#i cannot believe this made it into to the episode

[jewishdragon]

If you didnt believe Laios was autistic before todays episode i hope it clears that up for you

we were first shown his special interest, a very autistic trait to have. We get to see him indulge in his interest, we get to see him happy.

but this episode contains the scene that makes it clear Laios cannot understand social cues, tone of voice, sarcasm, or subtlety. He actively suffers socially with other humans.

Shuro is pissed Laios didnt pick up on the fact that he hated Laios, because he was being passive aggressive (at best, Shuro bottled up a lot of feelings), and said verbally he was Laios' friend. Laios takes things at face value, if someone says "im your friend" that's what he believes is true.

He hates that Laios "gets to be genuine". I hate the way he says that "gets" as if its a privilege for Laios. It's a privilege for Shuro who is nobility and has his behavior and emotions stifled. Laios doesnt understand that others are NOT genuine. he's not from that world.

that's why Laios asks "why didnt you TELL me?" and Shuro says it should have been obvious.

it was NOT obvious to Laios, not at all.

And also, that was who Laios thought was his FIRST friend on the island. he thought he made a friend, something actively difficult for him to do.

it devastated him to learn that he was wrong the entire time.

[utilitycaster]

RE: Ruidusborn superstition - It's weird because Matt has had several opportunities to make it about persecution and hasn't. Laura could've made it a stronger point in her backstory with Gelvaan and didn't. This rounding up Ruidusborn and throwing them in jail is a theoretical crime that a bad guy in a cult told them might happen. 

Dealing with the unfair persecution of non Vanguard Ruidusborn in the fallout of this could be interesting to explore, but a) it hasn’t happened yet and b) still entirely the fault of the Vanguard for, ya know, all the crime. I just don’t get why some folks aren’t exploring the actual interesting conflict in front of them (i.e. being tied to something inherently destructive, your parent using you as a justification for her crimes, etc.) and instead make it about some secret twist coming that will totally make Liliana and the Vanguard “correct” actually in order to (I assume?) justify Imogen’s brief consideration of them and dunk on Orym for having the audacity to not be objective about the organization that killed his family.

Hey anon,

This is a very good point re: the actual conflicts present. I know I've been guilty of going hard on Liliana and the thing is I do find her a profoundly compelling and sympathetic villain. I think she was placed in an impossible position by Predathos imbuing her with troubling and at times painful powers; that despite having good intentions with regards to the nature of Ruidus (there is a lot of value in both studying it and in concealing its nature, depending on your perspective) people other than Ludinus were unable to give her answers and so she was easy prey for his cult; and she has since been driven by these motivations so far down the road of the Ruby Vanguard that even when the daughter she has believed herself for so long to be protecting tries to give her an out and asks her why she's doing this, she can't answer but is terrified of leaving. She is very sympathetic. She is very much a villain. And yes, I'll cover Orym in a second.

The following is, by necessity due to the nature of what I want to discuss, going to touch on some real-world politics though mostly in the sense of abstract strategy with very few specific actual positions. I want to note that we are talking about a fictional work here, and while I do have some presumptions regarding the people advocating for the Vanguard, they are just that - presumptions. I will only say that if this is how the people advocating for the Vanguard engage with people in real-world activism (if they partake in that in the first place), this may be a revealing insight into why they are perhaps less than successful.

Every argument in favor of killing the gods ultimately presupposes killing the gods is correct. They are all, ultimately, either tautological (we should kill the gods because they are deserving of death) and assume that the only objective conclusion is "we should kill the gods", therefore anything other than "we should kill the gods" cannot be objective.

I may be repeating myself since I've said this a lot since the last episode but: there as a truly bone-chilling lack of empathy in thestatement that Orym needs to stop bringing up his dead family and get over it and be objective (read: agree with the premise that the gods should be killed). Actually, if you are a person capable of perceiving others as people, you will likely realize that it is cruel and absurd to expect someone to say "this group murdered my family, but because they did so with the correct motivations, I shall stop mentioning it." As you indicated, it's bizarre that Orym is expected to set the wholesale murder - deliberately set up with no hope of resurrection, just to twist the knife - aside, but Imogen is never expected to set aside the (let's face it, extremely tenuous, given that Liliana's been absent for over a quarter-century) feelings about her mother, a person who recruits child soldiers, turned Vax into an orb, and is a general in the death cult that murdered Orym's husband and father. Like, in a real-world scenario, someone in Orym's position very well might have just left over this. Your friends keep failing to consider your trauma? Perhaps it's time to, painful as it may be, find friends who will be sensitive. [I don't want to focus on the shipping or character dynamic aspects with that particularly argument against Orym, but this is a fictional work and I do think another running theme in all sorts of discourse is that you do not need to justify your ships as logical, and when you do, you really do sound like "why doesn't Ross, the largest friend, simply eat all the other friends." There are logical reasons why Orym might not want to talk with, for example, Fearne or Ashton; but also the heart wants what it wants, and again, if you aren't truly ignorant about the way human psychology works you have to acknowledge that.]

