#i would so much rather be very good at one thing than mediocre at many things but theres nothing i can do. and people arent meant to split

[cookiescribble]

Promised Me The Sky, Tossed Me Like A Stone

A/N: It’s been a bit since I’ve posted on this blog so uhh here ya go! I was listening to In Pieces by Linkin Park and got inspired. That song is about Gale’s feelings toward Mystra, I stg (I’m joking but it screams “I was tossed aside by my goddess lover” to me with some of those lyrics). Enjoy tho!- Mod Ghost

Summary: Stargazing and philosophizing with the rizzard known as Gale Dekarios of Waterdeep

Pairing: Gale Dekarios x GN!Tav

“…may I speak with you about something that’s been on my mind recently?” Gale began, breaking the silence between the two of you as you lay together in the grass to stare up at the starry expanse of night with intertwined hands.

“Yes, darling?” You replied, turning to lay on your side so you could look at him instead of the inky blackness above the two of you. He was much more interesting than some blips a few trillion miles into space.

“I’ve been wondering…why didn’t you take the chance to be with Halsin? When he asked you to?” he spoke in a soft tone, one you’d never heard from him before.

“I’m…not sure what you mean. It’s exactly as I told you then, I’d rather be with you. You’re the one I love.” You mimic the cadence of his voice, empathizing with the pain he was clearly feeling somewhere deep within him as you gently stroke your fingers through his hair.

“Why? He’s much more of a man than I, and could prove that to you any day,” He chuckled, but there was no mirth to his expression. It felt cold. Flat. As if he was simply trying to lighten your mood as well as his own.

You felt your heart clench with an aching despair as you took in his question, moving to sit up as you continued to hold his gaze. Even if he wouldn’t tear his eyes away from what was ahead of him.

“Gale…look at me.” You whisper tenderly, taking hold of his chin between your thumb and forefinger to turn his face toward your own in order to urge him further, “You are the one I love, the one I adore, even. Not Halsin, not Astarion, not Karlach…you, and I will continue to tell you the very same even after the day you finally are able to feel that. To know that I would give anything just to see your smile, to hear your laughter. Alright?”

The wizard simply lay there, in stunned awe, for a moment. As if he just didn’t understand that someone could love him so readily, so deeply. It startled him but he was warming up to the idea, letting himself welcome it. How could you find him so alluring anyway? He’s just…

Gale.

He’s just some wizard, a man that spent most of his life with his nose pressed into one book or another. Mystra’s discarded guard dog. If he wasn’t good enough for a goddess of all people, how could he even possibly begin to deserve love from you? The being closest to perfection that he’d ever encountered, let alone been with. The one who makes him forget his goddess, makes it tolerable to live again without her and brightens all the colors of the world just by being there. You were his everything and more, but he’s been so used to giving his all to Mystra only for her to give him scraps in return that weren’t even fully his.

To her, he was one of many. A mere drop in a plentiful ocean of lovers, to the point where it didn’t matter that he was her chosen. When she’d initially picked him, brought him into her good graces, he thought that might change things. Gale quickly learned that wasn’t to be the case, because to her, he was nothing but a mediocre experience at best. She had been what his entire existence was devoted to, and he’d been working to correct that. To slowly detach himself from all the threads that she had sewn into his soul. You make that easier for him, though, by treating him with such gentle care that he was only just now starting to truly believe he deserved.

“…Gale, honey, please…? Say something?” you insist, inching closer and adjusting to hold his face with both of your hands, “It’s quite rare that I’ve ever heard you be silent.” you continue with a tease, trying to summon some kind of reaction from your wizard.

He merely chuckled once more at first, before he spoke, “You…astound me. I have never in my life felt so out of my depth. I’d have plenty of reason to believe you were a siren if we were at sea, showing me my greatest desires as if it were as easy as breathing. Or even a god yourself, but that simply isn’t the case. None of the gods I’ve ever tangled with have shown close to half of the divinity you possess. I truly feel that you were sent from the heavens, but it has taken some doing to realize that it was specifically for me. I love you, too, with all of my heart and soul.” his voice came in almost a whisper, the wind carrying it gently from him to you.

It was more relieving than any balm sold by the best healers in the realm to hear him say that. You smiled, tugging him closer and laying your head on his chest while his hand settled on your lower back. Staring upwards while you lay in his embrace, the vast blanket of stars above you seemed much less daunting now, knowing that whatever was ahead would be conquered with Gale. Getting this far in your adventures together had been treacherous, but it felt effortless at his side. You now realize that it was love that fueled you, that urged you on all this time. To see this through with hopefully a bright future on the other side.

It’s what Gale, as well as you, had more than earned.

No matter what it cost you, it was what you were more than willing to give to him.

“Have you ever thought about killing Mystra?” your voice tore through the silence, almost startling him before he spoke himself,

“What?”

“What? She’s done nothing but–”

“You wish to kill the goddess of magic for…what, for me?”

“Why do you say that as if it’s so ridiculous?”

“Because it’s the goddess of magic!”

“I’m well aware of that–”

“We are not killing the goddess of magic. I use magic entirely too much for that.”

You can’t help but laugh at that, “and that’s the only reason?”

“I’ve long since stopped from trying to tell you that killing is wrong, my love.”

“How very clever of you.”

That ended the lighthearted threatening of Mystra’s life, at least for now, and left the two of you in silence to stargaze until you fell asleep where you lay, a few miles away from camp and wrapped in each other’s arms.

[vaspider]

How many of these far-right nut jobs attacking trans people believe the shit they spew and how many of them actually know that trans women, drag queens, HRT and queer education are all safe for kids and just don’t care?

I think there's a fundamental disconnect between the question that you ask and the answer.

They don't think that being gay is "safe," or that being trans is "safe," at all. Let's get that out of the way up front:

To the kind of person who spends their time attacking trans people, regardless of whether they do it for political expediency or out of a truly deeply held belief, being queer is a fail state for a person. If you are queer, these people think that you are failed. Fully. End of story. You might be a pitiable failure that they can pat on the head and feel good about patting on the head, because they're taking pity on you in your state of disgrace and failure and definitely going to hell, but they think you are a failure as a human being. Whatever else you do, you are a failed person. You could cure cancer and solve world hunger -- not that they actually want those things to happen either, because Evangelicals really believe that the world has to be a total shitheap for their messiah to return -- and you'd still be a failed person.

There is no "being trans" that is "safe," because ideologically, to them, the status of being queer in any fashion is unsafe, it is indicative of failure. You cannot have a 'safe' transition to them.

It's such an utterly broken mindset that it's really hard to convey it to anybody who hasn't lived in that culture or really had to wrestle with it. Asking 'how many of them know it is safe' is like asking 'how many fish breathe air.' By default, the answer is zero, because queerness to them is so completely anathema that there can't be a 'safe' in this situation.

How many of them are that kind of ideologue? A pretty high percentage, honestly. It's a very easy bigotry to carry; it requires pretty much no work. Thinking that another person's innate qualities make them a failure in a way that automatically makes you better than them is a very seductive mindset. "This person is trans, that is a failure, therefore, I am better than them," that kind of mindset means that even the most mediocre dude can feel good about himself simply by not being transgender. Like, seriously, think of the most mediocre transphobe you can think of, and then realize that he thinks he's better than you just because he's cis. Why would he ever challenge or question that thought, that maybe he's the failure and you're just living your best life?

So like... when you realize that homophobia and transphobia are an easy key to feeling better about a shitty life, and that queer people make a handy political cudgel, it's pretty clear that the answer is that 'all of them believe it,' it's just a question of whether they believe it because of religion, or because of political expediency, or because it's the only thing that gives a sense of superiority within a life otherwise devoid of achievement.

But yeah, they think that being queer at all is a fail state for a person, rather than one of the myriad manifestations of human diversity and beauty, so.

[donnatroyyyy]

A (very long) list of my (semi) unpopular DC opinions

The Batfam shouldn’t work together as a whole big group as vigilantes. Whenever that does happen it ends up being character suicide for AT LEAST two of them and also usually ends up minimizing all of them to one of the skills/traits they’re good at (or the archetypes the writer wants them to be). The only exception to this is if it’s a long arc covering an actual catastrophe where each issue covers a duo or trio within the big group. Otherwise they should stick to no more than 4 ppl at a time in a team up. Also, this obviously doesn’t apply to them as civilians, they’re literally family obviously they’re gonna hang out as a group.

The Teen Titans (2003) is the best writing but (one of the) worst teams. On the other hand the original Teen Titans run and NTT run are the best teams (imo) but have either really bad or really mediocre writing. We as a society need an OG TT or NTT run written well.

Roy struggling with a heroin addiction has so many more layers and nuances to it than struggling with alcohol because as a non-meta hero most of his fights were against something drug-related. As opposed to alcohol which is now seen as a normal thing for soldiers/heroes/warriors to fall on as a crutch, this medium uses alcohol addiction with every other character. Roy’s addiction to heroin would literally be an opposition to all that he’s ever stood and fought for, all that his family and friends ever fought and stood for, and way more interesting because of that.

Garth (like Donna) is one of the most powerful and interesting characters but is never given enough panel time. However, unlike Donna, writers would rather write him out of the teen titans before they actually write a good interpretation of him. And I don’t know why but his role in the Aquafam too has been dwindling with time.

Garth’s openness about his inferiority complex and his inferiority complex in general need more panel time, it’s one of the most interesting thing to come out of the OG TT run

This is a complicated take because it’s literally two opposites in one take, but the main difference in characters as seen in old comics vs. now is two things. One, the writing of characters was much better, much more realistic, and much more nuanced in old comics. Two, when there is a well-written character in modern comics its usually a more show not tell character so everything is shown to us through actions and stuff rather than straight up words or them psychoanalyzing themselves in their speech bubbles and that just doesn’t work with modern audiences because media literacy is a dying art. Also, there’s the variable of the influence of fanon over how characters are written in comics but that’s a whole other post.

Roy and Donna are literally THE OTP like I don’t even want to hear it, they’re literally DC’s percabeth.

Every single Teen Titan had an inferiority complex, some were just easier to see.

Selina and Bruce and Talia and Bruce are two very different relationships that can’t be compared. Also they will always live side by side till the end of comics, this love triangle was one meant to last, and it will.

Jason Todd as we know him right now should get the YJ Roy Harper treatment, we need to find out that he’s a clone and the real JT is somewhere in Africa working for UNICEF or something, that’s the only way to fix his character.

