#it took three shows for him to get a full on fleshed out character arc anime wise

[no1ryomafan]

Characterization discourse is so funny for me to watch because it’s people getting upset that a character they really like has their personality changed over time, whether this be because their a new iteration of the character in a new canon or their still in one canon but changed how they act because of different writers, usually to appeal to a newer fans which causes long time fans to be upset more often. It genuinely does suck to see a character you’ve liked possibly as early as your childhood be butchered by the writers just to try to appeal to a newer audience that they feel like a shell of them old selves, especially when this is a character you consider to be one of your favorites OR all time favorite…

But then I’m standing outside of this fire like “good fucking thing the only character I liked that has been reintroduced multiple times is from something that’s not really ongoing but also never fucked up his character to begin with!” Even if the trade of being a ryoma fan is some people just flanderize him.

[rivvytrick]



well. i got to play goodbye volcano high, in full. one ending, anyway.

i liked its dialogue system carrying forward disco elysium's ideas of having all three options be representative of your characters thoughts, with static, button prompts you have to hold to work up the courage to say some, some that'll lock themselves out as you hover over them or change into something else. its very fun and its utilized in a good way to sell your character. thats probably the one thing i enjoy.

spoilers below.

goodbye volcano high is a cartoon network show. something so incestuous about what it is, and what its obviously cribbing from and what it wants to be, despite no real way of knowing what that Glue is that holds things together. conversations are speeches thrown at each other to faint melancholic guitar chords from start to finish, words that trail off in ways that only allude to themselves and feel as if they hold no greater meaning outside of their immediate conclusion. things are made to be screencapped, but it doesnt come to you with any sort of wisdom meant to be passed on, with characters who have obvious arcs of plans being torn apart by way of the cataclysm that will end their lives, but for who many never learned to find stability with life to begin with to earn that upheaval.

the main character, fang, is someone who begins the game in transparent reminiscence to get the audience all pumped up and sentimental for that good old Senior Year feels, and is afraid of growing up and what that entails before the news of the apocalypse hits. they have one dream, and its a knowing fault that gets confronted eventually enough: to win the battle of the bands and Make It Big, playing a hit song for crowds with their best friends. its a dream thats intentionally immature, and i can't tell if its meant to be charming in how it can be irritating that even in their moments of connecting with the world around them, things are framed around said dream, a dream that isn't fleshed out. the sheer mention of college throws anxiety at them, with a family thats less than accepting of their identity, and friends moving away or drifting into interests of their own and becoming more whole people as they reach adulthood. these are the classic coming-of-age knots that take more than what the games approach to character writing can untangle as is, but the meteor plot point... makes it not matter. high school never ends for Fang. but worse is it never even really began.

Most characters are here to reinforce that "life comes at you fast, and the futures not set in stone" theme, but with not enough to truly make it worth it. Fang's brother learns to live his own life outside of parental expectations with one big Blowing Up scene from Fang over their band posters around school he took down, but with not enough to show him even beginning such. his role remains the dependable one, and the one who tells Fang to slow down. Trish's is a story about your passions leading you to a double life between friendship rituals and togetherness and individual pursuits and identity, with the game spent with her feeling meekly distant and flighty, landing only at the eleventh hour with a "im still going to be me, and we're still going to be us" speech with Fang. it wants to be touching but this character has not gone anywhere, a character arc as complete as the sentence "I am." you sure are. what now?

Reed I...genuinely dont even remember what his deal was. His worry over the meteor seeps into everything in his life down to his dnd sessions. sad!

Naomi is probably the one with the most going on, but this might be biased because I think she's very cute in a way that the rest of the cast tries to nail but fails to outside of Rosa. I'm a sucker for student presidents who Try Their Best, and works the most well with the greater plot as she realizes shes spent her life waiting and plotting for a perfect life that will never come. theres good ideas, not fully captured here but still, about the pressure of highschool, society, and her wants of a life where she has control over her destiny, with the moments (or well moment, with her texting Fang of her longstanding crush under an alias near the beginning of the game) she's most rewarded for involving her seizing the moment and accepting her anxiety. She has swings and roundabouts! It's not just an immediate fixing! She loses her shit at the cast during the final chapters, after years of repressing her desire to have her way with the world and her life, with chapters of her almost being pushed to the side and barely being present for the sake of everyone elses internal struggles, calling out Fang for their wishy-washiness in a good ironic turnaround, confronting the fact that she won't get the life she wants and still feeling cheated over it. It rushes itself to the end afterwards, but its idea is solid, and its a decently interesting concept to put this character archetype through, after the common conception of these characters being spiteful and shallow to have them turn out to be just someone nice. Plus the dinosaur thing comes together for her design in a way where its both recognizable shes a dinosaur and also still has character in a way that is appealing, rather than the rudimentary feeling the others have, with boxy silhouettes that dont work well for their personalities that don't animate well and generally carry nothing unique outside of big design Gimmicks like horns or frills. big fan, id kiss her snout and pet her horn...thing.

either way, like i said it doesnt matter. its a game about time and a lack of it, with a meteor that cuts off every character arc right before theyre able to become the people they want to be, without us getting the time to see the people they were before, for a game that crawled out from under development hell, and yet without the time to finish so many of the scenes it clearly had planned. but it doesn't matter. that's its moral. high school is something that sucks, in a world that sucks, and you wont find the closure you'll want but when its over, thank god, it'll be over. with that, this game is too.

best of luck to KO_OP, for finding a way to spite the god that clearly didnt want this to exist, and i hope theyre able to laugh and look back at this as the awkward chapter itll end up being in their history that haunts them no longer.

[catty-words]

as one of those people who doesn't really enjoy s3 (but still enjoys your analysis posts so much), this is 100% it:

"the frustration around the narrative making space for him to the disservice of an already bloated cast of characters that can't possibly get the focus they're all due to truly flesh them out"

i agree with you re: des's role in the story and objectively I know you're right that their relationship helped devi.....it's just subjectively i care so much more about everyone else and it made me sad to see certain characters (*cough* aneesa) be neglected while the relationship that i had zero interest in took up so much screentime. i also am selfish and wanted more devi/ben and even devi/paxton but we got so little of both relationships (romantically) in s3.

i think it's just a matter of personal preference? i appreciate the story they're telling it's just that subjectively i Did Not Care abt des and it makes so much of season three unwatchable for me :(

mm-hmm, totally get personal preference coming up against aesthetic value. at a certain point, if the show has made the displeasure hurdle high enough - no matter how well thought out or crafted the season may be - your will to run its course just won't be there. and i respect that, full-stop.

as long as you're willing to show up for my analysis, though - which, thank you! - i feel compelled to point out that, in terms of the numbers, des + devi/des doesn't actually hog a disproportionate amount of the spotlight. devi/paxton has the first three episodes, plus significant screentime in 3.08 and a beautiful little two-scene arc in 3.10. devi/des, gets only one more full episode to their name (bringing them to a total of four), with some background noise in 3.05 and 3.06.

and as far as devi/ben are concerned - and this is the point i actually wanted to make, you won't catch me dying on the 'des deserves his screentime' hill - one of my favorite things about this season is that their relationship is a thread woven steadily through this period of devi's life. he's there in nearly every episode as sounding board and confidant. and the romantic tension that underlies their every scene? *chef's kiss*

devi/ben is a smorgasbord of undemanding and patient love this season, polished to perfection with a veneer of witty banter. perhaps none of the episodes truly belong to them in the conventionally shippy sense - with the exception of 3.05 - but they're baked into the very dna of the season in a way that has me unhinging my jaw and eating my own heart out of my damn chest every single time. little romantic d/b? not in my season three.