Before I move on to other items I want to note I've as of late seen attempts not just to discredit Orym but to pathologize his behavior as self-harming or moral OCD or a failure to get fully over grief (again, an expectation that is not just devoid of empathy but also sets the standard of 'get over grief' as "agrees with me") and not just "hey, this group killed my husband and father in front of me and I understandably will not budge on this particular front. So there's also a growing ableist push, here, because someone doesn't agree with you and will not agree with you and also might want to kiss someone different than whom you want them to kiss.

As of late, the banner of those wronged by the gods has shifted from any of Bells Hells to those of Aeor, and that is a bad sign in a D&D campaign. If you need to set aside the PCs in order to rely on NPCs who have not shown up in the current narrative? You are clinging to a melting iceberg, my man. (More so after invoking FCG as one of the victims of Aeor's demise, rather than someone created to be used for malicious purposes by Aeor; and even more so after they destroyed themself specifically in heroic sacrifice to save the rest of the party from a Vanguard general.). But more seriously, the focus on Aeor feels reminiscent of advocacy for the unborn; or, to take a page from my own personal experiences and move this back into a fandom realm, the way people will frequently more loudly decry antisemitism for depictions of goblins than for, say, the fact that I don't know of an American synagogue that hasn't experienced a bomb threat in the past 10 years. It's very easy to advocate for corpses or fetuses over the living, or for fictional characters over real people who might be less than perfect. Much easier to ensure they never do such inconvenient things as disagree with you or have their own suggestions or be complicated. It hearkens back to some of the conversations I and others had earlier this campaign about a denial of agency because by making characters victims "stripped of choice," (always that phrasing) suddenly they can't do wrong. They make for a shit story, but at least you can feel morally pure about your flavorless cardboard that ultimately means nothing in-world or out. (And if they don't have agency, that means your morality pet can't run away. Or blow themselves up in a stunning rejection of your argument.)

Returning to the Vanguard: an ongoing discussion in activist spaces (and internet ones as well) is that there's a weird ignorance of optics as an important factor in activism. I know it seems frustrating - why can't people just see that this cause is just - but optics have always been a crucial part of any successful movement. I mean, even if you do believe that we need to do more to combat climate change - and I do - my, and most people's response to the environmental activists who keep throwing soup or paint on artwork is "ugh, this again?" I mean, functionally, while the cause is far more just, it's not terribly distinct from the weird-ass He Gets Us ad campaign; most people are going to say "and you're doing this instead of anything helpful...why?" The Vanguard's optics SUCK. Sure, they've fomented some unrest, but it is an unfortunate truth that the vast majority of people will prefer the inherent violence of a stable system that they are used to over violent unrest. For a successful coup or radical change, either you need to strike at the seat of power extremely quickly or you need to show that you are the more, for lack of a better term, civilized option, and the Vanguard has failed utterly in both these. You're going to get a few places like Hearthdell (though, really, how long will that last given that they got rid of the temple without a scrap of help from Ludinus) but you're going to get a lot of places where city dwellers say "ugh, these stupid crystals are so fucking loud, could this motherfucker shut up" and you're also going to get no shortage of places that say "my family member was taken in by this cult" or "these guys murdered my professor". The rightness or wrongness of the Vanguard's politics aside, a lot of people in-world are likely to side with Orym - these people are murderers who disturb the peace and we should stop them. The cause is lost. Is it, in some absolute sense, fair that people will judge you more for how you convey a message than what the message is? No, although if you convey it in rivers of blood, then, perhaps, yes. But it is, fair or not, often true.