Also, ignoring the top one, if DC doesn’t want to commit to that because they’re cowards, they should at least not make him a part of the Batfam yet, it’s too soon for either side.

Kara Zor El is the perfect character to be a white lantern, her arc literally matches up perfectly with each of the rings, and she’d wield it incredibly

Kyle Rayner is top 3 GLs

In my opinion, Diana is best written when the most important thing to her in the world is the world itself. Like, usually I hate the whole “hero would sacrifice u, villain would sacrifice the world” thing cuz it mostly doesn’t really apply, but to her it absolutely does. Diana would sacrifice the closest person to her for the world in an instant if it was for the sake of the world. And this isn’t like an angst thing because they all know it and are all ok with it.

Also, Diana is one of the most if not the most powerful characters in all of DC, if DC did a Deadpool kills the marvel universe kind of thing they should totally use her because she is sooo powerful. (Afterthought: that’s why I hate most of her appearances in anything JL because they underpower her soooo bad)

I say this as a batfamily Stan, the batfamily is the worst family in all of DC and sadly the one that gets the most attention.

The OG TT are the epitome of superheroes in the sense that each and every one of them defines every part of a superhero spectacularly and always has.

Kory needs an arc where she leaves everyone and everything for a while because as of right now, not only do the writers only ever see her in relation to others, but she sees herself that way. She needs an arc where she finds herself in relation to herself, who SHE is. Away from the love triangle, and the titans, and the Titans, etc.

Babs is a better character outside of the love triangle than she is when she’s in it. (Also a better character as Oracle but that only really unpopular amongst writers)

Every single woman character in DC is written in relation to the men in the comics, even WW. The only exception is Oracle, not Babs, but Oracle, which is actually so twisted considering that the creation of Oracle as a character came hand in hand with an event that literally inspired the cloning of the phrase “fridging”

BOP is one of the best teams

Harley Quinn shouldn’t be a hero yet, she was abused for over a decade, we need to see more of her struggle to undo all of the manipulation and heal from the abuse as well as try to undo all the damage she’s done. The Animated Series is the best version of her arc but it’s still not good either.

We as a fandom(s) need to normalize the ability to consume and enjoy things we don’t necessarily agree with. For example, as I’ve stated before multiple times, I absolutely hate any kind of abusive Bruce, however, I still read those long posts about it and I still read fics where dck punches him cuz he’s an abusive asshole, it’s okay to consume media that you don’t necessarily agree with. And same with fanon versions of characters, I HATE coffee-addict Tim, I’ve still enjoyed hundreds of fics with him in them though.

Damian Wayne is the most compassionate member of the batfam and one of the Keats likely ones to willingly kill

Blue devil and kid devil have arguably the most interesting story and tragedy in all of DC and the only reason they’re not given a lot of attention is because their tragedies have to do with something we don’t like to see: the wrongdoings and flaws of heroes, especially ones we like.

Speed Saunders should’ve continued as a character

Hal Jordan should’ve stayed evil for a while, the end of the parallax arc sucks and is a stupid cop out because they weren’t ready for a fully new GL. I don’t think he should’ve stayed the villain forever, but maybe for a few years, especially if that meant they would’ve ended the arc better.

Mera is more powerful than Arthur, always has been and always will be.

Wally West does see Barry Allen as a father figure and vice versa, it’s okay to see someone as a parental figure when you still have parents, especially when your parents are (canonically) borderline emotionally abusive and/or neglectful.

Any iteration of ANY hero being abusive is the worst writing ever because what the actual fuck, I’m sorry, but what happened to the whole they’re literally fucking heroes part??

There are so many characters that deserve solo series (or even mini series) but don’t get them because all the series are already being taken up by bigger characters (looking at you batfam)

So many characters get mischaracterized for the sake of other character’s stories (again, looking at you batfam)

Anyone who thinks Superman is boring either doesn’t understand him as a character or hasn’t read enough stuff with him in it (I recommend All-Star Superman and/or American Alien)

Anyone who relates to the Joker needs to turn themselves in at the nearest police station. (Unless it’s LEGO Joker, we like him)

The LEGO Batman movie is unironically some of the best DC media to ever exist

Atlantis and Paradise Island should be allies (especially once Diana, Arthur, and Mera come into the picture), I don’t know why they’re not

Lex Luthor is one of the most despicable villains because he’s a realistic villain, which is much scarier

Kon should be the next Superman

Connor Hawke should’ve stayed Tim’s age and Tim’s friend, it makes the most sense timeline-wise plus I think their dynamic was super cute.

Comic writers not making Roy openly refer to Ollie as his dad even though they’ve been father and son since they’ve debuted basically is actually so crazy to me

These next few are about Talia Al-Ghul because I love that woman:

Talia Al-Ghul Pre-Morrison was one of the best and most interesting characters in all of DC and that isn’t just my opinion, she was really popular amongst fans and writers for that exact reason

However, Morrison’s damage to her is near irreparable

BUT, if DC did want to repair it, I genuinely believe she’d be the best character they’d have character-wise and it would probably pull in a bunch of new fans

But even if they don’t, Talia Al-Ghul is one of the most important characters in all of DC and comics in general because she’s literally the documented history of WOC in media (especially Arab and Asian women) as well as their relation to white men in media. Her character and how it changes is directly tied to mainstream views on WOC at the time.

Talia Al-Ghul is literally of “I Bet On Losing Dogs” by Mitski, personified

Dinah Lance is the perfect example of a complex character done right and interpreted wrong/not interpreted enough.

If anyone should be the therapist within the hero community it should be J’onn or Red tornado, those are the two that make the most sense.

Helena Bertinelli is more important to the batfam than Jason Todd is.

Cassandra Cain shouldn’t be portrayed as mute anymore, it doesn’t make sense for her character or her arc.

The worst thing to happen to Poison Ivy’s character is Harley Quinn.

Mera is made to be a mother, whether to her own kids (Garth included) or as a mother figure to other kids.

On the other hand, Stephanie Brown wasn’t ready and doesn’t/didn’t want to be a mother, she gave up her baby willingly and will almost 100% not go out to look for her.

Lady Shiva’s appearances 99% of the time are out of character for her, the whole “training with Shiva” thing is also OOC for her, and Cass even existing is OOC for her. The reason that this continues though is because she’s been transformed from an actual character into a character tool.

Stephanie Brown and Cassanadra Cain are a good duo and anyone who hates on one but likes the other misunderstood both of their characters.

Dick hating Jason for what he did to Tim IS in character of him, and, in my opinion, correct of him

The rise in people who don’t like heroes’s pacifism is concerning. People calling Bruce a bad person because he doesn’t kill is concerning. People viewing Clark as boring because he’s a good person is concerning. People liking straight up villains more than they do heroes is concerning.

Anyone who recommends mister miracle should also tell them about the TW in the first few pages

Kingdom come isn’t that good, especially to non-Christians

Big Barda needs her own run. We need a Bug Barda run that covers everything from her origins to where she is now, and we need it done by a female writer who’s good at complex and heavy stories

Some of the most hated comic writers are some of the best at what they do

Chuck Dixon is just as much a blessing to any character he writes as he is a curse

Marvel’s comic writers and artists 80% of the town do a better job with their characters and their arcs than DC writers and artists.

DC should have sensitivity readers because the amount of racism in these comics is insane

It’s okay to put down a comic/run because you don’t like the art, it’s your time no one’s gonna judge you

Alex Ross’s art is actually nice, people just like hating

The Trinity should never be shipped with one another

Steve isn’t important to Diana at all, he’s barely in any of her comics actually, he’s less important to her (or at least to her character) than fucking swamp thing

Batfam is better smaller

It’s better to read the first appearances of characters, it helps you understand them better.

Lois Lane is the DC version of Susan Storm, aka the blueprint of women in that company’s comics, but also one of the most forgotten women in that company’s comics

Comics aren’t going to go anywhere arcwise for the characters long term, that’s the whole point. Batman will always have a robin. Love triangles will always be love triangles. They will all always stay young.

Old campy comics were better than modern comics.

Cheshire isn’t a redeemable character and shouldn’t be one. Women in comics should be allowed to be straight up villains and stay that way.

Cheshire having Lian is OOC. Cheshire leaving Lian is a racist trope.

Asian and Arabs are treated horribly by DC.

The New 52 is actually a good place to start for new readers, it was a good idea, but it should’ve just been an alternate universe (like mcu is to 616 kind of) or something (and it should’ve been down with the supervision of anyone who isn’t Dan didio)

DC has some of the best world building in the history of modern day media/literature especially considering how many facets of this world there were/are to build

Team rosters that are constantly changing are better than stationary ones unless they change too much/too fast

Canon is hypocritical 90% of the time, most times canon clashes and crashes and doesn’t make sense, so don’t worry about it, read a comic, count what you want to be canon as canon, throw the rest into to the “never existed” pile

I’m sorry to tell you guys this, but it isn’t an opinion, it’s an unpopular canon fact, one that even I don’t like: Dick Grayson likes pineapple one pizza

Something that I hate that been on the rise a lot lately is the fact that the fandom is so okay with character being sexualized just because they like how the characters look, I feel like we should keep our stances on this as they are with all over-sexualized characters.

Villains of the week are actually so fun, even more then the big villains sometimes.

JSA needs a comeback please and thank you (I’m begging atp)

Cassandra Cain shouldn’t be Orphan, ever, it makes no sense for her to take the name of her abused. The same way it doesn’t make sense for Jason to become red hood.

Complex characters who are dumbed down once can be dumbed down and mischaracterized every time after that, and this has been done A LOT.

The YJ shows is very much overhyped

The fact that DC overpowers their characters makes them more interesting, not less

Selina was right and in character when she left Bruce at the alter. She was not right and in character when she hid Helena from him, she wouldn’t do that.

Bruce Wayne is more fun to read when he has a pipe and fun colored robes, please give him back his pipe and his fun colored robes.

[brutaliakent]

// Not Tim Drake friendly

Like idk how to start this but I'll just profess by saying that majority of what I talk about is about his fanon characterisation and if you get offended then in the nicest way possible idgaf

Like why is Tim so fucking infantalized in fanon like some of his fans so obsessed with making him oppressed and a victim when he's not. Its like him in comics canon and him potrayed by fandom by 90% of fics I've read are two totally different person.