[sakebytheriver]

The core issue with Speechless is that the writers only had plans for JJ and while he is the main character and the most important it meant that Ray and Dylan never had fully fleshed out B-plot character arcs other than the cliches sitcoms always give to child characters and when your audience is mostly only following a single family of five characters and two of them are written like cardboard it's going to be noticeable

Ultimately Speechless had an incredible cast of very talented performers which is always the biggest hurdle for a sitcom especially when you're looking for child actors to fill out main character slots, like it's an absolute miracle they found the actors they did to play Ray and Dylan, like it's insane how good those two are for child actors and the entire cast of this show is really the only reason it made it to three seasons at all, because the writing was very incredibly mid at it's best, they had some good zingers and some good scenes that made you cry, but it was the chemistry and talent of the cast that was literally the only thing propelling this show forward. Unfortuantely though the writers started to sabatage the cast by turning Ray's character into this creepy incel pervert guy which just ruined the inherent goofy boy charm that his actor had, the character development of Ray DiMeo was truly the biggest crime this show committed especially considering how well they handled his first crush with Jimmy telling him to let her go when she doesn't feel the same. And don't even get me started on how much Dylan should have been a lesbian than the cliche "little straight girl's first boy crush" character arc they took her down, both Ray and Dylan should have had gay kid coming to their sexuality realization character arcs and that is a hill I will die on, but even still I could have written these characters better arcs than the writers did even if I didn't make them gay. The writers just didn't know what to do with the other two kids because they had their hands full with JJ and I can't blame them for that, telling the story of a nonverbal teenager in a wheelchair from a funny and refreshing perspective is a difficult endeavor and they pulled it off quite well for the most part, but they were only ever focused on the show's A-plot and if the other half of the story gets dropped, your audience is going to notice the weak spots which is why this show never made it too far in regards to a wider audience appeal. And it's really too bad, because ultimately it was a good show with a unique premise and a story and perspective that truly deserved to be told and if I'm being incredibly honest with you guys, the cast of this show did so much for the material they were given and the work they put into making this show as good as they made it with the midteir level of writing they were given deserved a whole heck of a lot more than three seasons, they did so much for this show and the writing team really let them down.

I just wish in the end Speechless had the writing team it deserved to have, because it really could have been something big if they had been just a little bit better

[takaraphoenix]

also I wanna know whos your favorite male and female and or any One Piece characters? And what do you want to change from OP if you can?

Nooo that question is so unfair in the manga that has approximately 394545094112549058029 fully fleshed out and lovable characters--

So obviously you are getting more than one answer there!

The Strawhat answer to the question is, very clearly, Luffy for favorite, he is... everything I adore in an anime protagonist. He is goofy and filled with love and fully unhinged and feral if it's about helping his friends. Also ace coded to hell and back.

Favorite female Strawhat is Vivi YES SHE WILL FOREVER BE A STRAWHAT QUITTING DOESN'T MEAN YOU NO LONGER COUNT. I will love her forever, I miss her everyday, the Reverie giving her back to me, even if not with the Strawhats, actually gave me life.

The non-Strawhat answers would be uuuh so I'm gonna say two boys here and it counts because it is kind of a "passing of the torch". My favorite was always Ace. And then they took Ace away from me just as they introduced Law and Ace's death was when I really fell for Law as a character because him being there for Luffy meant the world to me. So, pre Marine Ford Arc it's Ace, post Marine Ford Arc it's Law.

Special shout-out to my beloved best boy Yamato, who DID join the Strawhats but not officially enough and not sailing off with them so he isn't really counted as a Strawhat yet but by all the gods above and below, I will celebrate when he actually steps on board and truly joins (the way they made us wait for Jimbei to).

Favorite non-Strawhat female character goes to Perona so hard I ADORE her she is so fun, she is the perfect woman, she is Zoro's annoying little sister, she needs to be in more episodes. Whenever Perona and their dad Mihawk show up, I SQUEAL in delight. After the Strawhats, the Pastel Goth Family is my favorite platonic dynamic of the show (I am So Sorry Shanks-Luffy, but have you considered: if you marry Mihawk you could both be dads to three disasters together!! Okay I think I am amending my answer from the other ask if I ever end up writing for OP it's gonna be a LawLu fic where Shanks and Mihawk are married and where Zoro gets to be protective big brother and Perona weird creepy stepsister).

What I would want to change... Honestly, there is one thing I did hate and it was Momonosuke becoming leader of a fucking country at age eight. That was unhinged. Aging his body up to make him look like an adult didn't give him the years of experience and maturity he would need for that. That arc should have FULLY ended with his older, adult sister becoming leader, as she has been trained in etiquette and also knows their country because she lived in it for the past twenty years. That was so uselessly patriarchal.

Also, shout-out to Yamato not leaving with them. If I had any say on the matter, my boy would be a full Strawhat right now, getting to come full circle after Ace offered to take him, for him to now get to go with Ace's brother would have been poetic especially after Oda-san did let him and Luffy talk about it and them basically agreeing that he should join the crew like don't give me hope and don't pull through. I do have faith he will join later, but... you see... I want to see it now.

[sofoulandfairaday]

The ultimate How I Met Your Mother Finale rant

I know this has been done before, and I know I'm several years late to the party, but I don't care, so IN THIS ESSAY I WILL tell you about why this finale takes the spot as the second-worst finale in TV show history (because Game of Thrones is still, to this day, unbeatable, and it will probably stay like that forever). 

But first, a little context: I've just finished binge-watching HIMYM. This binge has been going on for three days straight (my final exam of the semester is in a week and I should be studying, so the fact that the last few days were a partial waste of time makes me so mad). Second thing: I already knew how it would end, and yes, kids, it does ruin the show for you. It ruins the show so much it makes your blood boil when you rewatch certain scenes, but I will get to that. 

You might want to make yourself a drink because this is a complete list of all the reasons why HIMYM's finale sucks - I'm warning you, it's gonna be looong.

It completely invalidates the entirety of season 9

This is one of the complaints people most often have with this series, and I have to agree. It would have been so much better if the last two episodes never existed, and they just showed Barney and Robin dancing at the reception after walking out of the chapel, Ted noticing Tracy and then the platform scene. "And that, kids, is the story of how I met your mother". Cut scene. Honestly, I don't get the hate people give to season 9, barring the last 2/3 episodes, especially since season 8 was so much worse (except for a few honourable mentions, like The Robin). S8 was slower, less funny, and less deep, and while the authors took a risk by making s9 happen in the span of a weekend it paid off: they took their time introducing the character of the Mother to the gang and fleshing her out. They make sure to highlight all the little ways in which Ted and Tracy are perfect for each other, and even tie up loose ends, like with the Slapsgiving episode, that was a filler but it wasn't boring to watch (although it may be problematic for different reasons, I'm not Chinese, so I can't say for sure if it's cultural appropriation or just the authors making fun of a particular movie genre). 

Some episodes were arguably great: "Daisy" was amazing, and that whole fight between Marshall and Lily was so realistic and well thought out, "Sunrise" was extremely important for Ted's character development, same goes for Tracy and "How Your Mother Met Me", "Bedtime stories" was impressive, "Rally" was incredibly funny and proved once again what a beautiful character Barney Stinson is, so much so that even Robin never has doubts that he (the guy with the biggest commitment issues on the planet) will bail on her before the wedding, and says to Ted that "he always comes back". Daphne's character is super funny and the right amount of annoying, the shenanigans of the gang are well thought out and all of the characters (not just Barney) complete their arc in this season. The last two/three episodes butcher that.

Marshall and Lily

Marshall and Lily, arguably the world's most solid couple, are the only thing this God-awful finale gets right, especially Marshall, who is my second-favourite character, that finally gets everything he deserves. But what about Lily? They never mention her career after Italy, and I refuse to believe she goes back to being a kindergarten teacher as if her year in Rome meant nothing. I also refuse to think she becomes nothing but a political wife, the equivalent of Zoey, but without saving the world. We know she has three kids, but her postpartum depression is never really talked about much and they definitely had the screentime to delve into it. 

Barney

 Where do I even begin? Barney Stinson is, without a doubt, the best character in this series, the glue of the whole gang. I think the message they were trying to give is that, since his trauma stemmed from the absence of a father figure in his life, he could only truly heal by becoming a father as well. People also say that n°31 had to stay just a number, because who could match up with Barney Stinson? First of all, I call BULSHIT on that last point, because Robin wasn't the only girl Barney could have ended up marrying. I used to think that too, but it's just not true: that is the equivalent of saying that Barney was incapable to truly love a woman and commit to her, even after all the development he got, and that he only got one shot at love in life, and that's it. This goes against the point the showrunners try to make by having Ted and Robin end up together AND by having Tracy get with Ted in the first place: "it's never too late, you always have another chance at love, etc." And, let's face it, Barney and Robin are legendary, but Barney and Nora (hell, even Barney and Quinn!) were pretty good together too. 

