally, Playmakers was canceled when the NFL intimated to its broadcast partner ESPN that it wasn’t too pleased with the content of its show. And enraging the National Football League alone is enough to make this an all-time classic.

4. Eastbound & Down

Eastbound & Down creator and star Danny McBride isn’t necessarily a huge fan of baseball. But he is, thankfully, a huge fan of weirdos and creeps. When McBride discovered just how bizarre and poorly behaved certain flamethrowing relief pitchers could be, Kenny Powers and the show around him was born. The baseball “action” in Eastbound isn’t much to write home about. The show isn’t too concerned with the results of any given baseball game and McBride always looks like he’s throwing a javelin and not a baseball. It’s still a phenomenal saga about athletes that dives into Paul Bunyan-esque tales of legendary misbehavior that fame encourages. It’s no coincidence that in the follow ups to Kenny Powers, McBride has delved into megalomaniacal vice principals and bejeweled, sweaty televangelists – all different aspects of the white American male id.

3. Ted Lasso

Of all the sports shows in the TV canon, none feels more like a traditional sports movie than Ted Lasso. This Apple TV+ series plucks an American football coach-fish and gently places him out of water in the English Premier League. The affable Lasso (Sudeikis) is charged with reversing the fortunes of EPL side AFC Richmond. Little does he know, however, that spiteful owner Rebecca Welton (Hannah Waddington) is counting on him to fail, Major League style. Ted Lasso isn’t interested in reinventing the wheel. Instead it perfects it. This is a tale of relentless optimism and unconditional positive regard. Ted breaks the mold for what we expect from coaches, which is probably why so many actual coaches are fond of the show. Simply put: sports stories can’t be done much better than this one.

2. Brockmire

Sometimes commentators like to bemoan the modern state of baseball. What was once American’s pastime has now supposedly fallen behind things like football and videogames in the pop cultural pecking order. Then along comes something like Brockmire to teach us that baseball as a continuous, seemingly eternal American presence is just as vital as ever. In a career-defining role, Hank Azaria plays disgraced baseball broadcaster Jim Brockmire. Once at the top of his game, an on-air drunken meltdown loses him his job and his sanity. In season 1 of this superb IFC show, Brockmire returns to the booth, this time for an independent league team in Morristown, Pennsylvania. The four seasons that follow are one big love letter to not only baseball, but the messy human experience itself. It’s rare that you get something this funny and this affecting. The fact that it’s wrapped in a stylish diamond-shaped bow is just icing on the cake.

1. Friday Night Lights

Not only is Friday Night Lights the best sports TV show of all time, it’s hard to imagine it ever being supplanted from its throne. Simply put, Friday Night Lights is a sports television masterpiece. Each of Friday Night Lights’ five seasons (save for the writer’s strike-shortened second) fully capture the ecstasy and agony of high school football in a small Texas town where high school football is the only thing that matters. Friday Night Lights doesn’t shy away from the unsavory institution that is big time high school athletics.

The series opens with a life-changing injury before following it up with tales of corrupt boosters and garden variety West Texas racism. And yet, the show never looks down on its characters. If winning state is important to Coach Taylor (Kyle Chandler), Matt Saracen (Zach Gilford), Tim Riggins (Taylor Kitsch), Smash Williams (Gaius Charles), and Vince Howard (Michael B. Jordan), then it’s important to us too. In fact, when Friday Night Lights is really rolling and the W.G. Snuffy Walden’s Explosions in the Sky-style soundtrack is swirling, you might not recall anything ever mattering to you as much as the Dillon Panthers or the East Dillon Lions winning a football game. Clear eyes, full hearts, absolutely cannot lose.

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rizahawkais · 3 years

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I LOVED season 1 and 2 of the crown but found season 3 quite dull and difficult to get through. I'm enjoying season 4 (still havent finished bc I watch with my family and we're rarely all together) but I think that the earlier seasons were a lot better in my opinion

hi! i completely agree w you!

I AM SO SORRY FOR THE LATE REPLY! I replied to this the day you sent it but my laptop crashed and I lost everything I wrote so I put off till now!

All in all, the writing for the first two seasons were WAY better. My ranking is s2 > s1 > s4 >>>>> s3. In my opinion, season three was kind of terrible.

hahaha this is so so long.

In the first two seasons each episode’s mini story for the day was actually INTERESTING. Like, I loved where one episode was about the Mountbatten name and then the next was about the Great Smog! But, there was always an overarching plot and it always added up in the end. S1, S2 and S4 all had an overarching plot that worked! S1 was balancing family and the crown. S2 was balancing prime ministers and her husband. S4 was the downfall of Margaret Thatcher and Charles/Diana. S3 LITERALLY HAD NO PLOT! It was just a bunch of stories put together. The finale for season 3 was about the end of Margaret’s marriage! And although, it is an important event in the family’s history the fact that it was the finale episode????

Anyways, Season 3 genuinely just sucks. Season 4 is REALLY good. Yet, it still doesn’t leave as much of an affect on me like the earlier seasons. AND LIKE I KNOW BECAUSE I’VE REWATCHED THE FIRST THREE SEASONS SO MANY TIMES. I’ve only seen the fourth once because I’m too busy and it’s also too early for me to rewatch it. So, maybe my opinion of season 4 will change!

Now, because I am extra 😈😈 and crazy I will talk about every single episode IN ORDER. hehehehehehe. feel free to hate me

SEASON ONE

101 Wolferton Splash - 10/10 this episodes just sets everything up! we see how happy the marriage is and how loving king george is and we also see the FORSHADOWING!! we see lilibet and phillip making their life thinking they had time when we know they don’t and it’s just :( AN AMAZING PILOT EPISODE WITH AMAZING QUOTES!

102 Hyde Park Corner - 1000/10 this episode needs no explanation. the suspense and DRAMA right before lilibet finds out about her dad ALWAYS gets me!!

103 Windsor - 10/10 I hated this episode the first time I watched it! I didn’t understand the importance of her uncle and I didn’t understand the complexity behind the episode. I was 14 when I saw this episode for the first time! So, mind you I was quite ignorant. but, david basically represents the audience in the show for those who hate the monarchy and call them out on their hypocrisy. BUT DAVID IS A TERRIBLE PERSON! FUCK DAVID! i understand hating the monarchy and for him i know it was personal but the way he talks about his family in the letters UGHUGHGUHGUHGUHGUH this man is evil! there’s also the other story in the episode about the mountbatten name which is so brilliant!

104 Act of God - 15/10 this episode was boring on first watch but I WAS FOURTEEN! this episode took a break from the monarchy and concentrated on a british national horrific event THAT WAS IMPORTANT and i liked how it connected throughout the episode and all that and the CINEMATOGRAPHY OMGGGGG! anyways, something that pisses me off about this episode is that the crown kind of has the same kind of audience as euphoria! they only care about a hot actor or iconic character or the aesthetics AND THAT MAKES ME ANGRY! bc those are the ppl who call this episode the boring fog episode and the latest episode of euphoria a waste of time! they don’t understand the importance of what their watching. an event that killed hundreds by something that could have been avoided bc of science and for euphoria an ongoing pandemic of an ugly world and its affect on ppl not wanting to go on! IM SORRY THIS TURNED INTO A RANT but this episode is important in reminding audiences that disasters can be avoided but also once they happen anything can happen THIS WAS A SAD EPISODE OKAY AND I LOVED VENETIA SCOTT!

105 Smoke and Mirrors - 100/10 THE CORONATION EPISODE! Phillip tries to bring it to the common public and all the fighting between them just makes the coronation even more impactful when we watch it!

106 Gelignite - 8/10 I DESPISED MARGARET IN THE FIRST SEASON i saw her as a spoiled brat who wanted to marry her dad’s assistant! AND ALSO HOW DID SHE NOT REALIZE THERE WAS DEFINITE GROOMING INVOLVED! this episode is generally very good but margaret just pisses me off a lot! however, her not being able to marry peter boresend shouldn’t have been because of his divorcee status but bc he simply was a predator in anyone’s clear eyes IM SORRY IF YOU DISAGREE BUT SHE MET HIM SO YOUNG NO WAY THERE WAS NO GROOMING good episode but pissed off at margaret’s lack of critical thinking besides but I WANT HIMMMMM LIKE I WANT EVERYTHING

107 Scientia Potentia Est - 11/10 hated this when i first watched it! but now one of my favorites! lilibet feels dumb and needs a tutor! prime minister and wannabe prime minister have health problems and keep it from her! lilibet finds out by accident and they all get yelled at! I LOVE WHEN SHE YELLS AT MEN!

108 Pride & Joy - 10/10 this episode is just adds on to the overarching plot of the season: balancing the crown and family. margaret says disrespectful things to ppl who don’t deserve it in place of lilibet while she’s on the commonwealth tour fighting with her husband! then lilibet scorns margaret and we see an ugly papa loved me more argument! absolutely brilliant!

109 Assassins - 1000/10 hated it the first time but now I LOVE THIS EPISODE! it’s the painting and porchey episode and churchill leaving episode. It’s so so so good! i honestly have no words to describe the brilliance of this episode besides the acting done by almost the entire main cast CLAIRE WOW! MATT WOW! STEPHEN (THE PAINTER) WOW! JOHN WOW! HARRIET WOW! when we see the painting getting burned coincided w the downing st dinner GETS ME EVERYTIME I LOVE IT SO SO MUCH!

110 Gloriana - 100/10 the climactic fight between the crown and family! which will lilibet choose?? and the foreshadowing to suez MWAH!

SEASON TWO

201 Misadventure - 100/10 LOVE LOVE LOVE THIS EPISODE the cutesy lilibet and phillip until it all goes down WOW! and the suez stuff i love it all

202 A Company of Men - 100/10 this is where i think mike’s wife starts snooping or it’s the next episode BUT THIS IS WHERE SOMETHING BEGINS FOR SURE first of all it foreshadows the episode later in the season about philip’s childhood AND MATT’S ACTING!! it’s too good for words!

203 Lisbon - 100/10 i like it when they fight lol that’s the only way i know how to describe why i love it LILIBET WAS EXCITED TO SEE HIM AND SO WAS HE but then mike ruined it by being a disgraceful and dishonest man RUINING EVERYTHING

204 Beryl - 10/10 i start to like margaret bc i feel bad for her! she’s suffering she’s sad that her lil predator boyfriend is no longer w her but look who it is MATTHEW GOODE! he not suspicious at all but the writers are like here take 20 minutes of perfect chemistry between the actors!

205 Marionettes - 100/10 I LOVE THIS EPISODE basically someone who loves the monarchy insults the monarchy and lilibet actually goes to listen to them! w resistance of course but she still took everything he said to fix the monarchy !