He's like a mediocre person in comics at best, I dont like him but I dont mind him either. Also he is written as a misogynist and his treatment of his gfs is abominable but I let it slide cuz maybe it was the writers fault idk

But the way fans potray him to be this holier than thou- never doing anything wrong and smartest robin (cue eyeroll) is wild and wholey inaccurate cuz like he's not. Canonically they're all similar iq and they're all trained by a detective so they're quite good at it, Dick was a mathelete and Jason had solid GPA of 94.8 and Tim dropped out of school to search for Bruce. He is tech savvy and good at computers but he's not the only one from the batfamily to be that is he, I'd say Barbara is the best at that but don't forget Dick used to be a hacker too like I've seen some of yall treat him as this one dimensional sunshine person who has eldest daughter syndrome but like he also has temper and he's clever and sharp and if I'm not wrong he even as degree in Business in main dc universe but that's besides the point

Also headcanoning him as asian feels weird and very playing into stereotype of asians being this super smart people (when there's no proof he's anything but white in canon)

Fanon also for some strange reasons hold on to Jason and Damian trying to kill him and saying how much it would have caused him trauma while completely removing him from the scene except for that scenario. Let me explain for example Damian trying to kill him where they forget the instigator of some are Tim too like he was legit 17 yr old beefing with 10 yr old bffr, did we also collectively ignore him putting the same 10 yr old on a hitlist like... yall act like this was a buffet and you can pick and choose but the thing is that you can pick and choose what to accept from canon but if you're picking Tim being attacked by Dami then maybe mention what he did too instead of victimizing him

Just kinda throwing it in here cuz we're talking about it, Dick didnt fire Tim from Robin because of bad faith, I'm pretty sure it was Alfred who gave Damian the Robin suit first but Dick didnt want Tim to be Robin because Dick saw Tim as an equal rather than a sidekick.

Also the big deal of Jason's attack on Titans Tower irks me a little but like pls remember that Jason made a last minute decision to go there and just beat the shit out of Tim and that's it and it wasnt nice of him to do that but I support his wrongs too

Since we're talking about Titans Tower fics anyways I also find it incredibly peculiar that writers (fanfic) potray him much younger than he was like Tim was 17 during UTRH and around 19 during Teen Titans #29

(Also pretty sure like 99.9% sure that Jason calling Tim 'Replacement' also came from fanon and it was from j*yt*m shippers so like 😵‍💫,, although Jason did call him 'Pretender' in Batman Hush a few times)

(Also highjacking this to talk about Pit madness cuz for some reason there are too many fics about it so like please remember that pit madness and the extent of it is just a fanon thing there is no proof of it happening for more than 5 mintues in canon and Jason was not the only one besides Ra's to use it but Cassandra has also been in the pit... So like yeah Jason did some fucked up shit post resurrection and he did it willingly no supernatural green pool was involved and its ok ❤️, like let him be his own person)

That went majorly off tangent,,, anyways also Tim was never abused physically or otherwise by his parents, they neglected him and child abandonment too for sure (ALSOOOO He spent more thanhalf of his school life in boarding school so it probably won't count as child abandonment but I dont know if its canon to main universe so I'm just putting it out there)

Adding to that is a fanfic issue that is around the potrayal of him in fics where Jason didnt die or wouldn't die and Tim joined the family early, most of those are pretty harmless and wholesome and this is not the critique of those writers so don't take personally but idk how it got so polarising and popular that Tim was a tiny kid and when he and Jason met younger (most fics I've read were from 3rd pov or Jason's pov) and in most of them it is stated that Tim is smaller for his age and Jason mistakes him for a younger age which just doesnt make sense. Like it would be one thing for someone else like Dick or Bruce to make that assumption and entirely different for Jason cuz CANONICALLY Jason was shorter at 15 than Tim was at 13 and it makes sense cuz Jason was malnourished which resulted in stunted growth rate, so like you're telling me that Jason at 15 saw 13 year old Tim and assumed he was 9 like it just doesnt make sense to me

And look this may be seen as nitpicks (and it probably is) but if it was in smaller quantity it could be ignorable but its everywhere and my patience is not endless and I'm fucking tired of him.

Also just to throw that in that all the bulleted points while in themselves alone may seem annoying but harmless, arent all of them together as fanon perception of him just infantalising him overall like its not they're true or anything...

Like lets be real Tim was just a blatant robin self insert, he was 13 when he went to a grieving father whos son was recently murdered and basically blackmailed him into making him robin cuz he thought "Batman needs a Robin" like dude you're 13... also can you imagine how Bruce must have felt in situation like but I dont think blaming Tim for this is right cuz he was a child and he didn't know better

Glorifying a white, rich (because yes he was rich enough to be neighbours with Wayne) character and demeaning and villanising a person of color and a dead poor person (cant keep track of how many times there's implied or outright said that Jason's death is his fault and how Tim's much smarter than Jason and better than him despite having no street smarts on him and being a trust fund baby)

Howevere, it'll be incredibly in poor taste to say that those weren't rooted in racism and classism [because they were] and its not Tim's fault his writers were disgusting but it is furthered and accepted and preached in fanon so like that's no excuse imo

Also if we include him with Robins he is not that special like he dont stick out ... and he terribly lacks any creativity and imagination like he took the mantle of robin and then red robin which like he didnt think through.

And like I'm not dismissing his trauma from attempts on his death but he was robin for 3-4 years before Jason tried to kill him I'm plenty sure he's used to his life being in danger comes with job description and if he didnt want that.. well nobody asked him he served himself on silver platter to be traumatised so yeah

So yeah fanon tim is my number one enemy and idc about him in canon and if you disagree with this please make your own post

This was a long vent of a short(lmao) list of just things that bother me

[marley-manson]

Finally watched the Xena finale, thanks to the fanon episode order treating it as a midseason soft finale that gets fixed by When Fates Collide lol.

And man, it really was a hot mess. I could barely follow the plot, and many aspects were very arbitrary and like, revealed off-screen. The most hilarious of course being Xena suddenly announcing, like a minute before the end of the episode, that oh actually apparently she has to stay dead, sorry Gab, xoxo

It is VERY Xena though to have a plotline where Xena anticlimactically dies in the pre-credits scene at the beginning of part 2 and both you and the characters assume for the rest of the episode that she's going to come back to life like usual until the tragic twist lol.

Akemi was... resoundingly mediocre as one of Xena's exes. Her only personality traits were 'proto-Gabrielle' and 'wants to kill her dad.' Also like... was there incest subtext there? Like it was implied that the little creepy afterlife she was in was like, her dad's ghosts' personal brothel or something? But like I said, the plot was very hard to follow.

The themes were also a mess of course, it's been said many times but yeah ignoring the central theme of the show (atonement is pointless if you're doing good now) in favour of redemption thru death was dumb, the set up was dumb (we're blaming Xena for 40k deaths because she set a couple dudes on fire in self defense? Man at least give me an actual deliberate atrocity here), and choosing death over Gabrielle was like a dumb reverse Ides of March. Also Gabrielle just going like, 'damn okay I guess, bye forever,' was unbelievable. Even if Xena wants to backslide, I'm pretty sure Gabrielle would force her to come back to life anyway, fuck those souls. Like, it's not even clear how Xena's death helps them? Killing Akemi's evil dad again freed them from torment or whatever, who cares if they don't get avenged? What is a state of grace? How will they be lost, if she comes back to life? People go unavenged all the time, deal with it.

That said, I'd been under the impression that somehow Xena's death here contradicts the whole reincarnation thing, but I didn't get that at all? Idt there's any stipulation that she has to stay in the Japanese afterlife, just that she has to be killed and stay dead, and it does make sense since in their next lives Xena is a lot older than Gabrielle, so she should logically die a few decades earlier.

On the more positive side of things, it was very fun to see Gabrielle shining as ~the new Xena~ Love to see her kicking that one dude's ass twice, and the moment she catches the chakram is super cool. The non-Xena chakram-catch has always been framed as an 'oh shit, this woman's gonna be hardcore as hell' moment in the show so I love that they use it to show how far Gab's come.

And of course, gay gay gay homosexual gay. Like, season 6 is the point where I would say it is textual if only the show didn't go out of its way to scream "IT'S STILL AMBIGUOUS" a couple times lol (reporter's question in You Are There, fans in Soul Possession saying "yay Xena and Gabrielle are finally together" when they hear Harry and Mattie are married, eg.) "If I only had thirty seconds to live, this is how I'd want to spend them: looking into your eyes. I love you, Gabrielle." Like goddamn. I appreciate this cast and crew so much. Plus the incredibly thinly veiled makeout scene <3

Finally, while I think her chatting with Xena at the very end was meant to be more metaphorical or symbolic rather than literally Gabrielle talking to herself, it was an unfortunately funny image and a pretty terrible final scene imo. I do like the 'I hear they're in need of a girl with a chakram' reprise though, I gotta admit. Go kick some ass babe <3

And despite very much not liking that Xena dies in the finale, I would still read/watch the shit out of Gabrielle's now-single adventures as a just-as-invincible gay hero, kicking ass, fucking women without ever settling down with anyone, telling stories about Xena and becoming even more famous herself.

[longagoitwastuesday]

I am liking Jujutsu Kaisen, way more than I imagined I would, but I foresee it will let me down and it's keeping me from enjoying this as much as I could haha

I think the characters and dynamics are well set, and I think many of them have an incredibly good and deep potential, but I would be willing to bet they'll not get a proper development, enough for them to really hit. A well assembled set of gears is not enough to make the movement go, you have to wind the clockwork.

I think Gojo and Megumi have a fascinating and very complex dynamic, but I doubt it will be given the time and care that imo it needs to actually work. And it is going well enough for now! One could see the intimacy between them was deeper than the one Gojo had with, say, Yuji and Nobara ever since the very first few episodes despite the fact Fushiguro too was a first year. But the pieces forming what they have are extremely complex, and it just wouldn't be realistic if it doesn't show, even if in a not showing way, or if it doesn't have consequences or implications.

It's one of those dynamics that shape one's life, the way one regards the world, the way one establishes or not relationships with other people. It's one of those dynamics that could be full of fondness, gratitude, resentment, admiration, trust, and that imply intimacy, the good kind or the bad, even if in just the knowledge of someone who's been a constant through your life. It could, and would, imply a myriad of feelings, and probably in such a mix it could imply contradictory feelings too. Even the nothingness would weight, even the nothingness would be significant and meaningful.