Second of all, if they wanted to give Barney a kid, they could have easily done that, before Barney married Robin. Barney's "redemption" starts when he gets with Robin the first time, hell maybe even when we meet James for the first time: Nora, Quinn, finding out who his father is, the episode dedicated to the lies his mum told him/finding James' father, him getting to know his own dad, etc... those are all steps along the way. The s9 episode where Barney accepts the relationship between Loretta and the reverend proves how far he's come. So why not give him a daughter BEFORE he proposes to Robin? Have him cheat on Nora/Quinn with n°31, giving him a relapse, and having him get closer to Robin while struggling to be a dad to Ellie. That would have been great. 

Or, you know, don't give him children. What's the point of burning the Playbook if you're going to have him write the second edition? What's the point of having him do a complete 180 in the last few scenes and acting like having a kid is the only thing that makes him change? What's the point of doing that when the show spends entire episodes berating Marshall and Lily for "changing too much" when they have a kid?

Also, Barney is the "challenge accepted" guy. He loves his wife so much, he spent years wanting her, and then he gives up because there is no WiFi in his hotel. How does that make any sense at all? This is Barney Stinson, the "I will fly out to San Francisco and buy Lily a plane ticket", the "I will steal every girl from my best friend just to save him for Lily", the guy that wrote the Playbook (it takes effort to pull those plays off), the guy that planned for weeks his proposal, the guy that waited years to get back at the man who stole his first girlfriend, the guy that makes every night legendary... are you telling me that that guy becomes the equivalent of a bored housewife instead of living his best life while travelling the world? Come on. They don't even try to make it believable.

Ted

While watching seasons 7 and 8, I felt that Ted was becoming the worst character on the show: he was boring, depressed, basically had no good storylines, the whole thing with Victoria was pointless and inconclusive (and the whole "stop being in love with Robin" was completely out of character for her), but whatever, we could have accepted that because it passed the message that two people could be good together, without being soulmates - which, by the way, renders the TedxRobin ship pointless, because they were right for each other, but Ted and Tracy were soulmates. Him being hung up on Robin in the latter seasons is almost pathetic, and the thing he does with the locket is insane, not romantic - BUT I will say this: it can be seen in two ways, depending on who's watching. I personally like the two as friends, so I see the whole thing as a "Dahmer" situation, but I get the people who see it as a "Dobler" one and see what he did as a grand romantic gesture. 

The problem, though, is that the whole TedxRobin ship gets pretty old, pretty fast: it's an annoying on-and-off thing, that should have ended with the locket. Because, yes, Ted was in a dark moment, yes, he was probably depressed, yes, he thought Robin was his only shot at happiness, but he changes during season nine! He spends entire episodes letting go of Robin, including the one where she transforms into a balloon and flies away. Ted is the good guy, ultimately. He is the guy that is genuinely happy for his best friends. In one of the deleted scenes from the finale, he meets Robin years later and says that he's so happy with Tracy he never thought about Robin in that way anymore. All of that gets thrown in the trash. Why do that? To use a Harry Potter metaphor, Ted is Severus Snape, while Barney is James Potter: the former loved the girl of his dreams with all his heart, even to the point of creepiness, but they weren't meant to be together. 

Robin

This, along with the next point, is the worst of all: Robin is the worst character of the entire finale. Her relationship with Ted in season 2 is wonderful, and I say that as a full-on Barney/Robin shipper. There was never a problem in their relationship, apparently, but they then break up because they have an "expiration date" and ultimately want different things in life. Except that Ted is not her soulmate. The only times when Robin wants Ted are the times where (1) she can't have him because he's either trying to move on or (2) the times where it's convenient, for example when they become roommates again and they solve their disputes again. Around that time, we see perfectly that Ted had moved on and that the person getting hurt was Barney. It's one thing to see Ted and Robin in the finale as two people picking up where they had left off after they dated. But this is not the case. 

In season 7, we have the exchange that should have put an end to any and all TedxRobin drama, and that completely invalidates whatever the writers wrote after that about the two of them: Ted declares his love - "I think you know how you feel about me now. I don't think time's gonna change that. Just tell me: do you love me?" To which she answers "No". And Ted also says later to Marshall, that he's "happy because he can finally move on". 

What a load of crap. 

Getting over someone is hard, believe me, I would know. And, oftentimes, it doesn't happen until we find someone else to love (and from the moment he meets Tracy, there is no one else for Ted). But by giving Ted feelings for Robin after this moment, it takes away from the beauty of it- because it's one of the most heartbreaking feelings in the world when you declare your love to someone and they don't love you back. Ted and Robin were both honest at that moment, and it was the last genuinely good exchange between them. After that, during season 8 they try to show us Ted trying to get over her (and failing) and in season 9 Ted getting over her completely. This is also weirdly paced because at the beginning of s8 both are in happy relationships with other people and there's no jealousy (which is good, because at least they weren't toxic) and they seem just friends (when Robin leaves Nick to go see him in the middle of the night, she implies that she would do it for any of her friends), but after Ted breaks up with Veronica because of Robin everything is weirdly coated in this sort of tension between the two: first Ted loves her, but she doesn't, so when he helps her by taking her to Barney's proposal ("which means my best bro in the world has given me his blessing"). 

And, by the way, every time they try to paint Ted as the guy that comes through for Robin after this moment, they dumb down Barney's character. And still fail to make Ted a better guy than him (see: the carousel in Central Park). 

Yes, Robin and Ted have some chemistry, but it is nothing compared to what Robin and Barney have. Every time Robin is jealous of Barney, it doesn't seem like a stupid whim, just because some other child is playing with her toys (except, perhaps, during The Robin). Robin and Barney's relationship would need a whole other post, and the next time I rewatch the series I will write down all the things that make them perfect for each other, but, to me, the biggest difference between the two relationships is this: in season 6, when she's not dating either one of them, Ted accuses Robin of never making him feel needed while they were together, whereas Barney praises her for it. Those are elective affinities: that's what Barney and Robin have, and what Tracy and Ted have. 

Barney and Robin have more or less the same arc: they both get over their fear of commitment and they do that with each other. Time and time again, we are told that if they're ever going to settle down, it would only be with the other. The first time they break up is honestly so stupid, and even when they are broken up, they are the best of friends, which also makes Robin's behaviour in the finale look so stupid. The way the two of them fit together is unparalleled, both in a romantic and a platonic way. 

Think about it: Robin makes Barney a better man, while she makes Ted a worse one. 

Also, the whole point that there are different seasons in life for everything gets thrown out the window: apparently, Ted and Robin (that were a couple that ultimately worked in their young twenties) are the same people in their forties.

But that's not even the worst part. The worst part is that the two final episodes butcher Robin's arc as well: episode 23 starts with Lily saying "I want this girl to be in our lives" and we know Robin never made other friends outside of the gang, because she didn't need to, and now she walks away from everything because of fucking Ted?? This is saying "hey, Robin was only in the group for Ted, who brought her in, and now she leaves because he's not her puppy anymore". Robin was the one that was eternally indecisive between Ted and Barney and you're telling me that three years and many many life experiences later, she's still not sure? 

The point of her story is learning how to get over her fear of commitment, learning how to be there for her friends (there's an entire episode dedicated to that, and it's the one where Lily's pregnant and we meet Robin's ex-best friend in Canada), and how to balance her job and her life. Also, the way her character is treated is un-feminist and un-progressive: she becomes Ted's consolation prize. She is passive throughout s9. She cannot, ultimately, win the modern-day struggle most women have and balance out career and love life, so her true life, her "happy chapter" begins after she has already accomplished everything she wanted to and she's free for Ted. She doesn't even go back to him, she just the prize the main character wanted for all his life and only got in the end because his wife died (ONE SCENE, people, ONE SCENE!). Also, this makes Tracy the "broodmare" that gives him the kids he wanted, and his "happy family" experience before he goes to be with his one true love. 