206 Vergangenheit - 1000/10 one of my favorites! i didn’t know about david’s nazi past so when i watched this episode for the first time i was completely baffled! another episode where she yells at a man!!!! i’m always annoyed in this episode tho by all the talk from the priest about forgiveness bc im like why would u want to forgive david for being a nazi?? but i think it was intentional by the writers to show the importance of understanding forgiveness and the grounds for it! THIS EPISODE IS JUST PERFECT IM ANNOYED BC I DON’T WANT TO FORGIVE HIM

207 Matrimonium - 9/10 this episode is amazing BEFORE you’ve seen season three bc you root for margaret and tony! but, also throughout the episode there’s all that tony and family and his gf and bf stuff that you think is going to lead somewhere but doesn’t??? like what was the point of introducing his mother and his relationships if it was going nowhere and not even mentioned in season 3??? LIKE WHAT WAS THE POINT WHAT WAS THE REASON? but, also there’s lilibet and phillip fluff in this episode I LOVE

208 Dear Mrs. Kennedy - 10/10 this episode is fun as an american bc i think jackie kennedy and jfk are so idolized here in america it was so interesting to see this other pov! BUT I ALSO REALLY LOVED LILIBET DANCING W NKRUMAH! I THOUGHT IT WAS SO CUTE AND THE MARTIN CHARTERIS STUFF LEADING UP TO IT WAS SO FUNNY!

209 Paterfamilias - 100000/10 no words. IT WAS SO SMART TO PARALLEL PHILIP AND CHARLES this has a lower rating than the previous episode which makes no sense but only goes to prove the idolization of jackie and jfk

210 Mystery Man - 100/10 EVERYTHING FROM THE FIRST EPISODE IS ADDRESSED IN THIS EPISODE THE SEASON COMES FULL CIRCLE JUST LIKE SEASON ONE DID AND SEASON THREE DID NOT DO THAT AND SEASON FOUR DID IT TOO BUT NO WHERE AS GREATLY

every single episode of seasons two has a 9+ rating from me!

SEASON THREE (worst season)

301 Olding - 5/10 weak starter but good for introducing olivia as lilibet and harold wilson and departing churchill BUT THAT’S IT! like the whole spy thing just went bleh LIKE IT HAD POTENTIAL but it needed early seasons writing not third season writing techniques TOBIAS DID A GREAT JOB THO IN THIS EPISODE HE WAS A GREAT RECAST FOR PHILIP

302 Margaretology - 6/10 okay. just okay. margaret kind of bratty but you actually feel bad for her then she gets bratty again and then you feel bad for her again and the scenarios in the episode just didn’t feel real like the whole lyndon b johnson was so jealous of jfk that he was rude to the queen so they sent margaret JUST DIDN’T MAKE SENSE like i know this show is fictional but the fiction tends to be believable until i research the episode afterwards BUT FOR THIS it just didn’t make sense

303 Aberfan - 1000/10 ONE OF THE GOOD EPISODES OF THE SEASON! those first fifteenish minutes??? TEARS! i never knew about aberfan until this episode and seeing this episode made me cry!

304 Bubbikins - 10000/10 THIS EPISODE IS TECHNICALLY NOT AS GOOD AS THE ABERFAN EPISODE BUT THIS IS A PERSONAL PREFERENCE we meet anne and alice in this episode AND I LOVE BOTH OF THEM (erinsdoherty is my current url!) this episode is so sad and sweet at the same time and loving bc i’m a sucker for philip’s back story!

305 Coup - 8/10 this had potential I FEEL LIKE IF THEY WROTE THIS EPISODE DIFFERENTLY LIKE HOW THEY WROTE ONE OF THE SUEZ EPISODE IT WOULD HAVE BEEN SO MUCH BETTER the fact that it all went to nothing and nothing basically happened WHAT WAS THE POINT

306 Tywysog Cymru - 1000/10 this episode made me like charles! what a horrendous statement! but, like i thought his relationship w his tutor was so heartwarming and he actually seemed to care and all that and it just all in all MADE ME HAPPY like this episode isn’t sad it’s a happy episode until the last scene w lilibet BUT YEA they gave us this one good episode until we hate him which i appreciate makes the story telling better

307 Moondust - -100/10 hate this episode LIKE GENUINELY HATE IT HATE HATE HATE and tbh im generally very very nice w my opinions ANYWAYS I WAS SO EXCITED FOR THIS EPISODE BUT IT WAS SO STUPID LIKE THE ASTRONAUTS BEING ASSHOLES WAS STUPID PHILIP BEING AN ASSHOLE TO THE PRIESTS WAS STUPID LIKE PHILIP IS AN ASSHOLE BUT IT’S BEHIND PEOPLE’S BACKS AND THEN THEY KILLED ALICE OFF SCREEN I HATE THIS EPISODE

308 Dangling Man - -1000/10 HATE THIS ONE TOO this episode convinced me that the writers for the first two seasons to this season has changed all of a sudden we forget that david was basically a nazi and the charles we met two episodes ago sees him as exactly like this uncle who he swore he would be nothing like to the people of wales??? LIKE WHO WROTE THIS THEY WERE DOING CRACK WHILE WRITING THIS EPISODE and i felt NOTHING during the lilibet and david goodbye WHACK EPISODE TERRIBLE JUST BAD TERRIBLE

309 Imbroglio - 5/10 episode started off good but then just went a lil too crazy by making it seem like a whole secret spy mission going behind lilibet’s back

310 Cri de Cour - 4/10 bad just bad HBC GOOD ACTRESS AMAZING ACTRESS given bad material like NONE OF THIS FEELS CONNECTED THIS STORY IS ALL RANDOM AND WE HAD A WHOLE EPISODE ABOUT MARGARET AND TONY AND WE DON’T EVEN MENTION ANY OF THE CRAZY STUFF FROM THE LAST SEASON BUT WE CONCENTRATE ON MARGARET BEING A SUGAR MAMA MAKES SENSE YALL

once again i hate season three

SEASON FOUR

401 Gold Stick- 8/10 written weirdly but had GOOD SCENES such as meeting thatcher and diana! BUT THE SCENE STEALER WAS OBVIOUSLY MOUNTBATTEN’S DEATH AND PHILIP TELLING CHARLES THAT HE BECAME DICKIE’S SON INSTEAD OF HIM SAD STUFF so like the death was sad and dramatic and I FELT BAD but like i shouldn’t bc im south asian and mountbatten did bad stuff to us BUT IT DOESN’T CHANGE THE RIPPLE WE FELT

402 The Balmoral Test - 9/10 funny episode but needed early seasons’ writing

403 Fairytale - 9/10 good episode but needed early seasons’ writing BUT ALSO THAT SCENE BETWEEN CAMILA AND DIANA MWAH CHEF’S KISS THEY BOTH DESERVE ALL THE AWARDS but needed early seasons’ writing

404 Favourites - 7/10 this episode is good but frustrating bc u finally realize how terrible of a mother lilibet is BUT THE ANDREW STUFF WAS GOOD I AM GLAD THEY PUT THAT IN! i liked seeing thatcher’s non-existent relationship w her daughter NEEDED EARLY SEASONS’ WRITING

405 Fagan - 10/10 GOOD EPISODE I LIKE HOW WE WERE EMERSED IN FAGAN’S LIFE AND I LOVE THE ACTOR FOR FAGAN TOO AND I LIKE HOW IT WAS CONNECTED TO THATCHER AND FUELED THE OVERARCHING PLOT OF THE STORY!

406 Terra Nullius - 100/10 GOOD EPISODE CLOSEST TO EARLY SEASONS WRITING THAT’S WHAT MADE IT GOOD seeing them not get along and then get along and then not get along again through a series of montages made the episode brilliant!

407 The Hereditary Principle - 6/10 this episode. how do i explain? the material for this episode was absolutely perfect for the writers of the early seasons! POOR EXECUTION

408 48:1 - 100/10 i like the political episodes more than the family episodes SO THIS EPISODE IS SO BRILLIANT BC OF THE BACK AND FORTH AND I GOT TO SEE CLAIRE!!

409 Avalanche - 7/10 early season writers would have shown the arguing before the avalanche and diana’s reaction JUST SAYING

410 War - 9/10 THIS EPISODE HAD THE YELLING AT EACH OTHER SCENE THAT WAS SO GOOD BUT ANYWAYS THE PROBLEM W THIS EPISODE WAS THAT IT DRAGGED I FEEL LIKE THIS EPISODE AND THE ONE BEFORE SHOULD HAVE BEEN ONE EPISODE TOGETHER

ALAS, what i would like to say is that i feel that season 4 shouldn’t have been so diana centric! it was diana from the beginning of the season to the end! not, that i don’t love the whole diana story but it was dragged and i think she should have been introduced around the third/fourth episode of this season the same way tony was in season two! camilla should have arrived at the beginning of season 4 so that the intensity between camilla, charles and diana was more believable! if we season three wasn’t so spread out they could have had more brilliant episode.

OK HAHA I AM SO SORRY FOR THIS VERY LONG RANT ABOUT THE CROWN PLZ FORGIVE ME! AND IF U READ ALL THIS WOW! IDK WHAT TO SAY I THINK I TALK TOO MUCH HONESTLY :( anyways thank you for talking to me :)

#the crown #queen elizabeth #prince philip #princess margaret #princess anne #princess diana #prince charles #margaret thatcher #asks #i talk too much

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earthpodd · 4 years

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Can I ask for your thoughts on my engineer? I haven’t watched any of it

Oh boy, this is gonna get a little long, I already know, so be prepared.

First, let's start with the basics. My Engineer is, for the most part, a crackshow. Don't go there expecting some complex plot with an active story that is followed and progressed through every episode. It's mostly a chill show about four couples and how they fall in love, but also the friendship dynamics of two groups of friends.

Now let's talk about the couples. I will try not to give away any spoilers, at most some warnings so you can come into this prepared.

Bohn & Duen: They are the main couple of the show, so the post revolves mostly around them. Bohn has the usual male alpha traits you see in almost every BL, he is possessive, overly jealous, an asshole, overall, but also insecure, caring, determined, and sometimes even logical. Duen is our local dumbass, he is dense, sometimes easily manipulated and convinced, and irrational, but, don't let that fool you into thinking he is innocent, despite his sweetness he can also be very cunning.

Thara & Frong: These two haven't had much development yet in the relationship department, but their paths have been crossing more and more with each episode. They are this show's enemies to lovers, apparently. Thara is a precious little cinnamon roll, too good for this world, he is gentle, attentive, adorable and also a doctor, so what's there not to love? He is also a little shit, though, but we only found that out in more recent episodes. Frong is a bit like Bohn, but without most of the aggressiveness, he is still an asshole, but only sometimes. Him and Bohn are also rivals. He has an incredibly soft side of him that might just make you love him, so, as Scar would say, be prepared.

Next on we have Mek & Boss: I'll start this by ensuing a warning, but also asking you to not let it push you away from watching the show. Don't get too attached to them, the actor that plays Mek was fired, so it's very possible he won't be on season 2, or that he will be recast, also since he is Chinese, all of his lines are dubbed. It can be very annoying, but for the most part you can ignore it. Mek, well, he is the king of pinning. Yabdjzbxjxbx. Boy is in love with his best friend, whom he does everything for, but never reveals his feelings. There is a lot of longing stares and things of the sort. He also has some Wayo tendencies. As for Boss, he is also part of dumbasses, he is considered ugly apparently, so girls don't give him any attention, making him turn to Mek for comfort. These two are a big mess.