Gojo took Megumi and his sister under his wing, the son of a man who murdered him, because of both selfish and selfless reasons. Megumi looks like Toji. What does Gojo feel about this? How does Gojo deal with this? How does Gojo go about taking care of Megumi? Would he walk him to school? Make him breakfast? Celebrate his birthdays making him blow candles? Did he take him to the zoo? Does the relationship between them feel professional or is it something more? Gojo appreciates his students, but is Megumi to him just another student? When Gojo faces Sukuna in Megumi's body, did he see the kid he raised, or does he just see Sukuna in one of his students' body? Did he have one faint wavering instant? And how does Megumi feel about this? Is he resentful of him? Resentful of the situation? Of the selfishness behind his actions? Does he feel like a pawn? Is he grateful? Does he resent feeling grateful? Would he rather not? Does he love Gojo? Does he feel nothing about him other than what he could feel about a teacher that sort of annoys him but knows he's reliable in his strength? Does he think it unfair, cruel or unfeeling that Gojo is close, closer perhaps, with Yuuji or Yuta, considering their story? When Sukuna slices Gojo in two, does the remnants of Megumi's soul tremble?

And not just Megumi and Gojo. Yuuji and Nanami, Gojo and Nanami, Yuuji and Fushiguro, Nobara and the boys, or Nobara and Maki, Todo and Yuuji or Yuta, Gojo and Yuta, Megumi and his sister. Gojo and Geto, even! If the pieces are well set, the dynamics are intriguing, interesting, and have potential to be deep, but then the characters have like two plot relevant scenes that punch you hard, but little more, it's not nearly enough. Especially not nearly enough for the enormity that is shonen dynamics and situations. And the potential existing at all, and then not delivering, makes it all the more frustrating when you're left with something mediocre that could have been so good.

The development of dynamics through not only a few plot relevant gut wrenching moving scenes, but also the smallness of life, is important. The friend who recommended this to me said that those things were just unnecessary filler, but I disagree. I think there's a big difference between a large amount of anime-only filler episodes whose existence is based on the fact they had run out of manga chapters to animate, and moments of quietness. The low stakes character-driven moments of quietness can be so telling and so insightful, and they are so satisfactory when brought back later in higher stakes situations. My friend teased me there was no scene of Gojo making breakfast to Megumi, that it would be an idiotic idea, but it would be so telling. How he makes breakfast, what they eat, if he tries hard or if it's all mechanised, if they have personal bowls or if they use whatever, if he just buys them some pastry on the way to school, if the way they have breakfast changes through the years, or if he doesn't make them breakfast at all! All that would be very insightful on their dynamic and its evolution. All that would give a glimpse on how they regard each other and why, even in the present. All that could become meaningful in tense situations and high stakes scenes.

These moments also let the plot breath; if a lot is happening all the time, if every character is always experiencing trauma after trauma, the entire story is so emotionally draining that at some point you don't even care all that much. Besides, these nothing moments or low stakes plot arcs, besides deepening and developing dynamics, also let some in-world time pass, which would make the intimacy and bond between characters more believable imo; between Yuuji eating Sukuna's finger and their last confrontation in December how much time has passed? A few months? Am I truly to believe these characters are so everything to each other in only a few months?

Without some smallness, some repetition, some daily life, some low stakes not plot-centric development, the dynamics don't hit, they don't truly feel fleshed out, and dynamics as complex as the ones Megumi and Gojo have, or as supposedly meaningful as the one Megumi has with Yuuji or his sister, should be fleshed out if they're going to exist at all. Otherwise they'd risk making the writing feel awkward and fake. Besides, if the dynamics felt well fleshed out and realistic, they would shape the way the characters interact and act, and how they deal with situations, thus being plot relevant.

The shonen genre has so much happening all the time, the stakes are so high, the dynamics are so rooted in big events and the relationships carry enormous weight and implications. Yet they barely get developed, and it feels so stupid, so plain, the absence of something so important noticeable like a constant void, a shapeless nothingness present in every scene. It makes the characters feel like cardboard figures. Jujutsu Kaisen is already getting a better job than many, but I doubt it will do enough for what I've heard, and I fear I am bound to feel let down, and bound to feel unmoved.

After all, if not enough time and care has been given to develop a dynamic, I am not going to feel pressured by the high stakes; if not enough time and care has been given to develop the dynamic between Megumi and Yuuji, as good potential as it has I am bound to feel little for this last confrontation between Sukuna and Itadori, and his effort in getting Megumi back.

[quindriepress]

We’ve worked with so many fantastic creators over the past two years, all with different styles, creative processes, and approaches to comic-making. Here’s 16 artists’ advice for aspiring comic creators!

“You really just have to do it. Start something, get that experience, finish it or not - move onto the next project. Gotta keep going. Comics take time. Might as well start now.” - @sticksandsharks

"Read comics you love and try to figure out why they are so good, read as broadly as you can and try as many different styles and ideas as you can. Follow what is fun and interesting to you, rather than what seems like the “professional” or “right” way to do it.” - @toadlett

"Start with something small, maybe a few panels or a few pages, and finish it. Then do the same again. Making comics can be a very solitary activity, so find others that are doing the same thing, and do it with support.” - Julie Campbell

“Don’t wait until you’re a comics master to start making something, you will learn so much more by sitting down and drawing. You can always come back to your original idea and try it a different way. You might love your next attempt.” - Jem Milton

“Tell stories YOU want to tell. There’s no real value in chasing trends - others are already doing it after all. What people are interested in is reading the story only YOU can tell. You have a unique life experience that no-one else can replicate.” - Chris Manson

“A simple, practical piece of advice I would give someone would be to get a cork board. Being able to use a cork board to lay out your thumbnails is very useful! Just seeing it all laid out can help reduce the anxiety of a larger project.” - Thomas Heitler

“Finish comics. A mediocre finished story is always better than an unfinished/unseen magnum opus. Making mistakes and bad art is something everyone should get used to.” - Jack Devereaux

“Try to entertain yourself and maybe one or two other people. Make comics for in-jokes no one else understands, or ideas that come to your mind. Try not to think about doing everything all at once.” - Robbie Kieran

“Don’t worry too much about finishing things. Even an unfinished project will teach you an incredible amount. Don’t let a fear of an unfinished work hold you back from starting a project that you’re passionate about.” - @ariadnearca

“Drop the ‘aspiring’ and dive in. Have you already doodled the cool scenes you’re excited about? Then congrats, you’re a comic artist. Get started on page 1 so I can see it.” - @spiremint

“Create the stories you want to make and that you want to read. Forget about what you think a publisher or a potential audience might want.” - @domduongart

“Make sure you’re making comics for YOU, not what you think other people want! If you have enthusiasm for your project, it will always shine through. If it’s a slog, and you’re not enjoying it, hit the bricks!” - @elljwalker

“Keep going. Keep obsessing over those things you love. Keep making things. Keep sharing them with people. Take breaks.” - @pppondi

“Your comic will never be perfect, but thats okay - it’s good even! You learn while you work, even if it’s just learning what you would change next time. It’s good to make mistakes, it’s good to learn and grow.” - @kroovv

“If you want to be a creator, you should create for yourself. You’ll always have an audience that way. I think people that appreciate good comics can see work that’s honest. Just be yourself. There is always a place for you.” - @prehistoricfrog

“If you have a story, get it down. You don’t need to consider yourself a comic artist to make a comic. If you can draw, and you need to say something, just start drawing boxes and see where it goes.” - @bethfuller

If you’d like to pick up a comic from any of the artists featured here, check out the Quindrie Press shop or the Kickstarter we’re running for our new comic collection!

What's your advice for people who are just starting out in comics?

[justatalkingface]

I have to say, I've always been a fan of the idea of Kirishima being Izuku's best friend, rather than Bakugo's. I just think the two work off each other as the "extrovert trying to get his introverted friend to come out of his shell more" better than his and Bakugo's "I can fix him" one.

Plus, both have experience dealing with bullies and trying to defend the helpless from said bullies. Hell, Kirishima would commend Izuku for sticking it out all the way through, whereas he needed Mina's help with his. I really think Kirishima would be a great motivator for Izuku to get stronger and to voice his opinions more. If Izuku was having an especially bad day, I see Kirishima being the type to say,

"Hey man, don't put yourself down like that. You're one of the strongest, manliest guys I know. Even up there with All Might and Crimson Riot. Come on, lets head to the gym to get your mind off things. I'll spot ya."

Kirishima would provide so much positivity and motivation to improve, that I feel Izuku would only come out better with him as his main homie. Not to mention it would give Kirishima even more screentime, which I would love.

Though admittedly, my love of Kirishima is also why I hate that Hori paired him with Bakugo. My man deserves a better homie than that asshat.

...You know, when you look at Kirishima as, like, a character that someone put in a story, rather than as a person, there's something weird about him. You know what it is? Kirishima is basiclly Izuku. He's Izuku if he had a 'mediocre' Quirk; a bit of a coward at the start of his story, with self doubt, but he still genuinely wants to help people, and forces himself to grow and push farther when he decides to apply to UA. And when you strip to the bare bone themes like that, it's Izuku's story, without Bakugou and the Quirklessness there making his life miserable.

And, with that in mind, and that one comment Hori (apparently) made, that Izuku was supposed to be sad that Bakugou took Kirishima's hand... it feels like Kirishima was made, or at least given development, for Bakugou. Like, Kirishima and Bakugou is the friend dynamic of Bakugou with Izuku that so many people want them to have, what fanfic stories are written for, what people in story apparently (god knows why) seem to think they have, and when you look it that way it's... interesting. It's a very interesting choice to me.

Like, Hori apparently (I can't cite any of this Hori shit) regrets how far Bakugou went in the first chapter; it makes me wonder if, like, Kirishima is his wish fulfillment in that sense? Like, he's imagining a version of the manga where Bakugou came in with a lot less baggage, and that dynamic is him doing that sort of friendship without actually changing the story?

On the other hand, though, I'd have to be blind to that dynamic seems to exist to soften up Bakugou's image, to show that he's not all that bad, without really making him improve actively.

Regardless, no matter how you look at it, in a meta, 'why does this character exist' kind of way, Kirishima literally seems to be in the manga only for Bakugou's sake. I mean, his friendship (or 'friendship' maybe) with Bakugou, isn't helping him beyond giving him more screen time. And your right, it's a shame, because he and Izuku would get along really well.