The mother

This. This makes me so mad. One whole season spent on building up Tracy's character, just for it to go to waste. It would have been so easy to screw her up, but she is hands down the best thing about s9. She's the perfect woman for Ted and the episode shot through her perspective is the sweetest. By the end, I liked her more than Robin and Lily. She was the perfect addition to their group, she fit together with them in a perfect way, and they show us the biggest moment of her and Ted's life... for what? To have her die in a few sentences? And I don't care if they shot a funeral scene, I don't care if the finale was supposed to be 40 minutes long, because, in the end, it wasn't. The scene where Ted meets her is the second most beautiful one (after Barney's proposal to Robin) and the climax of the whole show, but they ruin her... and for what? The chemistry Ted has with her, he has with no one. The joy she brings him, the way she understands him, is unlike any other. I am sure that one of the reasons they killed her off was the shock value and I hate it. 

I cannot stress this enough: Tracy makes Ted a better person. When he's with Robin, Ted is "the nice guy" in the most selfish and narcissistic version of the trope. When he's with Tracy, love comes easy to Ted. Also, the scenes between the two of them are arguably the best Ted scenes of the show.

The kids' reactions (ugh)

It's not really what they say- it's the way they say it. The end of HIMYM was not supposed to be funny, even though the show is a sitcom. It was supposed to be bittersweet and beautiful, because it's the end of an era, and the writers must have known that. So, Ted finishes telling his story, reveals to the audience that their now-beloved Tracy is dead, and the reaction is: "No, ahah, you totally have the hots for Aunt Robin" (their words, not mine). Like, what the actual fuck? I cringed when Penny said that. It's tasteless and not fun at all. Even if it has been six years... It's still your fucking mum, show a little bit of sadness at the thought of her. 

The reason the show ended this way

What makes me especially mad is that I know for a fact that the reason they went with this ending is that it was the original one, always intended for the show, from season 2 onwards. And, if you watch it right after s2, it makes sense. But if you consider the eight years that passed and the massive character development, then no, it's not the best possible one. So many things hadn't been decided yet back in s2, especially about Barney, Ted, and Robin, and I hate that they didn't dare to scrap their work. This ending probably had sentimental meaning to the writers, but authors have to do what's best for their characters, not themselves. It's like with GoT, in a way: I think that the authors were all too aware of the impact of HIMYM and didn't believe that their finale would live up to the expectations... which compelled them to make the worst decision possible?? Every single character is OOC during the episode. Oh, and Marshall and Lily moving in the last episode is a ripoff from Friends (or maybe a tribute? Idk). Anyway, I believe that the authors were too attached to their sentimental version of "what should have been" and didn't give the characters the endings they truly deserved.

"Life works this way" // "Life only moves forward"

Some people say that the show is realistic because that's how life works. But I call super-BS on that. That might be true, and yes, people do get sick and die (Max, Marshall's dad...) and life does go on. But then, you don't frame it the way they did. It's just bad storytelling if you do it like that. And the problem is not the structure of season 9, because the characters develop in that season. The problem isn't even the mother's death. The problem is Ted ending up with Robin because that's not life moving forward for him, that's him, doing the same thing he did in 2005, 25 (twenty-fucking-five) years before! 

In conclusion, this finale is incoherent and inconclusive, and not satisfying at all. The only character that gets a good ending is Marshall: why is that? What makes his ending great? It's the fact that his character arc is respected and he finally gets what he's been working towards for more than ten years.

[fireemblems24]

Ao3 Ship Thoughts

To sate my desire to read Three Houses fan fiction and jump in on the shipping comments that have upticked recently, I decided to see what ships were the most popular on Ao3.

Some of it's exactly what I expected, and one in particular is just . . . what, why?

Ao3 is probably the closest you'll get to truly determining which ships are the most popular, or at least have the highest number of passionate fans. So I was curious to see who the top ships were. Here's the ones listed, in order:

Sylvain/Felix

Dimitri/Byleth

Edelgard/Byleth

Ferdinand/Hubert

Claude/Byleth

Dimitri/Felix

Dimitri/Claude

Felix/Annette

Caspar/Linhardt

Hilda/Marrianne

If I exclude the Byleth ships, Dimitri/Dedue, Byleth/Seteth, and Ingrid/Sylvain take up the three missing spots.

Byleth's Ships

I'm shocked. Really, truly shocked that Byleth/Lord is popular. Never wouldn't guessed. I am, of course, being sarcastic. If someone asked me to list who I think would show up in the top 10 most popular ships, the first three I'd list would be Byleth/Lord.

What I find more interesting is that Byleth/Seteth is the fourth option for Byleth. AO3 writers, I officially bow to your taste. It pleases me quite a bit that, if you're not going with one of the main lords, you all want Seteth. This I can agree with.

As for the Byleth/Lord ships, I feel kind of mixed on them. Every lord interacts with characters who have more depth than Byleth, but I still get the appeal. I'm going to deep dive into all of the lords relationships with Byleth later, but here's a quick summary.

Edelgard/Byleth is shoved down your throat so hard it's nearly impossible to ship Edelgard with someone else and even shortchanges her potential to have deep, non-romantic relationships because Edelgard puts Byleth on a pedestal that no one else can reach by her own dialogue.

Byleth's character arc works well alongside Dimitri's. While the relationship is pushed and fanservice-y scenes exist, the game leaves enough breathing room to see Byleth as a mentor/therapist/teacher figure, and Dimitri has no shortage of deep, meaningful relationships with others should you not want to do the whole self-insert thing. It's a good balance.

Claude and Byleth are the opposite of Edelgard and Byleth. They read almost more like friends than lovers. It's a breath of fresh air, honestly. Claude/Byleth seems like the healthiest possible romance for Byleth/lord because the lord in question here doesn't seem as dependent. That said, it lacks lacks romance and shipping fuel. I may complain about fanservice, but the Byleth/Claude dynamic does show why scenes of holding hands in the rain and teasing about badly drawn images might actually come in handy.

Edelgard's Ships

I'm not surprised, at all, that Edelgard has no popular ships outside of Byleth. Dialogue consistently shortchanges Edelgard's relationships with others by having her verbally, repeatedly put Byleth into a special "other" that no one else can reach for her.

Though, I guess I'm a bit surprised at the extreme lack of Edelgard/Hubert. I feel these two have a lot of shipping fuel and their supports left things unresolved. I've come across the sentiment in fandom many times that ship where things are tied off nicely with a bow leave less to explore and aren't as interesting, so I am bummed out no one seems interested in fleshing out Hubert/Edelgard more.

The outlook for Edelgard fanfic and me seems pretty limited. I don't like Edelgard/Byleth for various reasons beyond this scope of this post. I was kind of hoping there were some Edelgard/Hubert or Edelgard/Dorothea character study stuff that could help me get past how much Byleth gets in the way of Edelgard's character growth, but it seems fanfic writers only want to write about her and Byleth, which is a bummer.

On that note, I'm also surprised but also glad that Dimitri/Edelgard isn't a big thing. I thought it might be because tragedy of childhood friends turned enemies by events out of their control is popular. These two seem wildly incompatible though, so I'm glad people seem to agree.

Claude's Ships

Ok. Claude/Byleth. Expected. I'm feel positively towards the ship since they seem mostly good for each other even if it's not getting my heart all fluttering.

I'm surprised there's no Claude/Petra or Claude/Hilda. Those two are my personal favorites for him. I would've given Claude/Petra the edge given how they can uniquely relate to each other, but Hilda's scene in CF really gave Petra a run for her money. Even more so that Petra and Claude have obligations to two different nations and Hilda has no such complication.

But whattttt???? Claude/Dimitri? It's in the top 10?? More people ship Dimitri with Claude than Dedue?? I thought lord/lord might be popular, but I honestly thought Dimitri/Edelgard would take it, not Claude/Dimitri. They never really talk. So I'm a bit confused about this one. Though, intrigued by the idea.