And, finally, Ram & King: They own this fucking show. I mentioned it before, but their whole dynamic is based around becoming more familiar with each other and a lot of understanding. I love how they don't try to change each other. Ram is a quiet guy, he doesn't talk much, and when he does, it's only to those he is close with. He is very caring and protective of his friends, a very paternal figure. He is full of tattoos and a also a dog lover. Typical bad boy with a heart of gold. King, well, he is a flower prince. He loves plants, he is very talkative, the complete opposite of Ram. His initial interest in Ram came from the notion of him being weird and them progressed not into a need of growing closer to Ram. King understands him and can read him like no other. He is also kind of a little shit at times and very funny. They are my favourite couple and I could ramble on and on about them, but that would mean giving spoilers, ajfjzbckxbcj, so let me just not.

Anyway, in the end, I think it's a nice show, it has dumb moments, it does delve into the unnecessary top/bottom discourse and the "I don't like boys, I only like (insert character name)" trope as well, but it's a good show overall. I hope this helps you make up your mind about the show, and if you do start watching, feel free to come talk to me about it. I'll love to hear your thoughts.

That's it, I guess. Ciao.

Habfksbfjxbx

#vic says #my Engineer #as i said it got long #jabdjzbcjxbcjx #oh well

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rosecorcoranwrites · 5 years

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Editing Advice Part 1: Continuity

Although I said I wouldn't be giving writing advice on this blog, I never said anything about editing advice. Plenty of people give (unhelpful, short-sighted, or far too niche) writing advice, but few focus on the crucial final part of the writing process, and yet, editing is what gives a lot of writers the most trouble. I personally love editing far more than the initial writing stage and so am here to offer my advice in not one, not two, not even three, but four—yes four!—blog posts!

First, let's look at continuity, in three categories: Time, Place, and People. Technically, you ought to keep continuity in mind throughout the writing process, but it's still easy to forget one or two things. Thus, when you finally decide "I'm going to edit this WIP!", you need to double check that everything is consistent, not just from a plot standpoint, but from a spacial, chronological, and personal standpoint as well.

Time

This includes character ages (especially in flashbacks and exposition), the beginning and endings of school years, the seasons and their weather patterns, moon phases (especially when writing about werewolves), times of day, how long it takes for events to happen (a wound to heal, DNA to come back from the lab, traveling from point A to point B), historical matters (phraseology, having characters use things that hadn't been invented yet, people in the middle ages eating potatoes, etc.) and so on.

One time, I was reading a WIP where their main character's (or MC's) sister, who was twelve, was being discussed. The MC said that her sister had been dating someone at the same time the MC was first learning to use her magic powers. Fine, except that later it was stated that she first learned to use those powers five years ago. Which would make the sister seven at the time. Ain't no seven-year-old datin' nobody. The author of the WIP had just forgotten that all the characters ages would change, not just the main character's.

In my own writing, I had to be very careful in Outcast Shadows, because two groups of characters were in two locations doing two things: Group A was traveling across a continent, while Group B were hanging out in a single building in a single city. But they had to meet up at the end of the book, under specific circumstances, so I had to make sure that both storylines took the same amount of time. In the first draft, Group A took far longer than Group B, which was disastrous! I had to go back and, first, measure exactly how long it would take Group A to do all their traveling and find things for Group B to do that made sense for the story to fill up that specific amount of time.

As careful as I was in Outcast Shadows, though, I completely forgot that Misha left a certain location a day earlier than everyone else in Recast Light—and this was after four rewrites. I had to account for what he was doing for an entire day, which meant rewriting several scenes. It ended up working out in the end, but is a cautionary tale I won't soon forget.

Place

This includes anything spacial, such as the layouts of rooms, buildings, cities, and continents; the blocking of character movements; light sources; the configuration of the the solar system; and so on.

For example, if your character was flat on his back a few sentences ago, but now he's standing, were we ever told that he got up? Did your characters, while touring the lower rooms of a castle, ever climb something in order to get to that second story room where they end up (mine didn't, in the first draft of Miscast Spells!). If your scene takes place in a dark and dingy torch-lit tavern, how can your characters notice tiny details, or are you picturing the scene as brightly lit as it would be with electric lighting?

Obviously, some of this can be fudged a bit—I don't think anyone but me cares about how scenes are lit—but some of it can't. And readers will notice. There was the famous case of Larry Niven's Ringworld, in which a character is teleporting east in order to extend his birthday, but of course the earth rotates east, meaning he would actually be moving later into the day, or even into the next, rather than earlier. So many readers noticed that Niven actually corrected it in later editions. Then there is Stephanie Meyer's Breaking Dawn, in which the Cullens have a house on an island off the west coast of Rio de Janeiro which, you know, doesn't have a west coast. These authors had professional editors who didn't catch these mistakes, so you can't rely on other people to notice continuity errors for you. Do your own research and know the layout of your own setting, especially if it's the setting we all live in.

People

This category includes what your characters have, what they know, and who they are.

For what they have, consider clothing and accessories, weapons, and useful items. If they don't have an umbrella, but it's raining in your scene, do they just stand there in the rain? Do they like it? Aren't they cold? If your character has some huge rucksack full of gear, they should always have that rucksack full of gear unless we can assume they left it in a safe place; if they're traveling from one end of the continent to the other, mention how heavy that rucksack is from time to time, and consider where it is during a fight or action scene (Are they still carrying it? Do they drop it? Do they pick it back up when they flee?).

Another thing that characters can have is injuries, which, unless magically healed, have lasting effects. If your character got punched in the face yesterday, they should have a bruise show up in a day or two, and last for about a week (she writes, realizing that she has had a character bruise far too fast in her own published book!). If your character has lost a lot of blood, or broken a bone, or received a concussion, all of that needs to be taken into account in the coming chapters. Again, this can usually be solved by a quick mention that such and such still hurt, but injuries will also impact how much traveling and fighting your character can do, so keep that in mind, too.

Be mindful, also, of what people in your story know, including POV and non-POV characters. A pet peeve of mine is when authors in multi-viewpoint narratives slip up and have the viewpoint character be privy to what other characters are thinking when there is no reason for them to know that. Then there is the opposite problem, typically in first person present tense stories, where, in order to have exposition, the MC will randomly be thinking about information that everyone in the setting already knows. It would be like reading a novel set in our world and having the first person narrator think "243 years ago, America declared independence from Britain, which it had formerly been a colony of. This was followed by what is known as the Revolutionary War, where the Patriots, on the American side, fought the Red Coats, the British soldiers". No one thinks that way, because they personally already know it; who are they explaining it to, themselves? Find a more natural way for this information across to the audience. Maybe the character is arguing about it with an friend or is helping a younger sibling with their homework. For this sort of thing, dialogue is definitely your friend, but still, double check to make sure this seems natural.

Finally, think about who your characters are, as opposed to who you wanted them to be. Characters change and grow over the course of writing, and what you might have considered in-character when you were outlining the novel might be out-of-character now. Consider your character's emotional reactions, moral choices, word choice, and so on. Never let an intended message be a reason to railroad a character into some preconceived destiny. Take the time to look at your character, not as a writer, but as a reader.

This last bit of advice holds true for all parts of editing. Think about how you would view your story as a reader. While beta readers and editors are helpful, you can't put everything on them (especially considering that there are published stories with continuity errors). Think about what a reader might nitpick, and what they might not care about. I suggest caring about it anyway, because it's your story, and it should be the best you can make it. Polishing your story into its bright and shiny best self is what editing is all about, and we've only just begun!

#editing #editing advice #edting tips #writelr #writeblr #writing advice #writing tips #continuity errors #continuity editing #continuity #errors #editing process #writing process #writing #writing resource #editing resource #writing blog #editing for continuity #editing errors

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janiedean · 5 years

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any books/movies with ships similar to JB??? i haven't shipped anyone like i've shipped these 2 in a loooooooong time and need something to heal xx

HMMMMMMMMMMM there’s sadly.... not many which is also why it took me years to find them as in the het ship of my dreams, but I’ll give you:

jane eyre - I mean jane/rochester has some killer jb vibes, obviously you don’t have the OUTWARD role gender reversal but that’s the closest I know that comes to it

I think it happened one night has killer jb vibes if jaime is supposed to be the heiress and she’s the journalist but that might be me lmao anyway that was how I recast it for the day I manage to write it

ncw’s old show new amsterdam had a possible ship between his character and his colleague which was very jb-vibe but they canceled it after eight episodes and it didn’t exactly go anywhere and it doesn’t have an ending *shrug* ngl I love it and it’s still a very good show anyway and I’d totally read the jb au based off it but don’t go in with high expectations to deliver

grrm’s the armageddon rag’s endgame couple is basically proto-jaime + proto-brienne but it’s not the main focus of that book

moist and adora from discworld have great jb vibes too, I know discworld is 41 books but if that’s what you want just go straight and read going postal and making money, they can be read separately anyway and most of the moist/adora stuff in the series is in it (also in the movie they did of going postal on channel four there’s more than in the book I think??)

it’s not exactly jb-related but let’s say that klaus from ian tregillis’s milkweed tryptich (stick to the first two books if that’s what matters to you) has a lot of jaime lannister vibes starting from the terrible sister who wants to ruin his life to ‘I just want to do the right thing and people don’t let me’ (the third is v. good narratively but I have a love-hate rship with it so idk XD)

.... anon idk if you take opera recommendations but if you do I swear to fucking god that beethoven’s fidelio is worth your time I SWEAR THE MAIN SHIP IS 19TH CENTURY JAIME AND BRIENNE ESPECIALLY LEONORA IS KILLER BRIENNE MATERIAL IS2G I KNOW IT’S A WEIRDASS RECOMMENDATION BUT IT’S WORTH YOUR TIME XDD I know it’s sad but it’s the closest thing to those two in all the popular and not so popular culture I ever found I didn’t write two opera singers aus where they play those roles for nothing

.... my two favorite ships from deadwood have... some jb elements in the sense that they’re both ‘disaster + cinnamon roll’ but the het one is inverted roles (ie hot girl disaster girl/normal cinnamon roll guy) and the f/f one..... let’s just say I think the masculine-looking one would be great in a buddy romcom with brienne and the other one and jaime could talk a lot about life-long abuse but I honestly wouldn’t recommend that because of the ships because I don’t think they’re similar enough, HOWEVER deadwood is my favorite show and ten minutes of the pilot are better than the last four seasons of got put together so I’ll catch the chance to recommend it anyway lol

... honestly I’m coming up blank here because guess what THE REASON I NEVER HAD SRS HET COUPLES BEFORE THEM WAS THAT I DIDN’T FIND ANY THAT CATERED TO MY INTERESTS FULLY UNTIL THEY SHOWED UP so I’ll tag it and if anyone has recommendations feel free to add :)

#jaime x brienne #jaime lannister #brienne of tarth #braime #idk guys the closest in these ones IS THE OPERA SHIP #I SAID WHAT I SAID the status of things is sad #ffs i'm wriitng an original novel with that dynamic one day just for spite #Anonymous #ask post

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kylermalloy · 5 years

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My Official Unofficial Ranking of The Originals Seasons That Literally No One Asked For

So, these rankings turned out hilariously chronological. It’s not that I think each season just got progressively worse—it’s just that when I laid out the good things about each season, and the bad things that outweighed them... this is the order I ended up with.