Part of it, of course, is that they exist in a similar kind of positive wavelength, both being really wholesome people. Kirishima is really outgoing, and it seems natural that he would try to reach out to Izuku, who canonly is almost pathetically grateful for even the tiniest smidge of even vaguely positive interactions, especially at the start, much less someone just flat out being nice to him. Meanwhile, Izuku is naturally supportive, and would be great for Kirishima in turn, supporting him on his low confidence moments and encouraging him to be more confident about his Quirk and his own abilities.

Overall, it's a firm foundation for a good, wholesome friendship, one that would easily continue to continue on even when both of them eventually grow past their own doubts, and something that'd be nice to see, but by the time Kirishima got any characterization, he was already set up for Bakugou, and of course we could dilute that dynamic with him doing something else.

[mask131]

Alright, after all this time, here is my opinion (kind of review?) of Netflix's The Monkey King, aka The Monkey King 2023 (at least one of the Monkey King movies of this year). I haven't done movie talk in a long time, but here we go. Also, spoiler-free!

Let's begin with the question everybody wants to know about. Is this movie bad? Definitively not. You cannot say in good faith and honesty that it is a bad movie. If you really disliked the movie, the most you can say is that it is "average" and not average as in a "mediocre, okay, decent, basic" kind of way - average as in "the bad elements are balanced by great ones". But if you ask me, the movie is good. Or more precisely it is "Good, but not without its flaws". It does have some little flaws here and there that prevent it from being an excellent or perfect movie, but it is a good/great movie.

Let's talk already of the little flaws first. Many people have already pointed them out before, so I won't expand on them much. I will say that I watched all of the movie in one go, without stopping, without even realizing how time went by, I truly watched the movie with ease and in one go - I originally just wanted to watch the first part and then stop and take it back later, I ended up binging the whole thing, so you know, classic Netflix type of product where you just do it all in one go (which is a good sign!). There was just one moment I cringed a bit, and that forms the weakest segment of the movie for me, and it is the second part of the "fake orchard of immortality" scene. But this is tied to the way the Dragon King and his minions are handled.

The Dragon King is a very cool-looking character based on an excellent idea, but I have to admit that it is one of the most... surprising elements of the movie because while in some scenes he is written as a great character that works, in other scenes he dangerously borders the overdone cliche. Overall he is an enjoyable villain and a good character that fits in the whole created world, but I admit some of his jokes fall a bit dull for me (though the finale made hm even greater than before - in all the senses of the term). It is a bit in the image of his villain song, "Take the world by storm": when I first heard it I cringed at some lyrics and jokes in the beginning and wondered why this song was here, but then I re-listened to it, loved it and it can't get out of my head. It perfectly translates the Dragon King character as a cool concept and great idea that sometimes is pushed a little bit too much when things should have been a bit more subtle or shortened. Another thing that I would call ambiguous is the heavy influence and references to Disney movies, of which the Dragon King participates as he is the most Disney-villain villain a Netflix product ever created. I think all this Disney influence will split people in two - on one hand some people will dislike it because they will see as just copying what has already been done before, and perceive there a lack of true imagination ; on the other hand some people will love it because they will get back the feeling of the Disney renaissance movies and will appreciate the homage and having back traditional Disney villains and characters "as they used to make".

For me the biggest "flaw" if you can call it a flaw - which isn't really a flaw because it doesn't "hurt" the movie, it would be rather... the biggest "blend" of the movie is the way the new plot is handled. Because the writers of the movie took no real risk, took no chance when devising a new plot to convey the movie. I am not talking about the adapting part - because they did a wonderful job at adaptating in a simple and concise way the entire whole first part of Journey to the West, into a simple, easy to understand, one hour and a half movie mostly aimed at a young audience. And that is definitively one of the good points of this movie, because it isn't an easy feat at all! But as a result, to make sure they reached this state, they went with a plot that is absolutely "classic" in all the senses of the term. Everything was expected, nothing in terms of plot-twist or plot-advancement felt new, I could already guess what could happen and where things were going. Mind you, I am an adult who watched numerous Disney and Pixar movies and who knows Journey to the West and several of its adaptations, so of course I wasn't going to be surprised. Again, this movie clearly is aimed at a young audience - one without an extensive cinematographic knowledge, and one probably unaware of Journey to the West, so I guess for this target audience the "generic-ess" or "bland-ness" of the plot won't be much of a problem. Plus, I am forced to concede that the new plot to convey the events HAD to be as simple and classic as that, because this was the best way to again, simplify the original material to create an easily accessable, reachable and understandable movie for an audience unaware of the source material or not familiar with the culture it came from.

Some people have also pointed out that "the cultural mix sometimes work, sometimes doesn't". I agree with this too. Because one of the specificity of this movie is that it tries to truly be a modern piece (and thus goes with the Percy Jackson, Asterix and co treatment of having more modern elements in Ancient China), and it tries to truly be a Chinese-American movie, by mixing purely Chinese landscapes, material and characters with American references and influences (such as the Disney one). Sometimes it works in funny way (I can't stress ow hilarous it is to have Sun Wukong live in a Disney-like universe), other times it makes you wonder if this was a wise decision.

So anyway, that was the little flaws that prevented the movie from being perfect. As some reviewers said "It is great, fun, fast, hilarious and cool-looking, but a bit odd from time to time."

But what about the GREATNESS of the movie? Oh, the things I saw, the things to say!

If the creators of the movie did not take any risk plot-wise, on the contrary they took all the risks with the visuals. Can I just say first that the animation is absolutely gorgeous and wonderful? And I want to stress something that many cynical or worn-down reviewers tend to forget: today's technology, and today's animation, is something wonderful and majestic and a prowess of technology and technique. I remember when everybody bashed on "Elemental" for the plot or the characters, and nobody took the time to point out how GREAT and FRIGGIN AWESOME the visuals and the animations were. Hopefully I have a bit of an "anchor" here in the form of... my mother. Because my mother stopped watching animated movies around the 80s or so, and only started back looking at some from the late 2000s onward (and mostly because I watched them as a youth), and every time I share with her a new animated piece, she keeps pointing out how amazed and shocked she is at animation style or animation processes that, for me, as a kid who grew up with the wonders of the early 21st century, were just "normal". It really puts into perspective how far we got into the animation world and how exceptional these movies are today - even if the content is bland, the creation, the material and the effort put in them is wonderful.

And Netflix's The Monkey King is definitively one of those movies that benefitted from the recent boom in unusual and daring animation experiences these late years (Elemental, the last Puss in Boots movie, the recent Spiderverse animated pieces, this Disney movie which featured the first openly gay character and that was completely ignored by the press and whose name I forgot about...). They truly played all the cards, with fast-pace action combat, unusual designs, vibrant color palettes, a true work on camera angles, daring to shift animation from 3d to 2D for some sequences, gigantic landscape works, etc etc... Now, I noticed that some people were put-off by some design choices in this movie. It is true that due to their choice of more cartoony designs for the supernatural beings (to contrast them with the human beings), some of the Immortals in particular can come of as better-versions, but still a bit off putting, of some of the 3D animated Addams Family designs. I admit this might not win over everyone - but at least that is a risk and a dare the anmators chose to still go into the unusual and bizarre. Again, the uniqueness and work and daring risks with the visuals truly complete and "excuse" the "genericness" and "expectedness" of the plot.

The other great thing about this movie is the characters. It has been a long time since any children movie characters grew on me, but their handling of the Monkey King was a perfectly simplified and child-suited interpretation of the original Monkey King - not sweetened up, but without playing too much into the horror aspect either, and using perfect metaphors to convey in a simply way what the character is about (the metaphor of the teenager more irresponsible and unwise than an actual child, the concept of the wild child that was never raised or loved by anyone and so got on his own all throughout his life). There is no real subtlety in the characters, just like in the motifs (the HAND! THE HAND IS EVERYWHERE!), but at least they don't try to do overtly subtle or complicated stuff - they know they are doing a simple, down-to-the-point, let's-go-and-have-fun-and-not-think-too-much, type of cast and story, and they do ther best to do something simple but efficient, unbsubtle but fun without being overtly blunt or hitting you too much on the head either. And the character of Lin actually grew onto me a LOT, much more than I would have expected. I actually liked the character - and the fact that she is a child depicted as intelligent, mature and reasonable might be part of this.

People also heavily praised the music, which I agree, the soundtrack is really cool. The movie is very fast-paced - which did bother some reviewers who said they couldn't just pause and breathe - but personally I enjoyed it, because again it works with their simplification and heavy reliance on visuals and characters more than plot, the fastness of the action and the quickness of it all allows you to just take the whole movie whole, without anything dragging on too much. Again, simplicity is key - and for example the whole "end of the fake orchard sequence" felt somehow cringe, precisely because there they slowed down the action and took a bit too much time on something that truly wasn't worth as much.

When I talked about the risks they took with this movie, I shall include one risk that I had doubts about but actually kind of paid off - the stick. It is not a big spoiler, but Sun Wukong's magical staff is here a full character, a sentient being, and acts as the "make some weird noise mechanical companion" to the hero, which has been a character archetype ever since Star Wars, the original Clash of Titans, and other American movies of this era. I had BIG doubts at first, but ultimately it didn't felt very cringe or badly handled, and it worked quite fine. Ultimately, I also have to admire the team for going this route because I do not think this iea had been ever brought up in any adaptation or retelling of Journey to the West - I think this is the first time the magical staff is treated as a character rather than a prop, and this participates in the uniqueness of this movie.

Of course, let's also conclude by the big effort made by this movie to have a majority of Chinese-descending participants for this piece. In fact, I will conclude my review on this final thought: I am quite certain that there are lots of Chinese cultural references I, and others, missed in this movie, due to not being familiar with Chinese culture. Everybody saw the Disney influence ; but I had to dig up and research to find out the influence on this movie of other animated pieces of China. For example, I discovered that this depiction and incarnation of the Dragon King seems to have been heavily influenced by the famous Chinese animated movie of the 70s, "Nezha conquers the Dragon King", a movie I have to shamely admit I had no knowledge of the existence prior to a few days. So I am fairly certain there must be other easter eggs and references to Chinese movies, animated pieces or mythological adaptations out there.

[veliseraptor]

Hello ! I've read a lot of the posts you shared or wrote about horror, especially in reaction to "pearl-clutching" discourse against the whole genre.

It was very though provoking (thanks!) but I was wondering if/how you draw the distinction between that and, well, honest and "legitimate" bad review / negative analysis of some individual stories who happen to be horror ?