Which brings me back to Orym. I think the reason people are stooping so low specifically to malign and discredit Orym is because he brings all of the above uncomfortably to light. He's aligned with Keyleth, who quite frankly until pretty recently was, within the fandom, partly as (understandable) backlash to the hate she received, and partly because she was, if nothing else, always portrayed as someone deeply attuned to the human costs, treated as a morally infallible authority; and she is no friend to the gods yet still believes their demise is far too great a risk to take. Again, thinking of yourself as Exandria's equivalent of the man on the street (Imahara Joe the Plumber?), are you going to listen to "those people killed my husband and father to prove a hypothesis so that they could tether the moon?" or "my mom, who left me when I was two years old and never came back or sent a letter, is one of those people?" And that's assuming Imogen's even going to make that argument, which, as her actions indicate, she's probably not going to. But most of all I think they really don't like that Orym isn't backing down from "That is the blade that killed my father and husband. She is not right." He's kept to this story the entire time, while the positions of others have evolved. And he's telling the truth. Every time he says this, I think anyone who isn't actually a complete black hole of empathy must confront how much of their humanity they are supressing just to make a poorly-argued point about a D&D show and I'd imagine that can't make one feel very good.

I think people are terrified of Orym's conviction, because he has shown, time and time again, that he is not going to be swayed. I don't think, in fact, that he's going to be swayed by seeing Aeor, should that happen, since Aeor was destroyed a thousand years before he, Will, or Derrig were born, and their murders failed to undo that harm in any way. A really good way to turn people away from your cause, even if it's a good one, is killing those they love. And again, it's fine if you see that position as unfair, or ignorant, or even amoral. It's also extremely true. And I think people realize it's true, given that the only defenses I've seen for Liliana have been "well, but she's Imogen's mother" and "well, it's shockingly easy for people to fall into a cult, because this has happened to my family members." Clearly, we agree that people will place personal connections and the pain of those close to them over ideology. Orym's is just really inconvenient for some people, and so he must be discredited.

In the end: the people in the story who at every turn choose manipulation, indoctrination, violence, subjugation, and conquest are saying "This is the way; you just have to trust me." Is it any surprise most people watching the show are saying "No, I don't think I will"?

[funhouse-mirror-barbie]

The Decay of Complex Characters and Character Development in Helluva Boss (Stolas and Octavia’s Relationship: Part 2 of 2)

Part 1 here

I felt I had to make separate part just for “Seeing Stars” because my other post was getting way too long, and I wanted to really focus on the treatment of Stolas and Octavia’s by the writers.

Please know that this is JUST my opinion and not a personal attack on HB’s writers or creators. I’m talking and venting a bit about my personal frustrations with the series regarding what I perceive as being MAJOR plot holes and inconsistencies in the show’s writing.

As of right now—and I do want to acknowledge this could change, but as of right now—it largely seems like any character development Stolas may have gone through after “Loo Loo Land” has been completely tossed out the window.

I personally believe that the writers of Helluva Boss think that they are writing Stolas to be more complex, but he has yet to have to actually be held accountable for his actions, and for breaking his promises to Octavia.

And the way the writers present him has really come to bother me. So I wanted to talk more about it, and about how Stolas cannot become a well-written, complex, and engaging character until the writers let him actually be imperfect and complex.

To talk about this more in depth, I gotta go over the second episode that features Octavia, Season 2, Episode 2 of Helluva Boss—“Seeing Stars”

(TLDR at the end)

To start, “Seeing Stars” is narratively very similar to “Loo Loo Land”. By “very similar” I mean that it’s almost the exact same plot, but frustratingly more clunky. Here is an extremely short summary:

The main crux of the conflict in “Seeing Stars” is that Stolas forgot about a promise he made to Octavia to go see a meteor shower, and ends up neglecting her.

Specifically, he forgets because he is too busy yelling at Stella over the phone due to their contentious divorce. Octavia feels let down by her father again, and runs away to the human realm to see the meteor shower on her own.

Stolas and I.M.P. panic and go after her. Eventually Loona finds her and gives her a speech that essentially boils down to: “everyone’s got hardships and problems but Dads ESPECIALLY have problems. Your Dad is trying really hard right now. So that should count for something right?”

And that comforts Octavia in the moment. Octavia and Stolas reunite, he asks her why she ran away, and she tells him she was trying to see the meteor shower he promised to take her to. Stolas is horrified that he’d forgotten, starts to apologize, but Octavia cuts him off and tells him “it’s okay”, forgiving him.

I rewatched “Seeing Stars” before making this post to make sure I hadn’t misremembered any crucial plot points.