MAJOR SPOILERS for The Originals ahead! Also, as a disclaimer: this is all opinion-based, and I reserve the right to change my mind at any time.

5 - Season 5

So...I kind of hate the last season. Part of it is my bitterness about how the writers messed up the character dynamics, and part of it is amazement that the (mostly) same team of writers wrote the masterpiece that was season 1.

So, the overarching story for this season is...? “We’re making a spinoff with Hope next year so we have to get rid of all the characters who are close to her who don’t want to be in yet another dumb vampire show”? That’s my impression of the writers’ goals when they planned this season. Although there are a few pertinent themes about hatred and prejudice (the irony of the Nazi-esque bad guys opposing Klaus when Klaus himself had a Nazi-esque crusade back when he first showed up on TVD is not lost on me) none of the themes have a lasting impact. They’re not developed in a memorable way. We get these purist losers to serve as villains for the first half of the season, then they’re unceremoniously taken out after they’ve killed a sufficient amount of main characters.

Then the rest of the season is just...wheel-spinning. A game of hot potato as we speculate who’s going to die at the end.

Don’t get me wrong, there was some powerfully good stuff in this season. I fully support the ending, even though the majority of fans didn’t like it. I loved it. I thought it incredibly fitting for the show to end as it began—with Klaus and Elijah side by side. Facing death together as they faced life. Dying for Hope. Their family’s legacy.

HOWEVER. A few good moments at the end of the season doesn’t make up for all the crap the writers pulled throughout the season. They had NO RIGHT to kill Hayley. They had NO REASON to separate Elijah from the family—the entire show, basically—for over half the season, or to make him complicit in killing Hayley. And that darn time jump from season 4 to season 5 is just...I have no words. Klaus and Hope were jipped out of so much time together, just because the writers wanted a teenage Hope. So many sloppy decisions were made in this season, both storywise and character-wise. It really calls into question the writers’ understanding of the characters they’re writing. So much of this season undercut what the last four seasons of the show were working toward. And the regressions we see in this season have no lasting impact—like Klaus’s murder relapse, or his estrangement from Hope. They’re nothing more than cheap excuses to make the plot happen.

(Clearly I have feelings.)

What this boils down to is that the narrative in season 5 has no structure. It’s a patchwork of lazy storytelling and fanservice—a few good moments between characters we already know and love doesn’t excuse that. Although the series ended with a bang, it’s clear that this final season was nothing more than the scattered, picked-clean bones of the show I fell in love with.

4 - Season 4

So this season is much better in terms of plot—the story is tightly paced and clearly planned out.

The problem is that it’s boring.

The narrative that the writers presented this season required lots of moving around and doing things and characters talking to other characters, and hardly any of it was interesting. Klaus and Elijah spend most of the season separated in one way or another. Freya is separated from her family for a large part of the season, and I’ve only just recently rewatched the entire show—so I can definitively say that Hope and Elijah don’t have a single conversation in this whole season. Elijah, the one who first believed in and fought for Hope—before Klaus, before Hayley even, really—Elijah isn’t important enough to talk to Hope. Elijah gets shunted off to his dark arc mostly with Vincent—all to facilitate a completely unnecessary breakup with Hayley.

The one thing I have zero complaints about is Klope. Klaus and Hope were flawless in this season. They were everything I wanted. Klaus’s unsure parenting, his determination to make this change-for-his-daughter thing last, his SOFTNESS around her...that part of the season was stellar.

Klaus’s arc of healing his relationship with Marcel was also good. I don’t think it got enough screentime, and by the end of the season it wasn’t fully resolved, but I liked how it was actually addressed. (This show has a tendency to brush off Marcel sometimes)

The other thing I really appreciate about this season is that Klaus, the main character, wasn’t given a love interest this season. After his major love interest died the previous season, the writers did not try to give him a new one, or even try to pair him up with his baby mama. His relationship with his daughter was his main focus for the season, and it was beautiful.

So, season 4. Not as insulting as season 5 in terms of plot, but this plot...and this’ll surprise everyone...took too much focus. We spend more time learning about the Hollow this season than developing Mikaelson family relationships, and that’s honestly a crime. Any story that doesn’t develop the Mikaelson family dynamics is dead in the water.

3 - Season 3

At a glance, this season is awesome. I know a lot of hardcore fans liked it. I also know a lot of fans hated it. Me, I both hate it and love it. I think the idea they were trying to accomplish was a good one, but the cost? Very high, too high. The story, though it has great stakes, is actually quite shaky in places.

Personally, I never liked the Trinity storyline. The idea of the Originals facing their first sired was not interesting to me, especially when Tristan was boring, Lucien overstayed his welcome and became annoying, and Aurora turned out to be nothing beyond a silly soap opera plot device.

I did like the ending, though. Marcel finally reaching his last straw. Rising above his creator and finally showing us what would happen if the power dynamics were reversed. It’s sick and scary and exactly what I want from a monster soap opera.

But there’s a lot of things I don’t like. I don’t like that Cami was killed. Double-killed, actually. Davina’s arc was in complete shambles the entire season. Hope was out of focus for most of the season. And the werewolf drama that had caused Hayley so much grief last season wasn’t even background noise—it straight-up didn’t exist.

Like I said, I liked what the show was trying to do, but I think the writers chose an ending and forced it to happen instead of letting the pieces fall organically. There were probably some outside factors involved too, like the fear of not being renewed, actors wanting to leave, etc. My personal theory is that, out of worry that season 3 would be the final season, the writers killed Cami in an attempt to push Klaus to glorious redemption mode (don’t even get me started on how dirty they did Cami’s arc) thus giving us the conflicting death/vampirism/permadeath Cami arc in the back half. Which makes sense—but it’s still messy from a storytelling perspective.

But despite all that complaining, there were some things I truly loved about this season. The Klelijah rebuild was solid, organic, and completely earned. They began in a fractured place, seemingly beyond repair, then forced to band together in the face of threats, and ended the season possibly closer than they’ve ever been. (their hug in the finale still messes me up, y’all. I’m weak!)

Elijah got some truly interesting stories this year. While Tristan and the Strix were both duds, I actually really enjoyed Elijah’s relationship with Aya. And his relationship with Freya! Let’s be real, season 3 was really the season of Freylijah. As weird and incestuous as the Mikaelsons come off sometimes, Freya and Elijah are the most married. In fact, I’ll just go ahead and give a shoutout to Freya altogether. A hitherto unexplored Mikaelson with a sketchy-at-best history with her brothers moves into their house full-time? This could have been an epic disaster, or at the very least could have turned Freya into Rebekah 2.0—but somehow neither happened. Freya held her own, and her addition worked very nicely.

*deep breath* I have so much to say.

2 - Season 2

(Yes this list is shaping up exactly how you think it is!) Okay. I’ve got so much love for this season, even though parts of it drive me up the wall.

I’ll start with the positives: the family feels. Almost every part of the family drama hit home. The resurrections of Finn, Kol, Mikael, Esther, and the surprise introduction of Ansel were all superb ideas, storywise. The recasts of Kol, Finn, and Esther (and eventually Rebekah too!) all worked VERY well—a special shoutout to DSharman for making me truly care about Kol for the first time! And having an old family member as the main villain works SO well for this show. Dahlia was really awesome—and in the end, almost underutilized. But Freya! The addition of Freya to the family brought forth a whole new tidal wave of emotions.

And do I even need to say it? Klope, y’all. They just give me all the feels. The midseason finale will always have a special place in my heart.

That’s not to say I don’t have my problems with this season. The narrative structure comes from a very bold place—in typical TVD fashion, the terrible threats we started out fearing are soon rendered obsolete by this much huger looming threat. Alliances are formed, backs are stabbed, hearts are broken, and the end of the season leaves us and the characters picking up pieces of our hearts off the floor.

I very much like the idea that Klaus, obsessively paranoid and fearful, would turn on everyone he loves to protect his child. However, I don’t think the necessary steps were taken in the narrative for us to actually reach that point. There was too much werewolf drama—for Hayley to care about them so much, shouldn’t we know more than three of them by name? And speaking of Hayley, I kind of hated the back half of her arc. As she ascends to werewolf queen, she loses all the braincells that got her this far and decides to trust Jackson and her new family over the Mikaelsons, the oldest, most ruthless and feared supernatural beings in the world. Huh?

Altogether, I just don’t think Elijah, Rebekah, and Hayley all turning on Klaus was well-deserved in the writing—especially considering how well they all worked together in the beginning of the season. I think it was another case of the writers establishing an endpoint far ahead of time, then pushing all the characters and events to fit their plan. Still, I liked this season a lot. Not as sloppy as season 3, but still not as masterful as season 1. And without further ado...

1 - Season 1

Here it is! The masterpiece. My baby. The year of television I can rewatch at any time and enjoy so thoroughly I forget the other million times I’ve seen it. And I can wax poetic about it for days, much to the dismay of my followers.

I’ve heard some people—fans, even—call season 1 unfocused or disorganized, cluttered, still figuring itself out...but I disagree very strongly. Since TO is a spinoff, and the three main characters were already well-established by the writers (well, as consistent as the writing on TVD ever was) I never saw TO as a show that had to figure itself out. It knew who its characters were, it knew exactly what it was trying to do, and it did exactly that. It just was never what the audience expected, and it took a storytelling route that we as viewers aren’t quite used to.

This show took on the monumental task of trying to redeem one of the biggest, baddest fantasy villains on television. A thousand year old mass murderer who had long since lost any drops of humanity. A tortured soul, sure, who’d made a few cursory steps toward semi-goodness, but still damaged beyond repair...or so we think.

Klaus’s redemption comes through this child that he fathers. But it doesn’t come for free. I often say that Klaus is both the protagonist and the antagonist of season 1, because no one is working harder against his betterment than he is. We as viewers have to learn quickly that Klaus accomplishing his goals is not necessarily a good thing. We expect his struggle with Marcel to end in triumph at the season finale, because that’s what generally happens with pilot plotlines. But instead, Klaus wins the Quarter in less than eight episodes, and his rule falls apart multiple times before the season ends. (I’m especially grateful for Marcel’s character not falling into the trope of “Klaus created a monster who ended up being worse than he is!” because that’s stupid— and why Lucien, who does fall into that category, fell so flat for me. It just doesn’t work with a character like Klaus. Nobody out-monsters him.) We expect him to get everything he wanted—because he’s the main character and things work out in the end, right? No. The entire season is a slap-in-the-face wake up call for Klaus. He can’t be worthy of this child that he can’t deny he wants unless he changes who he fundamentally is. He expects to rule the Quarter through his sleazy condescension and his larger-than-life threats, but he finds himself challenged and even overpowered at every corner. He expects to mistreat his sister, walk over her and rage at her like he always does, and ultimately win her inevitable forgiveness—but she can’t take it anymore, and she leaves him.

He expects to be able to control everyone around him, placing himself at the center of everyone’s universe, and that ought to create a suitable environment for his child to grow up in. But when she’s born, he can’t even keep her safe on her first day of life. And that’s when he realizes he can’t do this anymore. Despite being a master strategizer, this can’t be how Klaus lives and acts as a father. The season finale is a beautiful culmination of this realization, as he does what he’s never quite been able to do, and trusts the people around him—release control.