Oh, for sure. Of course there's legitimate criticisms to be made about individual horror works, or even about horror as a genre on the whole. I'm never going to claim that there isn't. While I do feel like there's a place for the "let people have fun" school of thought around media criticism, I don't think it should be a blanket smothering of all criticism - mostly, as with so many things, it is worth considering your time, place, and audience. For your own sake as well, I find.

I do think that sometimes the language of "criticizing" or "being critical" has become a handy mask for people to say whatever they want in some of the same (though less pernicious) way that people use "I'm just asking questions" to shut down discussion of misinformation and conspiracy theories. Again, #notallcriticism, much of it is good and beneficial and keeps things fresh (and me thinking), even the criticism I ultimately might end up disagreeing with. And at the same time, I do see the tendency popping up sometimes to use the idea of "legitimate criticism" as a way to shield a person from disagreement (the somewhat infamous "think critically about x" translating to "and you'll agree with me" comes to mind.)

As far as the how, well, it's certainly a little your mileage may vary - what I might read as an unfair review of a book I liked, for instance, someone else might read as a well-deserved ripping to shreds of a mediocre work, and it's certainly possible for neither of us to be "right" about which it is. Some of this - maybe even a lot of it - is a matter of perspective.

I guess I would think of two things that shape my perception of how someone is talking about a work or a genre, in general and in particular with horror:

1. Is the writer familiar with the genre? Do they have at least a passing familiarity with the conventions, tropes, and other narrative tics that tend to crop up? If not, are the criticisms they are making marked by that lack of knowledge (ime some of the discourse about the A Song of Ice and Fire falls victim to this, sometimes). I'm not saying that criticism is invalid coming from someone without genre knowledge, but I am saying that I'm more inclined to be skeptical of criticism that comes from someone who clearly dislikes the specific genre they're discussing, because it sometimes feels like a willful lack of curiosity and unwillingness to engage with a text/genre on its own terms.

> Addendum to this: is the writer familiar with the genre as it stands recently? Horror now looks rather different than horror fifty years ago, just for instance.

2. Is the argument or point they're making actually coherent? Is the analysis solid and grounded in at least some kind of evidence or source? (Is the author using screenshots of tweets in lieu of actually writing about the phenomenon they're discussing?) I can't always but I'd say I can usually at least recognize, even if I disagree, when someone is actually taking what they're engaging with seriously and when they're not (in terms of the work put in to convince me what they're saying is true, relevant, and important), and if they're not taking it seriously then why should I?

And one more, I guess, which feels obvious but sometimes on the internet isn't, because people love to have opinions (I get it! so do I!):

3. Has the writer actually read (or watched/played/whatever) what they're talking about? This ties in a little with point one but is slightly divergent, because someone can to an extent be familiar with a genre without having read it. But someone talking authoritatively about the problems with something they haven't actually had direct contact with, based purely on a set of cultural osmosis and related assumptions, is frustratingly common, and people will assume that they know what they're talking about from that alone and are qualified to make a sweeping judgment from that position. And I'm just not going to take criticism made from that perspective very seriously.

That's how I'd draw my lines, anyway. I don't claim to be an authority, certainly; I'm a gal on the internet with a big mouth and a lot of opinions. I think the important things here though are a. I certainly don't think that there's no such thing as legitimate criticism (in the negative sense) of horror works or horror as a genre, and b. I have particular standards for how I judge that criticism based on content and context.

I guess it's also worth noting, with this particular example, that the other question is "how much does this feel like it aligns with the present moral panic around dark or disturbing content in fiction?" and if the answer is "a lot" then I'm significantly more likely to dismiss it.

[yourfavsspotifywrapped]

a deeply honest review of the tortured poets department

okay, so i will take this moment to preface that i am not a professional music journalist or anything like that--i'm just very interested in music, and i've grown up with taylor swift for quite a long time. i would also like to say that i think she is capable of making quite good art and that she is an exceptional songwriter, especially for someone who frequently writes alone or with a team of 1-3 close professional friends.

to be totally honest, this album is mediocre. i've seen a lot of blind swiftie praise for it (as per usual) and a whole lot of hate from people who don't seem like they've listened to more than one song (also pretty typical), and i just don't find either to be warranted. it's boring.

though it was perhaps emotionally difficult to parse through, nothing about this album feels like it was challenging for swift to write on a technical or skill-based level. she relies on her old songwriting tricks, which i think can be a good place to start, but nearly all of the tracks on this one feel like second drafts at best rather than songs that were poured over for weeks before she was happy with them.

there are also just. so many corny moments, beginning at the track titles. they lack the maturity that i was expecting from this album. i'm not one of those people who thinks work that claims to be "poetic" has to have an indie-ish sound to it by any means, but i think the lyrics themselves have to have a certain depth and richness to them. i've seen arguments that this sort of corniness in combination with the concept of poetry is sarcastic on swift's part, but even if that's true, it still feels like that just doesn't work or excuse mediocre and cringeworthy lyricism. which is certainly not all that's on this album, but it's there enough that it greatly takes away from my experience.

she also relies too heavily on longtime producer jack antonoff, who can't seem to do anything new or interesting with her work at this point in their collaboration. midnights felt like they just camped out in a studio together for 2 weeks and went "yessss that's so fire" at each other with no outside influence, and this feels the same way except they invited aaron dessner for the latter half and he did what he could to salvage it. the end result is a mix between 1989 2 and evermore 2. i truly feel like she needs someone in that studio with her who hates her to push her to reach something new creatively.

that being said, there are things i liked about it:

-i always enjoy the way swift incorporates turns of phrase and flips them on their heads, which is something she seems to love to do, and this album is full of that kind of wordplay (some of it stronger than others).

-i like the features she picked a lot more than i was expecting to, especially post malone. fortnight is an excellent title track, and he blends so seamlessly into the background.

-there is a lot of religious imagery that is a thread that runs throughout the album (one that is even stronger in the songs i specifically like).

-though many of her tongue-in-cheek moments fall exceptionally flat, several of them work quite well (for example, "is that a bad thing to say in a song?" from florida!!! or "lights camera bitch smile" from icdiwabh).

ultimately, i would say that i think this is a mixed bag album that could've been about 15 tracks shorter. it's not her worst work, and it's not a bad pop album, but it's definitely not her best. it falls far too in her comfort zone, and to me, that makes it only a 6.5/10 album. above average, but not by much. it's totally fine to make average music, that's what creates the average, but i have so much belief that she is capable of better because i have seen it.

[allycat75]

You know what I think of when I hear "I had no choice"?

When it is in reference to a rich white male who starred in a billion dollar franchise, I would have to say that you must have made some big mistakes that led up to this horrible choice, regardless of how many people you support or how much your team was supposed to take off the top. You didn't look close enough at a thing that burned your charmed life to the ground because nothing bad had ever happened before (you even said something so flip and callous during an interview about meditation during the "Lightyear" press tour- it was so shockingly dangerous I remembered it as disturbing even when I was still blinded by The Woke Political Avenger persona).

This lack of ability to cope with a bit of discomfort led you into a fantasy world, not unlike the construct your team created of you for your fans as a Disney Prince, living in your own fairy tale. You didn't have to confront some very concrete realities lurking in the shadows, until you actually did, only they grew exponentially enormous in size and in a moment of "Ready, Shoot, Aim" you decided this was your only option.

So do I feel bad? Yes, but not at any commensurate level to what you should be feeling. I am sensitive you suffer from anxiety and I do believe you have a good heart; part of the reason you got into this mess is that you gave too much and trusted too freely, but I also think you have been coddled and shielded from confronting the demons we all face, also contributing to your current demise.

So I am going to try to be delicate because I know you hate yourself (also a cause of this mess), but I am not going to sugar coat (I'm a Sagittarius and I'm owning my brutal honesty, but as my sister sign of Gemini you should respect that).

Your seemingly no choice decision, even if it had been successful to get you a string of plum roles, hurt many people. The teacher who had to quit because she supported a charity. Jinx, the small dog food company who thought they were signing America's dog dad to help establish themselves in the marketplace. Your loyal fans who saved you from a shattering embarrassment, just to be sacrificed as jealous, crazy and stupid for telling the truth. The people of marginalized communities who believed you were an ally, only to tie yourself- first as a boyfriend, then as a "husband", and hopefully soon as an 'ex-husband"- to an antisemetic, racist fat-shammer, making you guilty by association. And let's not forget all of the talented, hard working actresses that deserved a shot at their dreams- much more than your arrogant, immature, lazy, untalented and entitled wifey. They are all collateral damage in your scheme to save yourself.

But worst of all, you have used your family, friends and even your beloved dog to further this lie, over and over. I suspect this has not gone over well and many of these precious relationships are now strained. I am sure they would rather have you happy, present and whole than be treated to all expense paid trips to Disney World. And if not, they are just clout chasers and you should divest of them.

And what did you get? Still sucking hind teat for any roles, let alone good ones. And you know why? Because the same people who convinced you this was a good idea have something personally to gain by keeping you vulnerable and weak, and are the same ones giving you dreadful scripts, if any scripts at all. You are no longer an actor, but a reality TV star working 24-7 and not getting paid. In fact, I bet for every mistake made or engineered, they billed you for every second of clean up. You may have gotten a part or two, but all are a bit dubious in quality, and where before you could draw an audience to a mediocre or just plain terrible film to, at worst, break even, you are now often the reason it is labeled as awful and, unlike the dick pic, there are no loyal fans to save you. You don't fuck around with karma- it is real and it will find you in whatever pottery shed you hide.

I don't expect you to be super human. But you do have an obligation to be human, flaws and all. And right now you are an automaton, who has no clue of what you stand for because you sacrificed all of that for the handful of magic Nazi beans. Until you can get to the bare minimum of a person- maybe provide an elevator speech of who you are at your core- let yourself feel this pain and emptiness so you are never tempted to go down this road again. It is like an addiction and you need to detox the selfish, shallow privlege out of you.

Trust is the hardest thing to earn back and is at the backbone of any solid relationship so if you want it, you are headed for a dark, tough road ahead and you will have to work harder and more diligently than you will ever have to for anything else in your life, with no guarantee of external reward.

But is it worse than what you are feeling now?

[josefavomjaaga]

Hi Josefa!

I've been scrolling through your stuff on Eugene and the impression I'm getting is that he was mediocre??

Of course, that's probably not all that is to him but he seems to be rather normal if anything so much so that I may not recognise him if he ever appeared in front of me. Is he just someone that is overshadowed by the more powerful personalities? Or is there something else to it?