I thought I remembered that, at the very end of the episode, Stolas apologized to Octavia for breaking his promise and then she told him it was okay.

It turns out I had misremembered things, because the writers literally kept Stolas from saying sorry.

This leads to the main criticism I have of Stolas as a character, especially from a writing standpoint. The narrative does not allow for Stolas to ever truly be in the wrong, or for anyone, including Stolas, to fully acknowledge that he is in the wrong.

And I know that it’s easy to go “BUT LOOK! Octavia says “I know, Dad”! She KNOWS that Stolas is sorry.

That’s fair, but for me personally, I think an EARNEST and verbal apology is needed here to show that Stolas has grown.

I’m very lucky in that I have a good relationship with my parents, but that doesn’t mean we never fought or they never said or did things that hurt me.

I distinctly remember a time when my Mom was apologizing to me for something she did, I said “it’s okay” and she immediately replied “No, it’s not okay. I shouldn’t have done that. I’m sorry, and I hope you can forgive me”.

That really changed my perspective on conflict. I think a lot of people, including myself until then, consider “it’s okay” to be a form of saying “I forgive you”. And I’m not trying to police like…basic language and substitute words. But I DO strongly believe in taking responsibility for when you hurt someone.

In all honesty, I think this scene actually could have worked for Stolas’ character development if he had actually acknowledged that, “No, it’s not. It’s not okay that I broke my promise to you. I’m sorry, and I hope you can forgive me, but if you can’t right now, I understand.”

THAT, to me, shows character development. That would’ve shown that Stolas is, at the very least, trying to make an actual effort to change for the sake of Octavia.

Instead, though, SHE apologizes Stolas for running away to try and see the meteor shower that HE promised to take her to. And the writers refuse to even let Stolas say he’s sorry.

Let Stolas say he’s sorry, writers! Let Stolas be in the wrong!!! I promise it won’t make people hate his character!

I mean, jfc, just look at the fandom around Hazbin’s Valentino. That guy could not be more evil if he tried and a lot of fans can’t seem to get enough of him.

My other issue with the treatment of Octavia in this episode, SPECIFICALLY the speech that Loona gives Octavia near the end.

Because. Oof. There’s a lot to unpack. Firstly:

Maybe it’s just me, but I find the way the writers have Loona frame this situation as being really really weird. To be clear, I don’t think it starts off too badly. Everyone DOES have issues, and that can affect the way they act and treat others and make mistakes.

That said, dads are not inherently more messed up or dealing with more difficulties than anyone else.

Dads have issues the same as any other person, but they don’t get special privileges or passes because they’re dads. They’re responsible for themselves like every other person with issues and difficulties, and they’re still responsible for themselves and their mistakes.

It’s especially frustrating because the writers are using Stolas’ “issues” as a crutch to excuse their bad behavior. This happens a lot with writers trying to excuse or justify their character’s actions. The “issues” can be anything from a difficult childhood, relationship troubles or divorce, a traumatic experience, etc. but these things should never be used as a way to excuse a character’s every mistake and flaw.

Effective writing will use a character’s history to explain the reasons a character acts or behaves a certain way, not excuse that behavior. This leads to characters that the audience can become more invested in, and can form different opinions or interpretations about.

A really great example of this is Bojack Horseman, whose terrible upbringing and abuse definitely garner audience sympathy, but the writers never use this to as a justification for the Bojack’s behaviors. Bojack continually makes really terrible choices that hurt the people he cares about the most, and while we as the audience still sympathize with him to an extent, we still get frustrated with Bojack, and be disappointed by him.

The audience finally gets some catharsis from this frustration when Bojack is called out by his best friend Todd for this, after he finally breaks any remaining trust in their friendship with the following quote:

“You can’t keep doing this! You can’t keep doing shitty things, and then feel bad about yourself like that makes it okay! You need to be better! [Bojack apologizes and then continues to make excuses] …BoJack, stop. You are all the things that are wrong with you. It's not the alcohol, or the drugs, or any of the shitty things that happened in your career, or when you were a kid—It's you. Alright? It's you. Fuck, man. What else is there to say?”

In my opinion, Helluva Boss’ writers seem to be determined to write the exact opposite of this sentiment.

The writers frame Loona’s speech to Octavia as a heartwarming moment—a moment where Loona helps Octavia realize that Stolas cares about her and is trying his best, so Octavia should cut him some slack.