Of course, this realization isn’t the one-and-done redemption story. The walk back is long and arduous and full of setbacks, as the subsequent seasons prove. Klaus’s old temperaments get the better of him over and over and over again. He learns and unlearns and learns again. And I could just go on and on about how much I love this season.

Now, after all that gushing, I still don’t know how much of the season was planned, or if outside forces (actor contracts, availability, etc.) had a hand in shaping the story, but either by tight plotting or happy coincidence, the stars aligned and this season is darn near perfect.

There are definitely flaws and shortcomings, but the overall story is just so good that I can easily overlook them. Catapulting off TVD, which relied so heavily on shallow drama, TO did what most spinoffs can never do, and surpassed their parent show. This first season? It’s to die for.

(I realize this was far too long, and I don’t really care. I’m aware of my inability to move on from shows that have ended, and I also do not care.) I’d love to hear thoughts, discussions, opinions, anything!

#the originals #original groupies #another example of ‘why we shouldn’t let kyler nightblog’#i get incredibly long winded and emotional #i always say tired-me is what drunk-me would act like (if i ever got drunk)#there’s so much i didn’t even talk about #this show is just so darn BUSY #kylerrambles #also yes I am still working on rankings of spn episodes #i just had to get this out first #rankings

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nyxravessnow · 5 years

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2.5D Stage Ranking (Personal Opinion)

I decided to do a personal 2.5d stage and musical ranking. For anyone who is looking for suggestions for shows to watch you might be interested in this.

This is a part one of two

Couple of disclaimers:

I will do two top 10′s. One for quality and one for personal enjoyment as when I thought about it those lists came out quite differently.

I am quite opinionated but I will try and only say positive things as I am only going to do the ones I think are at the top.

I have not seen a few 2.5D productions, including popular ones such as Ensemble stars so please don’t be offended that I haven’t included it.

Ranking and explanations under the cut

Top 10 in Quality

I have ranked the quality of these shows based on several elements:

Staging, costuming, actor’s performances, blocking (dances and fights), comedy (if there is any), emotion, singing and songs.

I was not basing this ranking at all of faithful adaption of the original source material as for some I have not seen the original source material so I cannot make a fair judgement on that.

1. Tied in First is Mankai A3 and Kuroshitsuji

This be quite a shock for some people as Black Butler is considered by some to be in a different league to all other 2.5d productions. While A3 is very different, I could not chose which between the two I actually thought was higher quality overall. While Black Butler does, I think have better staging, costuming and singing, for the most part. I do think the actual songs for Mankai compliment the story a little better in places, as well as the comedy and emotion landing better with me in Mankai than Black Butler. The actor’s performances is probably the hardest thing to judge. While I think no one in Black Butler ever stands out as weaker at their role, there are very few for me who stand out. I think I would say there are only two who really stood out to me. Sasaki Yoshihide (Druitt) and Uehara Takuya (Grell). While Furukawa Yuuta’s singing was amazing he never really blew me away with his performance. Whereas in Mankai there are so many actors who I think managed to capture the emotions of the characters and the changes the characters go through. But there are a few who I think do stand out as being obviously weaker than the others.

Overall Black Butler has outstanding production value and no weak performances but never absolutely blew me away.

Mankai did have some weak moments and obviously lower production value than Black Butler but did often blow me away with certain bits.

3. Touken Ranbu Stage 4. Touken Ranbu Musical

While these two are not tying as they have the same source material I will deal with them together.

I haven’t actually seen as much of the stage as I have a few other shows on this list but there was no doubt in my mind that both Touken Ranbus had to come 3rd and 4th and overall I think Touken Ranbu Stage just edged ahead of the musical.

I would say that despite coming from the same original material both shows have a distinctly different feel. While the stage feels like a drama, the musical feels more like a soap opera. While I don’t think it is similar to any actual soap opera show, it has many highs and lows constantly throughout the show.

Whereas I felt like, from the stages I’ve seen, the stage stays on a similar tone throughout the show until the end as is quite tense except for a few breaks for comedy. (I am not including the most recent show in my thoughts as I feel as though it deviates from the norm for the stage.)

The costumes for the stage are marginally better I feel as though this is a slightly unfair thing to compare as the costumes for the musical have to be designed for a lot more movement for songs and dance numbers.

But I will compare them as I am basing this on quality so I think the main thing that brings the stage higher than the musical for me is the production value. The staging and costuming is excellent. The acting is phenomenal and while I don’t think the comedy is always better than the musical. I think the comedy it does have is very good.

The musical for me wins outright in only one category which is emotion (as the stage does have songs as well and I cannot fault a single one whereas I can fault a few in the musical). For some reason the emotion in the stage never hit me as hard as the musical did. I have never cried at the stage (though I have not seen the extremely recent ones) but I have cried at every single musical. I think the actor’s portrayal of emotion and the writing of emotional situations just beats out the stage but that is the only category it clearly wins in for me.

Overall stage has much higher production quality and, just on quality, I would not say it has almost any faults.

Overall I think the musical is much more emotional and the production quality is very good, just not as good as the stage.

5. Bungou Stray Dogs

I am not sure for this show, as with Prince of Tennis later, if it would be on this top 10 if I hadn’t seen it live. Seeing this show live was amazing.

I think the acting performances are perfect, the blocking is excellent and the staging works perfectly for the stage.

Honestly, I cannot think of a single fault this show has which might seem strange as I have put it below four other shows which I do find a few faults with but I think comparatively it’s production value just isn’t as high as the previous four.

6. Tied at sixth is Naruto and Onmyouji

I have very little to say for both of these as while I think they are excellent quality, neither of them are stages I have watched many times. I also have not seen the second Naruto stage.

I think Onmyouji might have the best costuming of any 2.5d show in my opinion. Every single character looks flawless, even more so than the usual quality of 2.5d shows. I also think that the acting is solid and the staging works very well for the show.

Naruto probably has the best blocking of any 2.5d show. The trampoline that is used for the ninja fights works perfectly and I think it looks amazing. The staging is excellent and there are no faults with the performances or the costumes.

8. Prince of Tennis

I definitely think if I was basing this off the 1st season solely then it would not be in the top ten. Neither would it be if I was basing this on the first and second season. But I think the fact that they both exist is one reason why Prince of Tennis is in the top ten. The evolution and improvement the show has undergone in the 16 years of its existence I think cannot be overstated.

From the costuming to the acting to the staging to the singing to even the posters I think that 3rd Season Prince of Tennis is the perfect way to depict a sports anime on stage. While I do have problems with some of the actors, which I will not get into, I think Prince of Tennis has evolved into a high quality, mature and great show.

I might be a bit biased as I have seen it live 14 times, I do think that it holds up on DVD.

I don’t think any other sports anime adapted for the stage has got the way to depict their sport as perfect as Prince of Tennis has. While I think it may be the easiest to depict it never looks strange or unrealistic but actually increases the quality of the show I think as the games look so clean.

Overall I think that it is an amazing show that has come so far and there is a reason it has been going on for 16 years.

9. Haikyuu

I think while it might not have as good production value as other shows on this list Haikyuu is so beloved for a very good reason. The actors do very well, it blends comedy and emotion well and has great staging. The comedy in Shinka no Natsu is amazing and perfectly depicts a training camp and evolution arc. I have actually watched a lot of this show I’m just not quite sure how to explain the quality of the stage.

I think it’s quality is very good and there are very few things I would fault it just never blew me away with any elements like those above did

10. Bakumatsu Rock

This one may not seem as obvious to some people and I’m sure very few people would put it in their top ten for quality but for me the costumes are fantastic and the performances of nearly all the songs is very good. The only reason it isn’t higher on the list is I was not a fan of the recast of Cindy and Sensei (I do know Ii got recast as well but honestly I have no problems with his new actor). I much preferred the previous actors and I think, especially Cindy’s original actor, they had something and understood the character in a way the recasted actors didn’t.

I think everything in the original two plays was perfect for the kind of show Bakumatsu rock is and also I still find Sensei’s original actor’s drum playing to be very impressive as it looks so much like he is actually playing.

So that’s the top 10 for quality list, I will do the top 10 for enjoyment next. If there is a show on here and I haven’t mentioned too much about it but have not mentioned only seeing it limited amounts then there’s a chance it’s on the next list and I’m going to go more in detail then

#2.5D Musical #top 10 #mankai a3 stage #kuroshitsuji musical #kuromyu #touken ranbu stage #tousute #touken ranbu musical #toumyu #Bungou stray dogs stage #bunsute #naruto live spectacle #onmyoji stage #musical tennis no oujisama #tenimyu #engeki haikyuu #haisute #ultra musical bakumatsu rock #bakumyu

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sammyhale · 6 years

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J2 PittCon 2018 Main Panel

J2 jump onstage!

Jared: “As is obvious to everyone, we haven’t worked since the finale. So we’re a little beardy.”

Boys are in great moods :)

“So without-” Jensen ...”further ado” - Jared.

They are going around flipping back and forth between each side to decide where to start taking questions & being silly.

J2 are doing a bit of like a Laurel & Hardy bit.

Fan: "I've been watching you guys since I was little." "How little?" "Since you guys started and I'm 18 now." Jared: So...four? Jensen: pretends to faint over that. Jared catches him, helped Jensen up after collapsing like an old man lol.

Jared: “If I could be anyone else on SPN, I’d be Castiel so I could have the day off!” Jensen: Even when he’s working. Jared: That was my joke! You can’t explain my joke! Jensen: I was adding it! Jared says all jokes aside he would still play Cas because he thinks it’d be fun to help the Winchesters out with no agenda.

Jensen would be Baby because she just sits around and gets pampered all day long.

Fan: I think I would be Jensen actually. Jared: But then you’ll get to look at me!

What hair products do you use? Jared: Shampoo, conditioner, beanie.

Jared doesn't know what hair product the on set hairdresser uses on him. Jensen: YOU LOOK AT IT EVERY DAY........actually, to be fair I also look at it every day and I have no idea.

Jared had a quarter life crisis over his forehead, thinking he was losing hair.

J2 shenanigans :P

Jensen: “I think she uses ‘mousse’.” Jared: “Coming to a store next summer: Moose Mousse.”

How many miles do you think the Impala racked up?? Jensen: a lot.

J2 think Baby would have at least a half million miles on her.

Fan: Why did Soulless!Sam smirk when Dean got turned by the vamp? Jared: That's just my face. Even when I sleep I'm like this... *does a grin* Says he always has a shit-eating grin on his face lol. Jared says that Soulless!Sam was smirking because he wanted to see where the story went from there. Jensen: I just assumed you were watching cat videos.

The boys joke about Cas/Misha. Jared: “[Cas] is not dead, just recast.” Jensen: “Cat’s outta the bag.” Jared: “CAS out of the bag.”

Jensen would like Dean to come back in Season 14.

Jared: I would love to see Dean come back, but I want to see Michael!Dean for a few episodes.

Jensen: Christian had a beard when he was playing Michael... so I should...

Jared says he wants to take the opportunity while Dean is Michael to teach Jack what Dean taught Sam.