Although reading about his sweet family life is pretty cute 🥰

Hi and thank you for the Ask! 💖

And I think you got it perfectly right. As a matter of fact "mediocre" is precisely the expression Joseph Bonaparte used for him in his memoirs (and if there's ever been an expert on mediocrity, it's Joseph). According to Joseph's friend Miot de Mélito so did Napoleon himself at the beginning of the Empire. In the "Mémorial de Sainte Hélène" Napoleon phrases it differently by saying that the only thing that made Eugène special was a certain balance in his character: He knew what he could do, and he did it. That already sufficed to distinguish him from plenty of others.

Eugène clearly was not a genius like Napoleon, not a romantic or tragic hero like Murat or Lannes or Ney or Junot, not even an imposing general like Davout or Soult. He was your regular run-of-the-mill guy, Monsieur What's-his-face, washed up by events to a rank he would otherwise never have occupied, like all of Napoleon's family, but - unlike Napoleon's brothers - very aware of this and trying to do his best to merit his position.

That's why I can relate to him much better than to the more prominent figures of the era. People like Lannes, Soult or Murat, let alone Napoleon, will always remain a mystery to me precisely because they are heroes and thus have so little in common with me. I fail to truly understand how they "tick". But somebody whom his stepfather's maelstrom has pulled, without his own doing, possibly even against his own will, out into a churning ocean and who now desperately tries to keep his head over water with the bit of force he has - that is something I can understand.

As to his "legacy" (or rather lack thereof) - some is due to the fact that his family pretty much was swallowed up by others over the next generation. His older son died without issue, the younger became a kind of prince consort to a daughter of the Russian tsar. Eugène enjoyed some prominence during the Second Empire, but as the Second Empire and Napoleon III have a pretty bad name in history, I'm not sure if that did him much good. I understand his name was all but forgotten in Northern Italy until recently.

During the Empire, at least up to 1809, this may have been much different. But with 19th century historiography focusing on the Napoleonic legend and the "big events", the role that Eugène may have played in the eyes of many contemporaries can barely be detected anymore. There's only the occasional hint of his high position, like the panic of Oudinot's ladies when they are suddenly to meet him, or the confusing rumours in the army in Austria 1809. Kérautret in his biography of Eugène emphasizes that Eugène, up to the birth of the "Roi de Rome", indeed was the only high functionary with a unique title. There's plenty of ministers and "grand officiers", plenty of marshals, a bunch of kings - but only one viceroy. And that's how Eugène is usually referred to in contemporary writings. The Viceroy. The second-in-command - or at least that's what some people may have read into it. If you add that, from all of Napoleon's family, he was the only one to govern the territory entrusted to him to Napoleon's satisfaction (well, as much as Napoleon would ever be satisfied with anything) and that he at least had some reputation within the army, him being seen as the future of the empire gains some credibility.

Because you do not consitute a stable empire (or any other state) through people like Napoleon (or Murat, or Junot, etc). For that, you need the stuffy, trusty second and third-in-line workers. If you want something to last, you want boring, reliable, grey.

But, coming back to Eugène, the one thing he really had going for him, the one thing that I first noticed about him, was his amiability. From contemporary sources up to the preface of volume 9 of Napoleon's "Correspondance Générale", everybody seems to agree that he was one of if not the most lovable figure of the Napoleonic saga. In historic sources, it's almost like another title: "Davout, the Duke of Auerstedt, Masséna, the Prince of Essling, Soult, the Duke of Dalmatia - and the prince Eugène. Such a nice guy!" 😁

Sorry for rambling so much - I'm always so excited when somebody notices "the boy", despite his lack of colourfulness. 😁

Thanks again for the question!

[rosesloveletters]

Hi Rose!!!! <3 This is a free gush-all-you-want -pass for you to talk about Wonka 🎟️ It's sad that you're not feeling well, I'm sending loads of good vibes your way!!!! ✨⭐💫 - Mags

so what I am hearing is...this is my ✨golden ticket✨ to talk about him as much as I want😂

Thank you so much, dear. I wish I felt better, I really do. I'm just...at a bit of a crossroads in my life. I know what I want, but I have zero idea how to get there. I want to make the effort to achieve what I want, I just don't know what steps to take, who to talk to, etc.

Anyway...

Wonka is just so special to me. I don't know why I care so deeply for him, but I think part of it is that he (and the film as a whole) takes me back to a time when I was relatively happy. The year that I was in the play was very difficult for me and I didn't have much support, but that all changed because of the play and how it kind of eased me into my first year of high school. I also had my first crush at the time and he and I started bonding during the first few weeks of rehearsals. It was also fall when I was in the play, so the weather was nice and cozy and comfortable. I still remember that it was brisk and rainy on the day of my first rehearsal and when I got home, my mom had made these rosemary dinner rolls that are so good. She bakes them in a metal skillet with actual fresh rosemary on top and that was the first time I ever had them. She doesn't make them very often and I always think about that time whenever I eat them.

I think about the fun I had, connections I made, etc. every time I watch the film or see Wonka. Because literally everything changed after that play was over. Wonka just...he makes me think of hope. When I was in the play, I was so filled with hope, for high school, for a potential (good) boyfriend, for friends that would treat me right, etc. I didn't get to have any of that back then, but when I was surrounded by the film and everything, I had the hope that I would get to experience those things and I didn't know that I wouldn't.

I guess I just want to have that hope again, but it's so much more difficult once you've been hurt to feel as hopeful as I did when I was a child. I wish I wasn't grown up and, with Wonka, I can pretend I don't have to be. I can have unconditional love, I can have support come to me in the form of what I most am needing, I don't have to feel guilty for taking up space and for just existing.

And someone would be in love with me, even though I'm boring and too serious and too quiet and am mediocre in terms of looks. None of that would matter to him and I can pretend it wouldn't. I could be loved just for being me and wouldn't have to do or to be anything special. I could be the destination for once, rather than just being a stop along the way. People are always phasing in and out of my life, but for once I want to be the end goal. I've been a place-holder in so many people's lives and when someone better comes along, they just leave. He wouldn't do that to me because I'd be the one he wants. I'd be the one because he wants me for me, not because I'm convenient.

He's just...so special to me. He inspires me and makes me want to indulge my creative side. I don't get to write as much as I wish I did and if I existed with him, I know he'd do everything in his power to make it more convenient and easy for me to spend time creating.

I'm not saying that I'll marry him, because in the past that's not always gone so well with F/Os, but I will say that if he were real, he had better be picking out a ring...

[hot-take-tournament]

hi, I'm the original Barbie movie hot take submitter. now that the poll's over and with about 80 people agreeing with me in total (which is honestly way more than i was expecting...) i guess... yeah i should probably address some of these comments, because i don't know which are in good faith and which aren't, but like i said at the beginning of my justification, it's something that's really important to me on a personal level and i saw at least a few people expressing sympathy or wanting to understand better where i was coming from. (again I'm autistic and i can't be sure it wasn't just sarcastic remarks, but it looked like at least a few people were willing to listen.)

this sentence here is your warning that I'm going to continue to talk about my experience. if you hated my take and/or were disturbed by it and would be upset to empathize with my point of view any further, this is your reminder to just stop reading here.

...

so first of all, i did hold myself back, writing that submission. i mentioned upfront that i kept it short, but i guess it only looks shortened if you know how much i have to say about it. i didn't even know if it would make it in so i did gloss over a couple things that may have led to misinterpretation (though a lot of those notes felt like a "how dare you say we piss on the poor" sort of moment (reference to a response on a different post, which accused Tumblr users of having "piss-poor reading comprehension")).

....anyway, this is a more comprehensive and thorough version of my viewpoint. it is long.

the first thing i would like to address is that i noticed a lot of people saying i was pulling it out of nowhere and "projecting (derogatory??)". and.... like.... yes. i know that. i basically said so explicitly when i said "I disliked this movie for heavily personal reasons". that's the point of submitting it to a hot takes blog; this is something that i think most people will disagree with me on, because it's nowhere near the "objective" interpretation of the movie, but it's something that a select few might resonate very strongly with. this movie didn't actually say any of the things that I said it did, on an explicit level. but there were undertones of it the whole way through that triggered multiple breakdowns since its release, because of my particular media sensitivities that i didn't know would be in this movie. you can think of it like I'm accusing this movie of having "traces of peanuts" rather than being a peanut dish. if I'm allergic to peanuts it still sucks, and is unsafe for people with my triggers. (still my fault for going to see the movie, it's not like it's immoral for it to have triggering topics in it. I just regret it and am bitter that everyone seems to unanimously agree that it has no problems, that's all.) I also see that a lot of people were not bothered by these same things that I was, and I respect that. And I'm glad that people were able to enjoy it— my intention was mostly "it seems like no one hated this movie but me. did anyone else share this interpretation?".

...honestly, the movie itself, on an objective level, wasn't actually too horrible. it was kind of sad and depressing, but i would've left it feeling kind of mediocre if it weren't for its online boom. everyone seems to be praising this movie for being incredible and groundbreaking and progressive, but like this other anon said (https://www.tumblr.com/hot-take-tournament/724649240320671744/while-everyone-is-already-arguing-over-the-barbie?source=share), it really... just feels like politically regressing, to me. speaking as someone who is various flavors of non-binary (multigender), and who is transgender and intersex, i am extremely passionate about gender rights. and this movie felt the same as really old radfem ideals of feminism that boiled down to "what if we kept the gender essentialism but we made it so (cis) women were good and sacred (but still perceived as weak, helpless, useless, etc.)". I saw many similar sentiments in the notes of the original poll that I agreed with, saying the movie barely was feminist if at all. I especially agreed with someone (don't remember who) who mentioned that it was kind of misogynistic and backwards for all the women to get brainwashed instantly the moment someone suggests a patriarchy. this movie really said "women are just helpless little children that deserve the world, and the men need to carefully watch what they do and be kept in check, because if they get too confident they're naturally inclined to establish dictatorships and be cruel and evil to the women! and of course the women would roll over and accept it if that happened because they're just helpless little lambs that can't think for themselves" like how is that feminist? i thought everyone was on the same page here that women are people. like people with agency that can do things. and the movie just felt extremely.... belittling of women's actual capability to do things, and demonizing of men's emotions. like i thought these were points that we've already been through, societally. but no. "best feminist movie", "so progressive", "groundbreaking".... like... what?? it's groundbreaking because... there was a patriarchy and no one's ever done that before??? like what is this, the feminism version of "Disney's first gay character"??? is it progressive because Barbie had One Conversation with an old lady who was (sarcastic gasp) happy??? (Admittedly that scene was pretty sweet, I'm not actually upset about that one. but like why is that the highlight i keep seeing everyone come away with. like is it groundbreaking for one (1) old person to be happy?? i would've preferred if there were like. you know. just reasonable casual representation for diverse bodies (but that's ok I wasn't expecting something like that from a mainstream movie anyway.))