This is, quite frankly, a BAFFLING scene because Loona’s behavior for the ENTIRE EPISODE is her assaulting and yelling at her dad. Like, she has given Blitzø absolutely NO slack before this moment, and then doesn’t give him any in the scene DIRECTLY after this, where she assaults him again while he’s in the middle of apologizing to her.

Not only is it odd to have Loona tell Octavia all of this and then not act on it herself, but the whole scene really reads as the writers trying to sweep Octavia’s very valid and real feelings of hurt over her father’s neglect under the rug.

And look. Trying to be better can be important. Trying to change and be better IS worthy of being acknowledged. But at a certain point, as Todd points out to Bojack, you have to actually be better.

In part 1, I talked about how the end of “Looloo Land” had set things up for Stolas to start being more conscientious of Octavia’s feelings and needs. He took the first step of making amends with her, of listening to her and her concerns and fears.

“Seeing Stars” was an episode that could have shown him being better. But instead. Well.

In her speech to Octavia Loona says this:

And to be fair, Loona didn’t know what hijinks Stolas and Blitzø were getting up to in the city. She probably did think Stolas was looking for her.

…Except…he kind of wasn’t…

During the search for Octavia, Blitzø gets mistaken for a famous Hollywood actor, and he and Stolas are essentially kidnapped to be in a sitcom. When this first happens, Stolas is anxious, clearly upset that there search has been further impeded:

He’s scared that Octavia could be in danger, or hurt. Stolas seemingly wants to find her as soon as possible.

Well. Once they get to the Hollywood sitcom shoot, the following scenes happen:

STOLAS WHAT THE FUCK ARE YOU DOING???? YOU JUST SAID THAT YOU DIDNT HAVE TIME FOR THIS ??? BLITZØ DIDNT EVEN WANT TO PERFORM, AND YOU MADE HIM! WHY?!?! YOU DONT OWE THESE PEOPLE ANYTHING? THE TV PRODUCER EVEN LEFT THE ROOM BEFORE THE SHOW STARTED, NO ONE WAS KEEPING YOU THERE!!!

WHY ARE YOU INVESTED IN THIS AND WORRIED ABOUT THE AUDIENCE NOT LAUGHING?!?! STOLAS YOU LITERALLY JUST SAID YOUR DAUGHTER COULD BE IN DANGER IN THE VAN, WHY ARE YOU SUDDENLY SO CONCERNED WITH MAKING BLITZØ ACT IN THIS SITCOM???? STOLAS YOU DONT KNOW WHERE YOUR FUCKING DAUGHTER IS?!?!?

I just…I’m sorry, I just think this episode is so so clunky and so poorly written. I think it may be one of the episodes with the least consistent character writing.

The scene continues, Stolas gets distracted by how attractive he finds Blitzø, and Blitzø acts in the sitcom for so long that even Stolas looks bored and out of it.

At this point in the story, he doesn’t know where his daughter is, if she’s hurt, or in danger, or even why she ran away in the first place. But instead of that taking the absolute top priority for him, he takes time to watch Blitzø make bad jokes in a wig for the whole afternoon.

Stolas isn’t even the one to get them out of the Hollywood studio, Blitzø is. Blitzø has a panic attack about the thought of Loona being taken from him during the sitcom shoot, and that’s what sparks them escaping.

The two escape the studio and meet up with Octavia and Loona, and the episode ends with Octavia apologizing for running away, and Stolas not having to apologize to her for his mistakes because Octavia already knows he’s sorry.

In Part 1, I talked about how at the end of “Loo Loo Land”, the writers set up the building blocks for Stolas’s character development in regards to his relationship with Octavia. S1 E2 of Helluva Boss ends with Stolas listening to his daughter, realizing his actions hurt her, and acting like he’s going to start putting her first.

“Seeing Stars” undoes all of that development. Which wasn’t even that much character development in the first place. Just the kicking off point for Stolas’ growth as a character.

Reviewing this episode made me realize that Stolas’ character development may have actually regressed. He doesn’t keep his promise to Octavia, he starts flirting with Blitzø when he should be looking for her, and wastes valuable time fucking around with Blitzø on a sitcom set.

And listen, I KNOW that Blitzø got Loona to look for Octavia right after he and Stolas got kidnapped by the tv producers. But after they get out of the Van, WHY does Stolas just continue to go along with it? He was so concerned and scared for Via before, wouldn’t he want to get back to looking for her as soon as possible?? And have as many people as possible working on finding her???