Can I take a wild guess this partly stems from Claude having no real other viable M/M ships outside of M!Byleth and fics that plays up the chapter I'm about to play in AM (Dimitri saving Claude) or "what ifs" VW routes where Dimitri doesn't . . . you know.

I am really curious about this dynamic though. Because I like Claude - a lot. He's a character I want to get attached to. From experience, the fastest way for me to like a character is to give them a significant relationship I enjoy with a character I already love and the new character gets absorbed by proxy. So, fans, please, tell me more about this Dimitri/Claude. I am curious.

Dimitri's Ships

I am as unsurprised by Dimitri's being one of the biggest repeat offenders on here as I am by Edelgard being Byleth or bust. If Edelgard is written to fanservice the player by making the self-insert her one and only, Dimitri is fanservicing the player by being a shipping magnet. The writers knew what they were doing and who they were trying to appeal to with these two characters.

Dimitri/Byleth is a given. The game plays up the romance angle, but it's not at the expense of Dimitri's other relationships.

What I'm more interested in, though, is Felix/Dimitri. Between angsty CF stories, post-AM slow-burns, or fleshing out missing scenes from their shared childhood, there's just a lot to work with and a rich context to use their relationship - spun romantically - to explore each character. Felix and Dimitri's relationship is layered, complicated, heart breaking, and potentially healing. The fact they're two incredibly attractive guys doesn't hurt its popularity either, I'm sure. I'm not surprised it ranked that highly.

Claude/Dimitri surprises me. If two lords were going to get on this list together, I would've put bets on Edelgard/Dimitri. Since Claude and Dimitri's relationship is fairly unexplored, I'm really interested to see more about what exactly this is about. Don't get me wrong. I figured people would pair two main characters who are that good looking together, I just didn't think it would rank that high.

I am, slightly sad, that Dimitri/Dedue isn't a bit higher, but happy it seems to have some steam. I get it though. Dedue's not as flashy as some of the others on the shipping list and their relationship is so full of fluff by their A support it lacks the angst Felix/Dimitri and Dimitri/Byleth can draw out nor is as much of a play around with "what ifs" as Claude/Dimitri is.

Non-Lords/Main Characters Ships:

This list, more than anything else, shows AO3's penchant for writing M/M and F/F works for better or worse. Whether this phenomena stems from lack of representation, fetishizing by the fanbase, deeply ingrained gender roles making fictional M/F ships either less appealing to many fanfic writers, or M/F romances often getting assumed leading to less substantial writing compared to friendships - I don't know. Probably all of it.

There are a few surprises here for me. Felix/Sylvain is that popular? I figured they'd make the top 10, but #1 is surprising. Though, looking through the first page of the tag, it's true Felix/Sylvain have fics just for them, but it also seems like a common pairing in Dimitri/Byleth and Dimitri/Claude fics. It's the same story with Caspar/Linhardt, who I honestly didn't expect to see. They had a fair number of their own fics, but it seems many CF fics put them together rather than focus solely on them. Felix/Annette also balances being the main focus and an adjunct pairing. Marianne/Hilda seemed to have less fics where they took center stage and more they were one of many ships listed.

Ferdinand/Hubert having a lot of fics isn't surprising. I don't really care too much for it personally, but I can see the appeal of it.

I'm surprised Catherin/Shamir is nowhere in sight. Likewise, Rhea is absolutely nowhere. Kind of sad by the lack of adult characters in general. Especially Rhea. I think it's a pretty big sign of how the writing's treated her that such an important character is totally absent in this list.

Not surprised at all to see Felix also get so many ships. He, like Dimitri, seems designed on purpose to ship with many characters. I do really wish Dorothea and Seteth would get more attention though.

What do you guys think? Anything that surprised you? How do you feel about any of these ships and there popularity or lack thereof? Are there characters/pairings you wish got more attention? Any popular ships you despise (spill that tea)?

[gra-sonas]

ENTERTAINMENT WEEKLY: Was the year time jump because of the pandemic? To sidestep making that too central to the plot, or was that always the plan?

JEANINE MASON: That was always our intention and it was just sort of a saving grace in that way. We also don't acknowledge the pandemic in real-time on our show. There are no masks and that was just so wonderful just to get work in that way and have that time where it was a little more normal. Also, that's just our show — we want you to come to us the way you always do, which is for nineties nostalgia, sexy Cowboys, brilliant scientists, you know? CHRIS HOLLIER: So we wanted to drop our characters in a year later, let them stew in their individual decisions that were made last season. We want everyone to root for our poster couple but we want to honor what happens in real life, which is sometimes you step away from that person, even if you are entwined with them in a very particular way. So we wanted it to be a real enough time and distance so that they could live a little life on their own.

With showrunner Carina Adly MacKenzie departing at the end of season 2, has much changed? Or are you still working with ideas she had in place?'

HOLLIER: It's a little bit of both. There are things that Carina and I built that live all the way through and then once the story got up on its feet, discoveries were made with our new crop of people that we were like, "Oh, we're going to bend it this other way."

Jeanine, how is Liz doing in her new life in L.A. when we pick up this season?

MASON: Well, it's been a year and at this point, her life is actually pretty great. She just hasn't taken a second to acknowledge that. She's doing what she does best, which is just full head in her work and trying to figure out what she could use of her discoveries and her brilliance to save Maria. She has a great job, a really nice place, and an awesome partner at work who is a good time and a real match for her in terms of intellect and ambition. He begins to ask her to recognize that and to maybe give something a chance that she's been reluctant to because of how drawn she is to Roswell and to Max. It's a fun first episode. It's sexy. It's fun to find opportunities for her. She's our hero so she's got a lot on her shoulders and anytime where we can find levity for her is always a real treat for the writers and for me.

And no Crashdown waitress uniform must be nice?

MASON: Honestly, I miss it quite a lot right now. I have a note in my notes with Chris, I'm like, "I gotta tell him we gotta find him more opportunities for it."

Should Liz and Max shippers be worried about them finding their way back to one another after he destroyed her work and didn't follow her to L.A.? Should we resign ourselves to a season apart?

MASON: This season really is about these characters having themselves mirrored to each other. Max and Liz need some growing and ultimately they can't do anything but be orbiting each other. We found so many opportunities to have such a beautiful language around the cosmic element of their connection. They're asking, "Is this our decision, or are we just acting off of a decision that the cosmos made for us?" It was so fun to navigate that. I always have such a good time with Chris Hollier and with Nathan Dean, just finding the little tiny notches, a tiny bit of movement towards where they're going next. I really loved following them. It's my favorite Max and Liz season to date.

HOLLIER: It's not a season apart. I'll tease that they, in an unexpected way, end up in front of each other relatively soon. But it's really about when am I ready? And what does it mean to talk to my ex? When someone makes such a big influence in your life, when do you know it's over and when do you know you should fight again? We tried to give them real grown-up lives.

Steven Krueger (The Originals) also joined the cast as Heath this season. What can you tease about his character?

HOLLIER: He's just an awesome human being. I know him from The Originals and we were like, "If we're going to have to be stuck with people in the desert, who do we want?" You want to be stuck with a handsome and lovely and charming Steven Krueger. So really this was looking at, "Well, what did Liz want and what does it look like when you start to give Liz versions of what she wants?" Heath is somebody that is beyond being just a lovely person, he is smart and wants to advance science and that's appealing to Liz. It becomes, "What does it look like when the man that I hang around with all day is also into the same things that I am?" MASON: I love him. Heath is just such a fun, whip-smart, fantastic character. His humor was so fun. We've been having a good time with kicking the humor up really through season two and in season three, we just took it up another notch. There are some moments that are like, "Is this a drama or is it a sitcom?" Looking back on it, he was such a fun partner to spar with. They're both such intellectual characters and I love that there's a real meeting of the minds. It makes it competitive and sexy. I know a lot of fans are so excited because they know him from The Originals and he's going to be a great addition.

Technically, Mr. Jones is a new character too. Can you tell us anything at all about him?