Jared: In Season 32, when Jack is 18, we’ll get him a girlfriend, boyfriend, whatever he wants! <3

Jared: “The show is gonna end. I don’t think the SPNFamily has to end.” Says he hopes the conventions continue after the show ends.

J2 laughing at each other and their attempts at French

Fan: “Do you need spécial French lessons?” Jensen: “Oh yeah he does!”

..and the dick jokes have begun.

Jensen just turned “process” into a dick joke.

Jensen: we should not be allowed to raise children. Jared: I’m not allowed that’s why Gen ships me away

Jensen: you go first, your process is longer. Jared: why yes it is... lol.

They are being so naughty and Jensen is laughing so hard. Jared: it's all about your process...

Jensen just did the shocker lmao.

Jared likes filming emotional scenes. Jensen likes the comedic scenes.

Jared: “I like emotional stuff.” Jensen: “You would.”

Neither of them like exposition very much

Jensen looking dreamily at Jared

Jared said exposition and asked if the fan knew what that was and Jensen immediately breaks out the Anchorman reference, “I believe it is an old, old wooden ship.”

Jared says it was easy being directed by Jensen: I’ve known Jensen the longest and the best. Jensen knows how I work and vice versa. He knows what to say to me because we have such a rapport with each other.

Jensen: We direct each other on a daily basis anyway. We’re constantly watching each other’s back.

When Misha directed, Jared was more focused on messing with him. Jensen adds that Misha’s strategy wasn’t so much directing so much as survival.

The boys high-five at some point :P

Jared: Our directors know we care about Sam and Dean more than anyone else so they trust us with those characters.

When Richard directed he kept calling them by their character names. Jared: We've stopped trains together in Europe! Call me Jared! haha

Fan: “I’m so nervous.” Jared: “All good, girl. You’re surrounded by family.”

Fan asks about actors’ idiosyncrasies before filming a scene? Jensen says Tahmoh would walk in circles grunting just before scenes. Jared: And he's a big guy. Jensen: So cut to Jared & I watching *stares forward terrified* like "are we gonna get hit??"

Jensen said David gets his Ketch face on before cameras roll and that he keeps the Ketch accent between takes which helps them.

Jensen on Jared: "If we're in the middle of a scene & it's his turn to say a line but he's like checked out, you see him realize he missed his line & he does a loud throat clear & then says his line as if the long dead air was so he could clear his throat."

Jared just slapped Jensen’s thigh very enthusiastically.

Jared: Jensen would chew gum and he would stick it to the roof of his mouth when he was talking and Jared can sometimes see it.

Jensen says he ALWAYS knows the difference between when Jared is leaving a pause for emphasis or to do an action vs. if he forgot it's his turn to talk because of the throat clear. They know each other well :)

Jensen also wants everyone to know that for 13 seasons, Sam and Dean have ALWAYS had gum in their mouths, in every scene. Just to spite his high school teacher who told him she could always tell when he had gum in his mouth.

What would they tell their characters? Jared: Go to Maui. Go to Spain. Cut your hair. There’s nothing for you here. Eat some cheese. Jensen: Maybe not to Dean about the cheese... Jared: You’ve had enough, Dean.

Jared says he would thank Sam for stopping the apocalypse and that he would listen if Sam needed or wanted to unload some trauma.

Jensen would tell Dean to get a little WD40 on the Impala doors. “They’ve been squeaking for 13 seasons”

Jared: I would tell Sam and Dean, “Hey, stop chewing gum!” Sam, stop dying!

Fan thanks J2 for mental health awareness and support of #MeToo movement. Jared acknowledges women and LGBTQ are not treated well still but thinks it’s great it’s being talked about. Jared just wants to listen to people and wants them to know he doesn’t want to hurt them. Wants to be emotionally available so he can listen and help.

What can men do to help the #MeToo movement? Jared says they can shut up and listen to people as human beings. Let them know you see them as people and treat them as you want to be treated.

Jensen: I try to lead by example showing and being the person you want to be and make people proud of. Says it’s something his father taught him (leading by example). If someone is being inappropriate show them by example how to be better. Jensen says you can call people out, but at the end of the day, showing people rather than telling them who they should be is more powerful.

Jared: I think you need a genuine person to actually help you change. I try to be emotionally available to who do suffer. Treat others how you want people to treat you.

J2 are both very proud of those coming forward <3

Who makes the most bloopers? Jensen points at Jared lol.

Jensen: Jared might be “the blooper” or else he’s probably responsible for it.

Jensen gives an example: Jared failing to enter the scene on time was how Jensen lip-syncing to “Eye of the Tiger” happened. Jensen: “I get a lot of credit for that - it was his fault.”

Boys cracking each other up :)

Jared: Watching Supernatural during kids’ nap time should be called “Supernapural”. Stephen: *rim shot* Jared is so proud he finally got a rim shot!

Since Rob left the con early to attend the Felicity reunion at the ATX Festival in Austin, Jason takes Rob’s place to sing the last question with Jensen. He was very unsure what to do lol.

Last question: Jared loves spending time in the vegetable garden with the kids and looking for bugs and animals like frogs and such.

Jared: I feel like a terrible dad. My kids love chasing bugs. It's Texas in the summer, 100 degrees. "Daddy, you chase bugs, too!" I say: "...I'll watch from the kitchen window." lol. Jensen: For me, it depends which kid...& whether I can remember their name at the time...

Jensen tells a story about how he put on a Led Zeppelin vinyl and just stared out the back window and listened to the album with Zeppelin on his lap.

J2 fist bump!

Info via: Fangasm, Michael, Cherie, Olivia, Jess, DWB, Sil’s livetweet list

#j2 #jared padalecki #jensen ackles #pittcon #spnpitt #panel sum #long post #shpost

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takaraphoenix · 5 years

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*frowns*

I think I lost about 25% of my enthusiasm for Stargate with season 8 of SG-1 and the first season of Atlantis.

I mean, first of all SG-1...

Killed off Janet toward the end of last season. Now there is no Janet anymore. I am not okay with that.

Decided to write Hammond off toward the end of last season. Now there is no Hammond anymore. I am not okay with that.

Seriously, 1.) and 2.) makes two out of the six major characters of this show and just why would you do that to me, personally.

Someone decided that Jack should be in charge? Why? Look, I get rank-wise and experience-wise it makes sense, but... Jack is a hands-on man, him behind the desk doesn’t make him happy? And his diplomatic skills are legit shit. That he’s not single-handedly causing a war between the US and Russian is a miracle considering how disrespectful he continuously is toward the Russians...

The shift in narrative due to 2.) and 4.) bothers me too, because it’s no longer the team going on missions, the dynamics change due to Jack’s lack of presence in the field, there is also a lot more bureaucracy now on Jack’s front.

THEY WENT FUCKING FULL DUMBASS STRAIGHT ROM-COM AND HONESTLY FUCK YOU. “The Man and The Woman for dumbass reasons refuse to get together so The Woman gets together with a Genuinely Nice Guy who really adores her and makes her happy but shortly before the wedding she realizes that she still loves The Man” and oh just fuck you. And somehow, the lack of Jack and Sam actually getting together makes this bullshit straight trope ONE THOUSAND PERCENT WORSE. At least shitty rom-com movies from the 90s had the pay-off that The Man and The Woman got together in the end, but this...? What the fuck? Not only does she not get The Man, no, she also lost the Genuinely Nice Guy so... she can now... I dunno, be Forever Alone I guess?? Seriously. If they would either make Jack/Sam actual endgame and had let them get together, okay. Or, if you don’t plan on pulling through with it, at least let them move on from their feelings and find happiness somewhere else? What the fuck kind of twisted mind wants their main characters to spend all their lives pining...?

They now also killed off Jacob. Now there is no Jacob anymore. I am slowly growing weary as to how many characters are actually going to remain until season 9...

So, you could say I have a few issues with season 8. Taking three out of the ten major reoccuring/main characters (Jack, Sam, Teal’c, Daniel, Hammond, Janet, Jacob, Brya’c, Rya’c, Thor) is a third. You removed a third of the characters I have grown fond of. That’s not okay. I am not okay with that.

And granted, I think the reason it bothers me more than it might have is that it takes me twice as long to watch this season as it did with previous seasons due to Stargate: Atlantis being every second episode I watch... and I am yet to find anything appealing about that.

First of all, Elizabeth Weir. I don’t like the new actress. I liked the actress who played her when she was first introduced. And then, snap, recast. And by someone who looks nothing like her. I don’t get those decisions. Like, when I recast A Blonde, how about at the very baseline I am getting a blonde actress...? Not to mention, somehow she just... she rubs me the wrong way, I guess? I can’t explain it, but while I instantly liked Elizabeth 1.0, I instantly disliked Elizabeth 2.0...

McKay is an obnoxious asshat. Sheppard feels like he’s supposed to be that super charming leader, but is 100% trying too hard. Carson... I am still undecided on. Teyla is, I honestly don’t know, meant to be charmingly innocent/naive in demeanor while being a badass but somehow it’s not really working so far. I genuinely like Ford so far.

I think a part of the problem for me is that it’s too many characters at once. With SG-1, you met four characters and got to know them. Six main characters from the get-go is a lot and unlike SG-1 that did put focused episodes into its first season to establish its main characters, Atlantis just continues being team-up episodes instead of focusing more on the individuals.

Still, having two characters not being very lovable, two characters feeling off to me, one somehow so far slipping through so much that I genuinely can’t even faintly grasp him and... only one character I actively like... that’s not a good ratio, especially considering it’s a spin-off of a show where I love everyone and can’t even actively pick one single favorite character?

Perhaps a part of it is that it’s the spin-off of an amazing show. Somehow, that seems to be a set-up for failure because brilliant shows leave you with high expectations for its spin-off, but in the end... different writers, different people in charge, different characters.

What certainly is a part of it is the clash. Bouncing back between SG-1 and “Oh my, the worst threat are the goa’uld!” over to Atlantis and “Look at them wraith being the biggest threat ever!” is giving me active backlash at this point. It kind of just... takes away from the gravitas of both threats, for me.

Though, granted, bonus points for putting them into a literal different galaxy, cut off from Earth, because it removes the usual “Why is there not more crossovering happening?” that spin-off shows bring with them.

And I mean, I’m not giving up yet. It’s only been 18 episodes, maybe it’ll pick up next season and sell me more on the characters. And I am optimistic that season 9 will come around too because they have to realize that this position isn’t Jack’s and that he belongs back with the team, at the very least even if you’re not bringing back my precious characters.

But that first season, especially coupled with season 8 of SG-1 that has a big drop in quality, it overall brings down the enjoyment level...

#Stargate SG-1 #Stargate Atlantis #Phoe's Random Show Rants

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jordoalejandro · 3 years

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The Fifth Annual List of TV Shows I Saw the Past Year

This is another weird year for the list.

For one, a handful of shows are still on some kind of COVID related delay or hiatus.

Two, I dropped quite a few shows. Some I just bailed on because I had no patience to watch another season of them. Some shows I never got around to because I had an Apple TV+ free subscription that came with my iPhone and that ran out and I didn’t pay to renew it. (Here’s my quick review of Apple TV+: the quality of the shows is good but the quantity leaves a lot to be desired. You could probably pay for a month and binge through everything you have any interest in.)