Blitzø doesn’t even want to go on the sitcom and for some reason Stolas makes him! The tv producer had left the room at that point too, and Stolas is a DEMON PRINCE, no one was keeping them there!

Stolas gives the reason for Blitzø needing to perform to be “so they can get back to looking for Via” but they can just do that without having to be in the sitcom?

I think the writers might have written dramatic irony into the story without meaning to? Loona tells Octavia that “[Stolas is] down there. Looking for you”, but we as the audience know that’s not true. Stolas wasn’t looking for his daughter. He was watching Blitzø star in a bad sitcom for 5 hours.

This becomes extra frustrating and gut-wrenching for me when I think about Octavia right before Loona’s speech about how “dads are special and have it extra extra bad and try extra extra hard and that’s super important, even if they fuck up and hurt you”

This scene is absolutely heartbreaking to me. This is a 17 year old girl who has been repeatedly let down by one of the people she looked up to and relied upon the most, who rightfully feels abandoned and like she no longer has a home.

Specifically the line “Why does he hate [my mum] more than he loves me?” hits extra hard.

I don’t know what it’s like to have divorced parents, but I can imagine that anyone who has may have had this exact thought. Octavia needs support more now than ever, and keeps getting let down by the adults around her, and it just breaks my heart to see this young vulnerable girl not really have anyone who acknowledges that what Stolas did was hurtful. That it wasn’t okay, and that she’s allowed to be upset about it.

The reason she exists in the story isn’t to be her own person and to have character development of her own. She exists just to be Stolas’ daughter, and to forgive him for his wrongdoings and make him seem like a “good” person because even though he has issues, he still loves her! That makes him a good dad!

And I don’t know how Octavia is broadly accepted in the HB fandom, but I’ve heard that she may not be liked very well, and I don’t understand how anyone could see this scene and think she’s annoying or terrible.

Honestly, I would NOT be as frustrated and disappointed by the writing in this episode, if the writers and the fandom at large didn’t treat this episode like it had a heartwarming and satisfying resolution. If the writers treated Stolas as a complex person who is able to make mistakes, and who still really needs to own up to his actions and take responsibility for his broken promises, I would probably like him a lot more as a complex and nuanced character.

But the way the writers frame Stolas as being in the right, or being the victim, or being fully justified in all his actions isn’t just bad writing. It’s boring. Stolas is a boring character because the writers do not allow him to be in the wrong, to be morally ambiguous or dark, or to be called out or held accountable for his mistakes.

The writers MAY somehow undo the damage they already did in “Seeing Stars”, but given the way that the writers, show creators, and fandom go out of their way to excuse any morally grey, questionable, or harmful decisions Stolas makes, I’m not going to hold my breath.

TLDR:

-Despite Octavia being hurt by Stolas again, the writers refuse to put him in any situation where he’s held accountable for his mistakes

-The writers use Stolas’ “issues” to excuse away his bad behavior. And specify that Octavia should cut Stolas some slack because he’s a dad and being a dad is extra hard I guess?

-the framing of the episode acts like Stolas did everything in his power to look for Octavia when he clearly didn’t (he was goofing off with Blitzø)

-Stolas is ultimately uninteresting and not engaging as a character because the writers go out of their way to excuse his behavior and mistakes even when he’s in the wrong.

-Stolas cannot be a complex character if he is always absolved of the consequences of his actions and is not allowed by the writers to be better (in my opinion)

Also sidebar—WHY DID HE NOT CALL OCTAVIA ON HER PHONE!?!

In the VERY first episode of HB Stolas is LITERALLY INTRODUCED TO US by calling Blitzø on his phone and watching Blitzø in the human world from hell, without the use of his Grimoire!! HE HAS THE POWER TO DO THAT!!!

I was like, maybe Octavia didn’t have her phone for a SECOND before remembering that LOONA FINDS OCTAVIA BY LOOKING AT THE PICTURES SHES POSTING TO SOCIAL MEDIA WITH HER PHONE.

Like Stolas do you not know ur own daughters phone number. AND YOURE GIVING BLITZØ A HARD TIME ABOUT NOT KNOWING MOXXIE’S?? Also when Blitzø is in danger you can pinpoint his exact location, travel to the human world without the grimoire terrify and reveal your existence to MULTIPLE humans with absolute disregard for being discovered, but when your OWN DAUGHTER is missing and you have NO idea why or if she’s in danger, suddenly you have time to run around LA for a day getting into shenanigans???? She’s your DAUGHTER. No wonder she doesn’t think you care about her because I sure as hell don’t after that episode. Lord.