HOLLIER: I'd say he's a new character — and a fully-fleshed interesting new character. Mr. Jones has an awesome beard. At some point, he might lose that beard. A lot of people are asking me, "Is Jones good or bad?" And what I would argue is that's a perspective based upon who you are in the conversation that you're having with him. He knows a lot about our heroes' story and he knows a lot about home. He'll be able to answer questions for them. This season our heroes will get to learn why they ended up here on earth. One of the things I think that people will love is that they're going to get to see that home planet this year. We asked ourselves a lot about this whole season, "What have we set up for the past two?" We look at these first three seasons almost like a trilogy so a lot of things are going to be paid off.

Has Nathan enjoyed pulling double duty this season? Or is he just exhausted?

MASON: He's exhausted, but he's such a champ. That really is the beginning of this mirroring thing that starts with Max and Jones with him actually getting to look at himself to a degree and those questions that come up. The self-analysis that it provokes in him is really the beginning of what is happening to all of our characters this year; everybody's being confronted with themselves. I loved that the Max/Jones of it was also a real sci-fi element.

Did he really grow that beard or was that not possible if he had to go between the two characters?

MASON: That was a prosthetic beard and our makeup team killed it. He was not accustomed to early mornings, which, of course, all of us babes are. It was a lot of extra time in the chair for him.

Can Jones dupe Liz into thinking he's actually Max since she doesn't know he exists?

MASON: You're totally on to something. It's a real and pressing threat. I mean, she's totally in the dark and he looks like her cosmic lover!

HOLLIER: What I will say is that, Liz — beyond her being number one on the call sheet — is integral to this story in a way that she and none of our characters are going to perceive when they start episode one. We're bringing [the characters] to a new crossroads moment in their lives and they're getting, through Jones, a mirror into their own lives to decide what they're going to become next.

How's Rosa (Amber Midthunder) doing this season?

MASON: By the end of season two, Rosa really makes the decision to start taking care of herself. She really becomes an incredible asset to the Scooby-Doo gang. It's something that Liz is in constant adjustment to. As much as she's the younger sister, she feels very protective of her sister and Liz has had to make adjustments in her trust and faith in Rosa. I loved it because it just felt like a real personal, authentic thing that sisters would go through, but also that Hispanic sisters would go through. I think we sometimes, culturally, have a tendency to baby our women — maybe that's the wrong word — but just to underestimate their physical ability and what they might take on, and sort of 'queen' our women in a way where we treat them tenderly. I hate that. I'm a tough bitch and so is Rosa. So Liz has to confront that and go, "I'm an idiot to underestimate you. You've done nothing but prove me wrong."

What about Maria and her visions?

HOLLIER: This year I think Maria has the most complete arc of any season, as she recognizes things about herself that cause more questions about who she is, who her family is, how she's linked to this story. We dive into it in the present-day and we dive deliciously back in time too.

In the exclusive clip above we see her have a vision of a funeral, can you tease anything about who potentially might be about to die?

HOLLIER: Maria is front and center in driving the first half of the mystery for us. She's burdened with trying to figure out whose death she is seeing. It takes a few episodes to unravel and we use it to ask, is this linked to our supernatural stories or real-world stories that are going on politically? Is it bad luck? Is it herself? There's a whole gambit at play. We joke that we solved a past murder, now we're going to try to stop one.

Can Malex (Michael and Alex) shippers have hope that this might finally be their time?

HOLLIER: What I would say is that I think that Malex fans are really going to dig this journey. We, as writers, put them at the same level of importance as Max and Liz. So we wanted to really honor the next step in what they may or may not be. How did they grow up and how did they have those hard conversations just like Liz and Max are going to have?

Is Isobel going to continue to date women this season?

HOLLIER: Isobel is going to go on a more personal journey. You got to love yourself before you can love someone else. We lean into those possibilities by the end of who she might love. It's not something that is dropped all season — it is something that you'll see. We play some romantic comedy stuff with her character this year and with Maria that I think fans are gonna dig. There's a lot going on in the world and wanted to pump some humor and hope into it.

Will see more of Liz fighting to challenge the perception of the Latinx community?

MASON: I think that just by nature of it being one of such few shows that are led by a Latin woman, it's always going to be, to an extent, a protest or an assertion of the space that I get to fill and that Liz Ortecho gets to fill on network TV. I was really excited to just have Chris as a collaborator. Over our hiatus, before the season started, I was doing a lot of reading. I chronicled the books that play into Liz every season on my Instagram. I was reading some Sonia Sotomayor. Her book is just incredible. I was texting him screenshots of pages of the book with things underlined. Ten episodes deep into season 3, he's like, "Remember that page you sent me?" He's a real dream collaborator. I loved him for that. A pressing struggle for people of color is going through the ranks in these big corporations and then sometimes coming to find out that those corporations are purporting to support marginalized groups but actually aren't following through. So how do you, as someone who's having your success, your dreams become reality, navigate supporting the company and giving so much of your intelligence and your work — that they often legally own, especially with science — to a company that isn't going to be for your people?

Roswell, New Mexico returns Monday at 8 p.m. on The CW.

[ichayalovesyou]

Hi i was wondering about your thoughts on the vulcans in enterprise? because loads of people think enterprise wrote them badly and made them assholes but imo i think it's pretty good considering the relationship between vulcans and humans in tos is still a little strained and it isn't until tuvok that we see a vulcan who respects humans with their emotions rather than in spite of them.

I’m not very far into Enterprise but I have not, at all, disliked ANYTHING I have learned about Vulcans that has its origins in Enterprise and I am EXTREMELY excited to get to the Surak’s-Katra-Is-In-Archer & Vulcans-On-Verge-Of-Ideological-Civil-War Arc!!! I don’t think Enterprise ruined Vulcans at all, I am loving the way that they’re getting fleshed out! I legit adore what Enterprise has done with Vulcans based on Memory Alpha research alone and not even having finished the series. It’s super fascinating!

I think people just don’t like things that are new and like to slap the label of “bad writing” onto things too quickly. Just because they haven’t connected the dots as to why things are written the way they are, or it hasn’t met their precise perceptions. People are judging the way that Vulcans are written in Enterprise the same way people judge Dr. McCoy’s interactions with Spock. As a fandom people have gotten SUPER attached to Spock and Vulcans as a whole, so much so that they are blind to his & and his people’s serious flaws. I don’t blame them, I love Spock (and Tuvok, and T’Pol) and I feel like I have a pretty good rep in this fandom as a diehard Vulcantologist 💚🖖🏻💚

BUT-

Vulcans (and Spock especially) come off as pretentious, repressed, overly-secretive and belittling in TOS. That’s not to say he & Vulcans as a whole don’t have excellent redeeming qualities to balance those things out, but those flaws still exist, and out of all Vulcans, they, ironically, hurt Spock most of all, despite his being the forefront example of Vulcans we have. Enterprise only took Vulcans backwards down that societal development path. It only pisses people off because they’re seeing Vulcans’ (cultural) character development in reverse. The way Vulcans are in Enterprise makes perfect sense in contrast to how significantly they chill out in all subsequent series as their interplanetary cultural experiences grow bigger and bigger.

Like, you can watch how Vulcan has developed organically as a culture by watching T’Pol, then Spock, then Tuvok respectively. Even then, Tuvok canonically started out as prejudiced as any other Vulcan and it is only in his later years after returning to Starfleet (where we see him in Voyager) that he has come to fully respect other cultures, especially Human. He bucked HARD against Vulcan tradition in his youth, just like Spock did, and funnily enough, grew out of his need to conform to it around the same time for the same reason (I actually get into that in a post about Love & Kolinahr that you can find on my pinned Vulcantology masterpost)!

T’Pol is by far the worst of the three of them, she loathes and looks down upon humans with far less reason to resent them than Spock does. She eventually grows out of this by exposure to human culture, exposure to other alien races, exposure to different sects of Vulcan beliefs (Syrranites & the V’Tosh Ka’Tur), and by falling in love with a human, Trip Tucker.

Spock, IS human, partially, but he has some serious internalized racism that leads him to deeply resent humans as a whole. All while constantly flagellating himself by trying to adhere exclusively to Vulcan philosophy and traditions. By his own biology and within the eyes of his xenophobic culture, he could never achieve full Vulcanhood, and he’d been taught to see that as failure. He receives a fair amount of prejudice from Humans, but until he learns to accept that he is both human and Vulcan, and honor that instead of hating himself for it. He dishes out judgement and prejudice even harder than he receives it.