...and since a lot of people were upset that I didn't address Barbie herself: yeah, ok, I think the existential crisis stuff was pretty neat, I think she genuinely did a decent amount of growing over the course of the movie, I think her character arc wasn't too bad if you look at it from her point of view. but i think, like ken, she needs to be held accountable for the things she did BEFORE that character growth. a lot of people in the notes mentioned her "forgiveness" at the end, and... yeah, I guess I will admit that's "groundbreaking" for a movie this mainstream, but that is not a compliment. it felt so hollow to me, and again that's just "projection" because when I say "it felt hollow", I mean that it sounds exactly like things I was told by toxic friends as a kid. but I think a certain amount of projection is necessary to empathize with a movie, at least the way I watch them. I don't think that relating stories to your own experience is a bad thing.

.... right, back to barbie's whole thing with "forgiveness". to forgive someone is to put yourself in a social position "above" their own. it's unequal by nature— it creates a social unbalance where one party "forgives" (gracious, generous, implied power of judgement over the other) and the other party "has sinned" (in the wrong, by default should be punished, deserves to suffer unless they properly repent). this sort of punitive structure was used against me and some people close to me and so I have extremely personal triggers around disingenuous apologies and forgiveness. (no, I'm not saying that forgiving people is evil, and I'm not saying that Ken did nothing wrong. this is about Barbie now.)

i don't think Barbie should have forgiven Ken. and i don't think Ken should have forgiven Barbie, either (though he was never given the option, because that would be admitting that she treated him like garbage). i think if Barbie was going to "forgive" Ken, if she really wanted to have a real platonic relationship with Ken at the end of the movie, she should have first acknowledged that she had never been a good friend to him, that he was never treated well on a base human relationship level. and i think she should have apologized for it. a real apology where she empathizes and understands how she hurt him and tries to do better, and acknowledges that she was just as lost as he was. and then lets him forgive her, too. but instead she just cuts straight to her own "forgiveness", skipping past any potential accusations of her own treatment of him, to assert her own dominance and center his own wrongdoings. I think they should have either BOTH admitted they didn't know what they were doing and were shitty to each other, or they should have both gone their separate ways bitterly and with their self confidence intact.

like I've seen some people saying, both on my dash and in the notes of this post, this is a tragic movie about two sad lost people trying to figure out how to break social conventions for the first time, trying to understand how to be more than just a Doll with a Role. and naturally, a movie like that has both of them acting shitty to each other within those roles; Barbie from the start of the movie, because she doesn't WANT a relationship with Ken and she seems to hold this against him, and Ken throughout the movie as he tries to understand why he never seems to be enough. Barbie repeatedly condescends upon and belittles him and is constantly aggravated with him and makes him feel small and burdensome and whiny and exaggerative. she makes fun of his fun names and treats him like a stupid and annoying child. and while some of you in the notes are out here laughing and saying "welcome to the real world for women", "that's just misogyny"— and?? is the moral here that misogyny is funny when it happens to men?? because it does happen to men. i know closeted trans men that are subjected to it every day and it just. seems so low to say "misogyny is good" ever. no matter what the end of that sentence is. to imply that some people can deserve misogyny and mistreatment "if they're men" or "if they're annoying" or "if they're clingy" like... this is part of why i submitted this take. i thought we were socially on the page that misogyny is wrong and sucks. and just because this worldbuilding sets it up so that only Kens experience misogyny doesn't make it suddenly just? either it's a human right to be treated with dignity, or you are supporting misogyny. there's no way to say "but it's funny if i can be vindictive about it" without accidentally validating that defense.

...I went on a tangent again. but what I mean is that Barbie herself was an ASSHOLE to Ken. she didn't want him around but felt obligated to support him, and the solution to that should be to make it so he can support himself. but instead she just feels burdened by him and takes it out on him by belittling his suffering and treating him like his every complaint and need were meaningless or annoying. should it have been her obligation to deal with all of his needs? fuck no! but to act like she could, and wanted to, like she was his friend, when she really just wanted to be free of him... that sucks. and it actively kept him shackled to her. and like, she didn't know better, but neither did Ken. they were both lost souls hurting one another by participating in the only thing they knew: an abusive power structure. the only thing Ken did wrong was.... also wanting to participate in that power structure from the "wrong end". it wasn't okay when Ken did it, but it's notable that Barbie did it first. and that they BOTH needed to apologize for treating each other like shit. and they BOTH needed to empathize with and forgive each other, knowing that they're in a better place now and that neither of them knew what they wanted before. they BOTH fucked up and they BOTH suffered for it. if both, or neither, of them had forgiven each other, then this would've just been an interesting and pretty sad movie with at least some resolution.

.... but INSTEAD what happened was that only Ken was shamed and felt like shit, because he crossed the line that Barbie was supposed to have total dominion over. and Barbie was never held accountable for her treatment of Ken, even though it came from the same misguided and hurtful place that Ken's actions did. I'm not claiming that what Ken did was good, or that he's a pathetic little meow meow and everyone hates him for no reason. but Barbie repeatedly condescends and bullies him at the start of the movie to take out her frustration with her situation, and while it's understandable why she's frustrated, that's not okay to do to him, just as much as it wasn't okay for Ken to "turn the tables" on her so to speak. this is kind of an eye for an eye situation. he only did to her what he had already been experiencing himself. and then for her to be the only one to "forgive", implies that it was okay to do to him, and therefore that it's only wrong if he does it.

misogyny is not okay just because you put it in a specific setting or applied it to specific people. and the same thing for pretending to be friends with someone you hate and then bullying them???. it's not "funny" when a woman attacks a man, and if you think it is, that's rooted in misogyny itself. because why else would you not see women as "real" threats or abusers? abuse could only possibly be twisted around into something funny if you think it can't cause real harm, and that's steeped in the sentiments that women are useless, powerless, and helpless, and that men are inherently powerful and able to control their situation. im sick of it. i feel like this movie genuinely pushed back gender equality by like 20 years. not everything is Men Versus Women and if you're centering the gender binary that much like it fucking means that much, you're erasing non-binary people too?? I'm just. I'm just sick of it, I'm sick of gender essentialism and stereotypes and hollow friendships. sighs. ok sorry this paragraph was just a vent.

anyway. this movie would not have impacted me this negatively if it weren't for the way I hear people talking about it. as if it's amazing and the next step in gender rights even though it basically devolved the understanding of gender back into "maybe............. do you think girls could do things? without dating a man..? or is that a little silly.... no wow!! actually yes! women can sometimes... not date!!". (making a spectacle out of obtaining basic relationship agency???) ...and this is mostly, again, just my own triggers, which over the course of this poll I am realizing are real triggers for me, but... yeah. reminds me of my tirf friend group that shamed anyone who was too forward or too masculine. that would nitpick at people's social mistakes to keep them in check and on their toes.

tldr; I'm so fucking tired of gender essentialism and I went to see this movie thinking it was progressive hot shit just to discover it was Social Shaming But It's Funny Because We're Subjecting Men To It This Time. not very funny when I know so many transmascs who are punished for being women when they aren't. and Ken fucked up, but Barbie fucked up too. neither of them were good for each other and they were hurting each other the whole time, but Barbie never owned up to it and then on top of that "forgave" Ken in a way that was just personally triggering for me. (Not evil, not necessarily malicious. but upsetting for me on a personal level because of my sensitivities).

anyway. thanks for reading if you did. I'm probably not gonna check the notes on this one but just know that it does mean a lot, the few people who did agree with me. I wasn't even expecting 80 people, maybe more like 20. I was fully expecting to get 98% ratioed, considering how positively everyone talks about this movie.

(i hope you have a great day too, mod! my apologies for how long and impassioned this got. I hope this take was entertaining for you at least??)

.

[thecurrator]

𝐌𝐚𝐭𝐜𝐡 𝐮𝐩 𝐟𝐨𝐫 @jae-pudding

Your ideal match is…Karasu Tabito!

You both would hit it off instantly! Karasu can be equally blunt as you, which leads to fun banter. Once you guys get to know each other, you're joined at the hip, two peas in a pod.

He loves the way you're good at understanding the big picture. Your way of words is a fun bonus too. Just like that, you've earned yourself a place in his list of not-mediocre people. Consider it an honor! /j He'll be very interested in talking to you more often once he realizes your intuition is on par with his.

Your habit of asking tricky questions is delightful for him; he'll be glad to debate with you all day! But since you also have a tendency to finish the sentence before the speaker, it might soon turn into a race where both of you try to finish his sentences.

He's responsible, but also likes to joke around, so he might be torn over laughing with you or reprimanding you when you joke around in inappropriate settings. Perhaps it depends on how funny he finds your jokes at that time. Though he likes you a lot, so he might laugh at all of your jokes anyway.

Karasu is the knowledgeable type, so he'll gladly teach you about things you aren't as well versed in! World history is one of his favourite subjects, so he could tell you some facts or stories about the countries you're planning to travel to in the future. His hobby is observing and analyzing humans, so he could tell you about the ones he finds interesting like he's spilling gossip. If you're interested to hear it, of course.

Getting gifts for you is so easy since you like so many things. You'll find new gardening tools, books, or a new snack lying somewhere around where you're sure to find it. Karasu can't help but want to spoil you. However! He doesn't like opening presents in front of people while they wait for his reaction, so he makes sure not to be in the same room as you when you find your gift. Why don't you look for him and give him a hug as thanks?

He's rather nonchalant when it comes to showing affection, so he has trouble giving you words of affirmation. Does the occasional casual compliment work? Not really? Well, he's more than capable of spending quality time with you. As much as you want. Whether going on dates in the city or staying home and watching a movie, he's just happy to be with you. Stay with him, okay?

Runner-up: Mikage Reo (I saw that you don't like disorganized and inefficient people and immediately thought "Reo!". But then I saw that you're independent and don’t like clingy people and decided to put him as a runner-up. 😂)