[daftmooncretin]

james Tiberius Kirk is pro choice and pro contraceptives just fyi

[marshmallowgoop]

no thoughts just Heiji Hattori (HD)

[bugchuckles]

approximately One Million Percent on board with hunter potentially apprenticing to dell clawthorne and learning to carve palismen as part of his therapy-slash-redemption arc. flapjack supervises

[the5n00k]

‼️Frightmares on Main Street Spoilers‼️

That new episode was great btw I tore up my throat

[mico-evelyn1]

Kevin Korchinski appreciation post

[list below in no particular order. Also a warning that I will bully Blackhawks in this]

number #55 (look, i just like the number 5)

defenseman (d-man)

ankle-breaker-defenseman (aka he likes to dance around with the puck confusing opponents (ref.1))

1st round, 7th pick overall

1st goal

2nd goal

5 assist

Lil’ scar under his right eye (story)

tried to become an influencer (0:25)

found out he was drafted to Seattle Thunderbirds @ school during a test (0:55)

says "pants" like a little british boy (1:33)

has wanted to rock a fishbowl (5:10) for at least a year

changes his laces every single game

values his NHL EA rating (reportedly)

so pretty it's annoying

his friendship with bedard, although not shown a lot it is quite nice

supportive teammate

followed his father into the WHL (western hockey league) to bond with his father

THIS article by the NHL.

coach (luke richardson) has faith in him

turns out a lot of coaches like him (2:51)

is on the top line of defense (17/12/23: although korchinski is out due to personal matters. Edit: KORCHINSKI’S back baby!!)

this isn't really about korchinski but it's just a cute article

"big bad kev" (11:26)

plays guitar (13:10)

played piano when he was younger as his mum thought it would make him smarter

had to start playing piano sister didn’t like it (18:34)

better piano player than guitar player

this photo (look okay he's pretty i'm sorry for speaking the truth)

chicago is apparently a crazy city (3:24)

his mum is a sweetheart

mama's and papa's boy

was competitive with his older sister (10:33)

according to his mum he was an energetic kid (19:21)

his grandad used to call him the "energy bunny"

he has no idea what his goal song would be but if he had to pick it would be an upbeat rap song

likes country (i'm sorry kevin but no)

coldplay guy (because of his dad)

plays morgan wallen, zac brown or coldplay on guitar

Favourite show is Suits

[tolllthedead]

the ending of screecher’s reach leaves you feeling foreboding and despair and you just know that whatever daal is facing is far worse than anything she is escaping

[crazymecjc]

don your crown of thorns, and prepare to die in your precious sinners’ stead.

[iknowwhereyousleepatnight]

i’m sexualizing those men just for u mikalawlight enjoyers

[gammija]

iiii dont think im gonna post much amagaday about this arc, because i don't enjoy the interpretation that jon was completely innocent in taking live statements, nor do i think basira or especially melanie were irrationally upset at him, and i know a significant amount of posts at least read as if people vehemently disagree

[musical-chick-13]

"Truly GOOD works don't have thriving fandoms because people aren't interested in fixing them, so what do they have to write fics/make art about."

Idk about you, but I don't write fic for properties I don't genuinely enjoy and think are, on some level, actually good.

[gregmarriage]

i may know it’s healthy to interact with people and be social, but that doesn’t mean i find it easy in any way

[geronimomo-spd]

in love with the fact that the first thing Zagreus did when he finally met the doctor again was coming on to him, no hesetation, no over thinking, immidiate flirting, "with my brains, and your looks :)" obsessed with that actually, what a cunt i love them so much

thank you big finish for after creating one of my fave doctor who villens of all time, decided to make him want to immidiately do some hanky panky with the doc

the power! the implications of that!

more mortal enemies of the doctor should do that. i genually thought that Zagrues cannot get any better as he already ticked all of my fave doctor who villen boxes i didn't even know i had, now i can add "next time they meet as mortal enemies must develop a very big need to shag the doctor sensless" to the list

ALSO! the only thing better then a villen played by Paul Mcgann is a villen played by Daphne Ashbrook apperently!!! man was she good!! only when we figured out she was the villen but still wow, she really gave her all in the last 5 minutes

[hersweetrevenge]

rohan campbell as frank hardy estabrook (1x07)