Tuvok’s journey to acceptance, inner peace, and open-mindedness (albeit criminally understated in Voyager) shows more about how Vulcans have grown as a society than Spock’s personal character development ever could. I adore Tuvok, and what I am about to say is not because I adore him, more that I adore him because of what I’m going to say: he is a perfect example of Vulcankind at it’s best. Just like how the various captains of the Enterprise are meant to present humanity at our best. It is also SUPER important to note that, even if we didn’t get to see much of it, Tuvok did not start that way. He was just as prejudiced as T’Pol, and just as unhappy, even rebellious, against the pressures of his culture as Spock. He went through similar arcs to both T’Pol & Spock, but we get the pleasure of seeing how a (well-adjusted) Vulcan operates (within the context of Starfleet/the Federation) after he has made peace with the same struggles T’Pol & Spock went through. I love that Voyager was willing to give us an example of a functional Vulcan who wasn’t living a life of xenophobic emotional torment (at least, not emotional torment born from his culture).

Sorry this question kind of got away from me 😂

TL:DR I love all Vulcans, Enterprise era Vulcans especially included! 💚🖖🏻💚

[popculturebuffet]

Ducktales Della Arc Reviews: The Spear of Selene or THE INCREDIBLE STORKULES, GOD OF HOMEROTIC SUBTEXT OUT OF MYTH!

Hello all you happy people and welcome back to my coverage of the Della arc! It’s our last 2017 episode before the Finale, and it’s a huge one as we delve into a fan faviorite that introduces a pair of fan faviorites, a drum of tzatkiki sauce worth of gay,  an asshole so odious getting sent to the bowls of hades and laughed at for all enternity after being cast out by eveyrone he knows really was getting off light, and at last some plot progression on this arc. At the time it aired mind you at this point Dellas been a beloved cast member for three years, and we’ve known what happened to her for longer than that. 

At the time though.. it’d been 8 MONTHS since the Great Dime Chase. Let that sink in. The Della reveal was the biggest hook of an already exceptional pilot: It not only promised to flesh out a character who’d had all of one story in the comics at this point in present day, but solve the mystery of why she was gone. Not only that but Scrooge and Donald’s feud clearly stemmed from this exact moment. And the first full episode in the arc confirmed it: Della had taken whatever “The Spear of Selene” was and apologized to Scrooge for it. So why had she taken it, why did Donald blame scrooge, why did Scrooge not blame himself, at least outwardly, where was she, what was the spear of selene...

As I pointed out last time airing order didn’t help and due to airing the arc episodes really close together, gave the impression the arc would not only move fast but take up more of the season than it did. In practice both arcs take up a fourth of the season not including the finale, which would take both up to about a third. The expectation on how much of the season would be taken up by the arc.. was on Disney for airing things badly. I will give credit where it’s do as they moved this episode up in the order to try and make up for it (and give themselves a huge mid season opener).. but then for some reason shoved the last episode before last crash, ie. the only one they coudln’t move, way back to right before that episode. “ Here’s an actual photo of the person who made this decision

As I said they did get better next season with only a few swaps and only for good reason. So props. 

HOWEVER.... this episode still has some  flaws with pacing and revealing info, with or without Disney drunk driving the schedule. The wait between episodes in this plot is an episode LONGER in production order... and dosen’t move the plot forward by much. I will get to that when the time comes.. and that DESPITE this treatment of the fans.. this episode is still one of the seasons best. How are both things true? Join me under the cut to find out. 

Thunderstormy to be precise and the Sunchaser is natrually encountering loads of turbulence with Launchpad barely holding int here while Donald’s buffeted around the back. Why Donald’s with them... 

But it’’s one of his only five starring episodes in the season, out of 9 appearances total the rest of which are cameos.  Yeah now seems as good as time as any to talk about Season 1′s Donald Duck problem. 

See Donald was promoted as a major part of the series, rightly so since he was reduced to a guest star for the 87 series due to a combination of Disney not wanting to overexpose the characters, people possibly not being able to understand his voice and thus making plots hard to understand, and Tony Anselmo being new to the roll at the time. So the reboot went all out promoting the fact Donald would be in it, front and center and gave him TWO character shorts to the rest of the casts one. Disney really went out of their way to show he’d be in there so as a certified Donald Fanatic, I was sure he’d actually be in the show a lot and on the adventures a lot. The crew were not blameless as both promotional arts featured him. Launchpad and Beakly conversely were asbent, so the impression given by all of this was that Donald would be central to the series and in a lot of episodes, given equal focus to scrooge and the kids. 

This.. didn’t happen as you all know. Instead as stated he’s up front and center for 5 episodes, and makes cameos in others, but generally is hardly around. Now there is KINDA an excuse to this as he doesn’t want to adventure, be in the mansion or any of that.. but it’s a REALLY weak one. He still at least could’ve made more cameos, the fact he was working on the boat all that time isn’t made clear till last crash, and his two spotlight episodes both have him dragged along on the adventure anyway, so it’s not like his not wanting to be there meant he woudln’t be forced to join in anyway. There were ways to include him, still have him in a supporting role instead of leaving him back at the mansion.. and even the second episode proved there was still comedy to be mliked from that.. and pathos don’t forget the pathos. So yeah this was easily the biggest mistake of the season and one season 2 largely corrected: He got four dedicated plots, and was around a decent amount in the first half of the season and while he DID get shot up to the moon... it was for valid reasons. They wanted to focus on Della and the kids, give her room to breathe as a brand new major addition to the show, and thus him being around and the elephant in the room of his and scrooge’s feud that was never dealt with on screen, would’ve distracted from that. And even with that they still gave him a focus episode that somehow added more depth and MASSIVELY advanced the main plot, and a sizeable roll in the finale. Season 3 likewise had things better: while he shows up as much as in season 1, the episode count is lower by one, and he’s a major part of the plot in every one BUT Last Christmas, with four of those having the spotlight on him in some way. They eventually did figure out how to use him far more ballanced. So yeah credit where it’s do it got MUCH better, but he still felt like a recurring character in his own series, that was still bad, and I still needed to give out about it. 

But Webby and Dewey have a mission even if Dewey dosen’t quite get what’s going on so they flip a switch to turn on a warning light of some kind forcing Launchpad to make an emergency landing on a gorgeous tropical island. To Huey’s amazement, as the place was apparenlty only a myth, though naturally the guidebook did have it’s aproximate location listed... Ithaquack, home of the gods. Naturally Scrooge and Donald want to leave as soon as possible for reasons we’ll get into but Launchpad , for once is being a responsible pilot “Better safe than.. something right? Scrooge is of course irate that Launchpad picked NOW of all times to be safe, and the Kids.. don’t listen because Huey sees a beautiful realm of myth, Louie sees a beach vacation and Dewey and Webby.. have work to do. Webby eventually fills Dewey in on why their here, having wrongly assumed he got why they were going to a mythical greek island. As Dewey delightfully puts it later “Don’t assume I know anything. “ So she pieces it together for him: Selene was the greek goddess of the moon... Della took the SPEAR of Selene. Ergo this island is the best place to find the Spear and failing that, Selene herself to get more info on it and Della. 

So we have our two plots. Scrooge and Donald dealing with their pasts and the gods, and Dewey and Webby diving into his mom’s past. And unlike the last review where a genuinely unsettling story about an abuse victim forced to manipulate her girlfriend not going into a murder vault was paired with Louie having to deal with a Sasquatch while Huey catches a case of Dewey’s stupidity somehow, these two plots are perfectly paired: Their both perfectly thematically connected, both dealing with the past, Della’s absence and Scrooge and the Twins past encounters with the gods.. but both being self contained outside of that, entirely unconnected but stilll necessary to be in the same episode. THIS is how you do two plots. But since they don’t really synch up again till the end, let’s cover each one at a time shall we?

“What if My Mom was a Bad Person?” 