Three, a lot of shows that I’m reviewing here have seasons that aren’t finished. They’re still going. Most are at least close to finishing. Some that have just started I’m going to wait on and review on next year’s list. But a handful of shows on this list are chugging along. I’m trying to factor that into my reviews but it's obviously a bit unfair to the shows. On the other hand, who cares?

So it’ll be a list with fewer entries, comprised of full seasons of shows and shows I watched most of. The list must happen, though. However it has to happen, it must happen.

Here’s the list of shows I’ve watched since the last Emmy Awards.

41. The Equalizer (Season 1 - 2021, CBS) (Last year’s ranking: N/A) - The Equalizer is a fascinating show. You know how with some shows people will say the show is fully realized from the pilot? It’s usually presented as a good thing -- a show that knew what it was from the start and executed that vision. The Equalizer is that but in a bad way. It’s a show that from the pilot has felt like it was already in its tired ninth season, trudging along, writers and actors and everyone just going through the motions because they’re trapped in their contracts. There’s nothing fresh about this. No life to it. Uninteresting plots. Weak dialogue. Characters -- both heroes and villains -- that you’ve seen a thousand times (the nerdy IT expert, the troublesome teenage child of the main character, the generic good looking older white guy boss figure, blah blah blah). A show that’s already in late-stage syndication mode.

40. The Flash (Season 7 - 2021, CW) (Last year’s ranking: 49) - Speaking of late-stage syndication mode, The Flash has been in a creative tailspin for several years now. A big part of the problem is they just have no ideas left in the tank for villains on this show. This leads to them either reusing old ones (which doesn’t have a ton of dramatic impact -- we’ve seen The Flash beat all these people before), or digging through comic canon for the ones they have left (they’ve been unused this long for a reason). The other problem is it turns out running fast as a solution to every issue gets old very quickly. The producers must have felt this, and having gotten tired of telling Barry he has to run faster than he’s ever run before, they’ve switched it up and are now telling him to love people harder than he’s ever loved them before. Beyond the structural problems, the show is just not working on a very basic level. The writing has gotten super corny. The acting seems off. They’ve introduced new characters that are not working. The Flash had my worst rated episode this year and the weird thing was, it wasn’t even a mess of an episode. Like, functionally, it worked. It went from point A to point B and all that fine. But the problem was the titular Flash took off in the first few minutes of the episode to have sex with his wife on an island (not a joke) and didn’t return until the last few minutes of the episode. In between, viewers received a very boring, very boilerplate episode of The Flash, starring one of the new side characters it’s incredibly hard to care about. And she interacted with some even more to-the-side side characters and had some relationship issues with them and on and on until they inevitably saved the day in the end and it was so dull and so pointless that it made me say out loud, “What is this? Why am I watching this? Who could possibly care about anything that is happening on screen right now?” I felt that a lot during this season of The Flash. That was the only time I felt compelled to articulate it, but I felt it a lot. And that’s not a great place to be with a show.

39. Riverdale (Season 5 - 2021, CW) (Last year’s ranking: 50) - Here’s a little insight as to how stupid Riverdale can be. Between episodes three and four of this season (episode three was what would’ve been the season finale of season 4, which was cut short by COVID so at least it's not wholly random, in fairness), Riverdale did a seven year time jump. This seven year time jump landed them in the year… 2021. They shifted everything that happened in the first four seasons of their show, including dozens upon dozens of current day pop culture references, about a decade into the past. And why did they do this? So they could change a few things and then basically keep telling the same exact stories they were telling the first four years of this show. Just stupid nonsense. Stupid nonsense all around. Which, to be fair, I actually used to look forward to from this show. I’ve argued here that it’s at its best when it’s being as stupid as possible, but this year the nonsense just doesn’t seem inspired. They’re recycling some plots. The actors seem checked out. Maybe all the years of nonsense have finally taken their toll on them.

38. Batwoman (Season 2 - 2021, CW) (Last year’s ranking: 43) - Batwoman lost its main actress in between seasons, which obviously put it at a difficult crossroads. In my opinion, the wise thing to do would have probably been to recast as best as possible and carry on. Instead, the show chose to go a different direction and cast a new person to play an entirely new character. There was maybe a way this could work, but you likely have to retool the entire show to get there. Instead, they changed nothing but the main character and inserted her into the middle of the old character’s world, forcing her to have the same supporting characters and deal with some of the same storylines the old character was dealing with. This led to a lot of story beats where new Batwoman had to interact with old Batwoman’s family. What was in season one drama between Batwoman and her sister, or her father, became drama between the new Batwoman and this crazy lady she just met, or this guy she barely knows. As you might be able to guess, this added an air of “who cares?” to the proceedings. Also, the whole season essentially became an origin story for new Batwoman, which was a problem because that’s basically what season one of the show was. It wasn't super engrossing. That said, let me put aside the issues raised there. Having to recast your main actress is obviously a tough situation. They didn’t handle it well, but it was tough. Here’s why this show is still all the way down here on the list: bad execution. Week in, week out: bad plots, bad dialogue, dumb subplots, forgettable villains. A lot of the same issues that are plaguing The Flash. The show is simply not executing. It’s like these superhero CW shows don’t know how to do writers’ rooms over Zoom.

37. Everything’s Gonna Be Okay (Season 2 - 2021, Freeform) (Last year’s ranking: 47) - I said last year I didn’t know if I liked this show or not. I think the fact that I’ve put it near the bottom of my list for two years in a row has answered that for me. It’s a kind of fascinating show in how, I guess… aimless it is. Floating from one scene to the next, one plot to the next, one episode to the next, no real driving force. A comedy that’s not really funny. A drama that isn’t very strong. A few good moments in a season of ten half-hour episodes. Would I have watched a third season? Yeah, probably. Not in a hate-watch way, but also not in a like-watch way. I’m glad it got canceled because it means I’m free of it. Would I recommend to other people any of the shows I’ve seen from Josh Thomas? No. Definitely not. Will I watch whatever Josh Thomas writes next? Yeah, probably. Though I can’t say why.

36. Soulmates (Season 1 - 2020, AMC) (Last year’s ranking: N/A) - This was a short Black Mirror-esque anthology series that ran out of interesting stories to tell surprisingly quick. Like, third episode quick. This show’s problem is that, while Black Mirror has freedom to tell lots of different stories, Soulmates is restrained by its premise: a short time into the future a company creates a test that can match you to your soulmate with 100% accuracy. It’s not a bad premise, but you can sort of imagine how it would constrain the storytelling possibilities. The test matches you with someone surprising, the test matches you with the wrong person, etc. etc. The whole thing was only six episodes and it felt repetitive even within that small amount.

35. Debris (Season 1 - 2021, NBC) (Last year’s ranking: N/A) - Debris was created by J. H. Wyman, who did a lot of work on Fringe, one of my favorite sci-fi shows ever. Unfortunately, Debris was just a pale imitation of Fringe. The characters weren’t strong enough. The ideas weren’t intriguing enough. The episodes were often flat. They just didn’t have enough action or drama or horror or twists or whatever you might be hoping for from a show like this. They’d have a lot of walking around and looking at stuff and people talking about the stuff that was happening and then they’d kind of just peter out. A real disappointment.

34. The Walking Dead: World Beyond (Season 1 - 2020, AMC) (Last year’s ranking: N/A) - You know how teenagers can often be the worst characters on a TV show? How they can exist just to act bratty and make really stupid decisions? Well, imagine a whole show of that. I’m half-joking. It’s not that bad. There’s some fun stuff and it works as a companion piece in this series of shows, but for the most part, it’s a lot of watching teenagers make really stupid decisions and almost getting themselves killed.

33. Stargirl (Season 2 - 2021, CW) (Last year’s ranking: 36) - Speaking of teenagers making really stupid decisions and almost getting themselves killed... Stargirl is a bit of a strange show. It’s kind of lighthearted, but also weirdly dark (more children die in this show than died in all the other shows I watched this year combined). It has some interesting characters and some absolutely ridiculous ones. Some fun episodes, but what also feels like quite a bit of filler. It’s not bad, it’s just also not great.

32. Zoey's Extraordinary Playlist (Season 2 - 2021, NBC) (Last year’s ranking: 20) - The first season of this show was about a handful of things, but the big emotional throughline was about Zoey dealing with the impending death of her father, who had been diagnosed with an incurable neurological disease. While the other plotlines in the show could be hit or miss, there was always emotional meat on that bone, so to speak. Well, minor spoiler alert I guess, but her father died at the end of the first season from the aforementioned incurable disease. I didn’t realize it at the time, but the second season of the show really laid bare how important that throughline was to the whole thing. Without it, the show felt rudderless. There were a lot of pieces of plots but nothing really anchoring them the way her father’s storyline did. Plus, there was a lot more love-triangle stuff, which wasn’t the most original, compelling plot the first season and grew even more tiresome in the second. The show sort of became like late-stage Glee for me, where I stopped caring about the plots and just listened for the songs. That more or less worked with Glee because almost all the people on that show were excellent singers. It works much less on this show because maybe (generously) half the performers are good singers.

31. MacGyver (Season 5 - 2020-2021, CBS) (Last year’s ranking: 26) - It was a pretty weak final season for MacGyver. They abandoned some interesting storylines from last season in a disappointing way. In fairness, it’s because last season got shortened by COVID and I guess for whatever reason they couldn’t find a way to pick back up where they left off. But still, they had a tough time regaining the momentum after they lost it. The cancellation was without warning from CBS, too, so there’s no real conclusion to anything. Just an average season finale that suddenly became a series finale. Tough way to go out.

30. Bob's Burgers (Season 11 - 2020-2021, FOX) (Last year’s ranking: 38) - I was looking back at my episode ratings for this show from the last two years and realized they were pretty similar. Both last year and this year, there was only one episode per season that I thought was pretty good. There was also one episode each year I thought was awful. And then, basically, there were 21 episodes each season that were fine. Just fine. A few laughs. Nothing really engrossing. Worked well enough to keep me entertained and not much more.

29. The Walking Dead (Season 10B - 2021, AMC) (Last year’s ranking: 29) - The eleventh season of the show is currently on-going. That’ll be on next year’s list. This is just for a grouping of six episodes that aired earlier this year. They were extremely forgettable with the exception of two episodes. I enjoyed “One More” quite a bit and I really liked the Negan origin story episode: “Here’s Negan”. Probably one of the best episodes they’d done in years.

28. The Blacklist (Season 8 - 2020-2021, NBC) (Last year’s ranking: 39) - A slight improvement for this show from last year. A handful of average episodes, a few very good ones. A really fascinating choice made at the end of the season that makes me interested in seeing what next season will be like.

27. The Moodys (Season 2 - 2021, FOX) (Last year’s ranking: 46) - I described this show last season as “likeable if not particularly funny” and said if it was to come back, the writing would have to get sharper. That remains pretty accurate. The writing was slightly better, though not enough to make this a truly good show.

26. Falcon and the Winter Soldier (Season 1 - 2021, Disney+) (Last year’s ranking: N/A) - This show was way too overstuffed to really work well, which seems a poor choice made in the writing process. It has like a dozen different ideas it wants to touch on and doesn’t really execute any single one of them in a satisfying manner. The real shame of it is there was a good show in here if they just chose to keep things simple. The best episode by far featured Falcon and the Winter Soldier going on a mission with Baron Zemo. That was it. They went to a shady bar of villains and did some spy stuff. Blew some stuff up. Fought some bad guys. That’s the show! Sticking with a core of that and cutting the 20-something unnecessary side characters would’ve gone a long way.

25. Archer (Season 11 - 2020, FXX) (Last year’s ranking: N/A) - The show returned to its spy satire roots and started clicking again. It’s not at the level of its earlier peak seasons, but it’s still reliable for some good laughs.

24. The Great North (Season 1 - 2021, FOX) (Last year’s ranking: N/A) - Solid animated comedy from two of the writers of Bob’s Burgers. It obviously borrows a lot from the style and tone of that show. I do find The Great North a little fresher. The writing is a little sharper, the stories are a little more interesting (but it also isn’t in its 11th season like Bob’s Burgers so it’s not a wholly fair comparison). It slots in nicely with the other FOX Sunday animation shows.

23. The Simpsons (Season 32 - 2020-2021, FOX) (Last year’s ranking: 37) - I essentially write the same thing every year about The Simpsons. Some highs, some lows. I felt the quality of episodes this season, for whatever reason, was generally a little bit higher than last, thus it’s up here.

22. Duncanville (Season 2 - 2021, FOX) (Last year’s ranking: 34) - It didn’t make the huge leap in quality I was hoping for, but it was consistently above average this season, with a couple of flashes of excellence.

21. Snowpiercer (Season 2 - 2021, TNT) (Last year’s ranking: 14) - Decent second season for this show. Started a bit slowly but picked up in the back half. Sean Bean was a good addition to the cast. If it dropped in quality from season one, it might be because I liked this show as my stupid summer show and season two aired during the winter. High possibility this affected my opinion of it.

20. Chad (Season 1 - 2021, TBS) (Last year’s ranking: N/A) - This isn’t a show for people who can’t handle cringe comedy. It lives there. And if the joke isn’t landing, which sometimes it doesn’t on this show, then you’re just trapped in a scene. But! But the jokes often do land, and when they do, they are very good. It’s also occasionally a touching show. The main character is a little dick, but the show also has a lot of sympathy for him -- he’s the son of immigrants trying so hard to fit in in middle school, to be what he perceives to be normal, in a battle with his own identity, in some of the most difficult years in a teen's life. You hate him but you also feel for him and want him to win. It’s a show with a little more depth than I thought it would have coming in.

19. What If…? (Season 1 - 2021, Disney+) (Last year’s ranking: N/A) - You know how it is with anthology shows: you win some, you lose some. The show is better at coming up with concepts than executing them, I think. Episodes feel a little rushed (generally because they’re trying to tell a movie’s worth -- or sometimes multiple movies’ worth -- of story in half an hour) and sometimes they feel like they just end because they've reached their time limit. Overall though, it’s a fun way to just try different things in the Marvel Universe.

18. Family Guy (Season 19 - 2020-2021, FOX) (Last year’s ranking: 24) - I barely even write blurbs about Family Guy on these lists anymore. It’s very consistent. This is around where it ends up on every list.

17. Alex Rider (Season 1 - 2020, IMDbTV) (Last year’s ranking: N/A) - Fun fact: I watched this show as part of an online paid focus group thing. I’ll just tell you what I told the people who ran the focus group. It’s good. It’s sleek and well-made. It moves just a little too slow for a spy thriller but not to the point of being boring. The show does need a little more life though. Some more quips and liveliness. It’s pretty preposterous on a conceptual level. A teenager is recruited into MI6 to be a spy and save the world. Don’t play that too seriously. Everyone understands this is teenage James Bond, so be that. Lean into it.

16. Prodigal Son (Season 2 - 2021, FOX) (Last year’s ranking: 28) - A fun second and final season for Prodigal Son. They only did 13 episodes for this season so they got to do a little more long term storytelling and fewer cases-of-the-week (this show handles those well anyway so not necessarily a bad thing). The bummer is that the show got canceled without much warning so they didn’t get to wrap things up, leaving on not quite a cliffhanger, but a fairly open-ended note.

15. Legends of Tomorrow (Season 6 - 2021, CW) (Last year’s ranking: 11) - The only show on the CW that seems to be in control of what it’s doing. Not as good a season as last season, but still quality work. Good characters, funny, imaginative.

14. Fargo (Season 4 - 2020, FX) (Last year’s ranking: N/A) - First time on a list for Fargo since the very first TV list I wrote in 2017. An impressive hiatus. I will say, I do think this was the weakest of the four seasons of Fargo. It took way too long to get the train rolling, though when it did, it got much better and delivered four really strong episodes at the end of the season. When it’s on, Fargo can fire on cylinders in storytelling and characters and dialogue that very few shows on TV can match up with. This season’s issue was that it took far too long to be on.

13. 9-1-1: Lone Star (Season 2 - 2021, FOX) (Last year’s ranking: 35) - I've really come to enjoy this show. I think this show found a groove in season two, putting out pretty consistently above-average episodes. It still has a lot of over-the-top silliness, but the characters are strong and most of the plots work.

12. Superstore (Season 6 - 2020-2021, NBC) (Last year’s ranking: 25) - Superstore was one of the few shows to incorporate COVID into their storylines in a natural way and manage to find humor in the situation, so bravo for both attempting that and succeeding at it. Behind the scenes, the show lost their main star, America Ferrera, at the start of the season, which should obviously have been a tough blow to take, but the rest of the ensemble stepped up and the show continued on without missing a beat in quality. Then, after filming nine episodes, they learned that this would be their final season, so the producers transitioned really well into endgame mode, crafting a strong backstretch of episodes to wrap everything up. I would guess with all the behind the scenes stuff and shooting this whole thing in the midst of a pandemic, this was the most difficult of the show’s six seasons to create. The fact that they were able to deliver such a satisfying finale through all of it is very impressive.

11. Fear The Walking Dead (Season 6 - 2020-2021, AMC) (Last year’s ranking: N/A) - I’d say this season was not as strong as last, but I still found it very good, and generally more enjoyable in recent years than the original flavor Walking Dead. A fascinating story choice at the end of the season, setting up an intriguing seventh season.

10. Animal Kingdom (Season 5 - 2021, TNT) (Last year’s ranking: N/A) - Not the strongest season Animal Kingdom has had, but the show is still one of my favorites. This season is sort of about the characters searching for their identity in a new world, which is interesting in its own right but perhaps not as much as pulling off daring heists? I get the sense this season is doing some prep work in anticipation of next season, the show’s last. I’m predicting a very good final season.

9. American Dad! (Season 18 - 2021, TBS) (Last year’s ranking: 23) - A return to form for the show. Much improved over last season for me.

8. Love, Victor (Season 2 - 2021, Hulu) (Last year’s ranking: 5) - Just a minor step down in quality from the first season, I think mostly because the show lost a little focus. Season one was about Victor’s journey to self-acceptance and coming out, season two was more about dealing with the fallout from all that. There wasn’t a super-strong throughline. But still a very sweet show. Funny. Romantic. Very enjoyable.

7. Mr. Mayor (Season 1 - 2021, NBC) (Last year’s ranking: N/A) - This show is going to be good. I’m calling it. It already had a very strong first season with one of my favorite comedic episodes of any show this year in 1.6 “Respect in the Workplace”. Tina Fey and Robert Carlock behind the scenes, a very good cast in front of the camera, this show is set up to become one of my favorites.

6. Mythic Quest (Season 2 - 2021, Apple TV+) (Last year’s ranking: N/A) - Mythic Quest is a fascinating show. For 90% of its episodes, it’s just a very good workplace comedy. And then, every now and then, it just uncorks a truly fantastic standalone episode. Season one did this with episode 1.5 “A Dark Quiet Death”. The show also released a quarantine episode called, appropriately, “Quarantine” that was probably my favorite COVID-related TV episode, one that should serve as a nice time capsule for this period at some point down the road. Season two was an improvement in quality overall from season one, and it also featured a tremendous two-part standalone story (episodes 2.6 “Backstory!” and 2.7 “Peter”). It’s a funny show with good characters and a surprising amount of heart.

5. The Other Two (Season 2 - 2021, HBO Max) (Last year’s ranking: N/A) - Great, great satire of the entertainment industry. Excellent characters. Fantastic writing. Often hilarious, but it also has some depth to it when it comes to matters surrounding the core family.

4. Brooklyn Nine-Nine (Season 8 - 2021, NBC) (Last year’s ranking: 7) - It’s only appropriate that this show ends up here in its final season. I once wrote about this show that I was never excited to see it pop up in my DVR, despite really enjoying it when I actually got around to watching the individual episodes. This final season was essentially a bunch of very special episodes. The show felt it was obligated to tackle all kinds of important real world topics instead of just being a goofy sitcom. It didn’t really work and it made me once again unenthused about starting up an episode. And yet, the show’s actually plotting within episodes and joke-writing ability is so incredibly strong that once I started the episode, I found myself really, really enjoying it as always. The series finale is a great example. Super obvious character arcs, things you saw telegraphed from basically the beginning of the season, and yet, the episode was still pitch perfect. Hilarious and moving and exactly how you'd hope for a show to wrap up. Stuck the landing brilliantly. This was a show that always succeeded in spite of itself. In spite of its premise and its core identity. It succeeded because it was always one of the sharpest written shows on television. Its final season was no different.

3. WandaVision (Season 1 - 2021, Disney+) (Last year’s ranking: N/A) - I really enjoyed the early episodes of this show, where they went to great lengths to capture the setting and feel of various past eras of television. They did an incredible job with the sets and costumes, and beyond that, even the writing was very good at aping the styles of the eras being portrayed. But as much as I enjoyed the early episodes, I really loved when the show took a turn and slowly unfolded into a piece about one character’s loss and grief. A tremendous second gear. A fantastic show overall.

2. The Mandalorian (Season 2 - 2020, Disney+) (Last year’s ranking: 2) - A tremendously fun show. Didn’t lose a step from season one.

1. Loki (Season 1 - 2021, Disney+) (Last year’s ranking: N/A) - Loved this show. Not just from a storytelling perspective. On that alone, it’s an excellent show. Some fun mystery stuff, some mind-bending stuff, clever, funny writing, great characters, solid drama. Beyond that though, I was just loving everything I was seeing and hearing on screen. The sets -- everything from the TVA headquarters to alien planets -- look amazing. The costumes are great. The music is superb. The show just had everything firing on all cylinders. It was brilliantly done.

So there we have it. Like I mentioned, some of these shows are still going on and have a few episodes left in their seasons. I might come back and do some light editing on this list if any of those shows do something truly surprising in a good or bad way in those final episodes but the likelihood is they probably won’t do enough to wildly change my opinion of them.

Or, if you’re reading this in the future, maybe I’ve already done that and that adjusted list is the list you’re looking at!

Wow.

Mind. Blown.

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Annual Lists of TV Shows I Saw the Past Year

#reviews #Annual Lists of TV Shows I Saw The Past Year

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