The plot is pretty straight forward but expertly done: Dewey and Webby first check your standard Zelda dungeon which apparently has a cursed weapon at the end. We also get an utterly adorable and sweet shot of Webby comforting Dewey after he’s clearly shook from it. Awwww. Turns out it’s the SWORD of Selene. and quickly turns into a game of put the Cursed Sword back before we all die. 

Next up is a monster who nearly kills both protecting it’s spear.. the spear of POSIDEN. (Look at meeeeee). And since they aren’t going to be on a boat that isn’t a house boat anytime soon, they don’t need that and the monster cheerfully redirects them, with Dewey apologizing for calling it ugly. 

So all pretty standard stuff for the show and really good stuff.. but it’s the building tension underneath that truly makes the episode and leads to one hell of a climax for this plot. All the while Dewey is DESPERATE for some explination for his mom’s disapperance that isn’t her betraying Scrooge, maybe returning the spear because it was cursed or getting eaten by a monster. Just ANYTHING but the mounting and horrifying suspicion.. that his mom was a bad person who destroyed her family and betrayed her uncle and laughed all the while. Webby.. does not help, backing that side of things and constantly voicing hte idea Della betrayed Scrooge, so obsessed with solving the mystery of her life.. but so unfamilliar with people she dosen’t see the very real toll this is taking on her best friend. To her she’s just making a logical counterpoint.. to him it’s just another idea in his head about the way his mom could’ve betrayed everyone she cared about. 

So that climax is where it explodes. Our heroes find a scale model of ithaquack (Complete with Tiny Maniticore! It’s so cute Webby just wants to slay it)  and an opening.. with an ominous message about incurring the wrath of the god seemingly conforming the worst. So Webby prepares to find out the whole story.. only for Dewey to stop her. No one’s finding this out, whatever it is, no matter how far they’ve come. And given this is the biggest mystery of her life and she simply dosen’t understand WHY Dewey dosen’t want to know.. both sides are ready to fight for this. And Webby DOES try to back him down, pointing out he really can’t beat her in a fight. But Dewey’s already grown leaps and bounds form the pilot and is working smarter not harder. Beat Webby, who spent a good chunk of her life being honed into the most badass child on the parent, one who can take on several of scrooge’s worst foes one on one? Not on his life. But hold her off long enough for the gate to close? He can do that. 

So the result? One of the best fights of the series... and given the sheer amount of great ones we’ve gottten since this one it still says something it holds up THIS well. It’s an even, furiously paced fight, with Dewey using every advantage he has including tossing said manticore to keep up, but not slowing down one bit. It’s heartbreaking to see the two come to this but it’s an delight to watch. Webby DOES win eventually, though time’s running out to get in and she finally asks WHY. And  while the stakes have been crystal clear for both this whole time.. we get them laid out in the most painful way for both. 

Webby: We're so close to the truth! Why won't you let us find it?! Dewey: Because...*his voice cracks* what if my mom was a bad person?

It hits VERY hard. For Webby this has been a puzzle something to solve the greatest achivment of her life, her chance to make her mark... and her best friend just wanted to abandon it. But in one swift response, he disarms all of that.. and makes her see how insnstivie she’s been: He may not know his mom.. but he can’t bear the thought she was a bad person. That she left or WORSE, because she didn’t care about him, or scrooge or ANYONE. Knowing nothing is better than knowing she was a monster. 

Webby realizes what she’s been doing to her friend and is horrified and offers to back out. The answers.. aren’t worth destroying her brother. But her willingness to back down.. finally gets Dewey to see the light. His fear was valid.. but at the end of the day,  it’d never go away. it’d just keep eating him for the rest of his life, every time she was mentioned or he found something else out he’d just wonder if it was a lie and wonder wht he COULD’VE learned this day. And if Webby’s willing to sacrifice THIS MUCH to give him peace of mind... then he can sacrifice that peace of mind for the truth, for her, and for himself. So he pulls them inside. 

Inside they find Selene who suprises them.. and is then confused. Their not della. Also I guarantee mentally she’s thiking “Thank me I didn’t do it naked this time. “. After some confusion as to who this is, Webby explains that IS Selene, and Dewey begs for answers about the spear... only to find out she dosen’t have one. Nope. The sword seen before and a SPHERE, yes.. but no Spear. So the poor boy breaks down, back to square one. It’s hard not to see why... all this effort, all of this sacrifice.. and he’s no closer than when they first set down. 

Selene does help though... giving him an idea of who his mom WAS: one of her closest friends (And let’s face it  Della named the ship after Selene and Selene casually uses Della’s shower. If they didn’t go out at least once, I am an outer god. And I very much am not and they very much banged hard. Goodnight. ) , a good person who brought fun to everyone, and loved her family more than anything. Wether she betrayed Scrooge or not, she wasn’t a bad person. And her own orb shows it showing Della in her prime, brightly smiling next ot her family. Selene encourages the boy not to give up, that his mom always loved a mystery.. and he can solve this one and gently hugs the sobbing child.. with Dewey quickly pulling webby in. It’s genuinely touching and a satisfying ISH ending. 

The ish... is because while this is a VERY good plot, i’ll gush more about it at the end, it does have one supreme flaw: the mystery dosen’t progress. And with the huge gaps between this episode and hte next one, in BOTH airing orders... it’s unforgivable to not have EITHER plot give us any hints about what happened. I don’t ask for much, but they could’ve found a clue in the sphere Dewey got, or saw a memory of her that brought up the next place they look, just something a little. While it’s still a very fine story, the main plot suffers a bit by having one of the ONLY three episodes delving into the della mystery before it’s fully revealed in sunchaaser have almost no progress. Della was probably a good person, which comes from her ex who clearly still loves her so that’s not really reliable, and the spear isn’t literal. While the lack of progress works for the story in the episode itself.. it comes at the cost of any actual plot progression. We end up exactly where we started and have to wait SOME TIME before we get to the next spot on the tour. Well we did, you guys will find out Monday or Tuesday depending on if the finale goes up in the morning or Disney holds it till the actual airing. Please don’t you bastards. Point is it’s  VERY good plot, but it’s hampred by not really progressing the arc. 

The arc progression for this storyline is painfully slow, and tha’ts not on disney. In either order there’s a MASSIVE gap of 15+ episodes between what we learned in the great dime chase and what we learn in castle mcduck. It’s sloppy writing and I expect better from this team, especially since the Lena plot the same season is far tighter paced: each one builds a bit, both on Lena as a character (Why she’s doing this etc), her development as a person, her relationship with webby growing and Magica and her growing more and more spiteful with one another. They could’ve had at least ONE MORE subplot to build this up, especially since we really dind’t need the sasquatch episode but just.. didn’t for whatever reason and it’s still frustrating.  But as always credit where it’s due.. the next two seasons were better about it. 

Season 2 while not perfect, and we’ll get to it’s plots someday.. and I do say plots as not alternating between the two plots for season 1 was a mistake if a well meaning one as not to drive up the price for Kev but for future refrence if any of you want me to cover an arc for something I WILL have to cover all of it or any adjacent to it that flow into it. Point is they move faster and both Glomgold and Louie’s are pretty lowkey and low stakes so while enjoyable, their not moving incredibly fast dosen’t hurt the show. And the Moon plot has the best pacing of the three and possibly of the series plots period: We get filled in on Della fairly quick, getting answers on her WAY faster, get introduced to the moon and it’s people right away, get a whole episode on them, and the most importantly in sharp contrast? She returns HOME halfway into the season. 

I will probably go into this again when I get to nothing will stop della duck but Season 1′s pacing and general wisdowm made me think she wouldn’t get home anytime soon and she’d return in the finale. Instead? We get a whole half a season fleshing her out further, seeing her connect with her kids, all that good stuff, WITH an episode advancing the moon arc, without that arc feeling unimportant, but still having the slow pacing. 

Season 3 meanwhile while again not without bugs, the last few episodes before the finale having no real build up to it really wasnt a good idea and I question why these two episodes were the ones leading into it, has two seemingly barely related plots.. that EFFORTLESLY merge into one, with one hell of a huge twist in impossibin that ratchets up the stakes. I don’t know how it’ll payoff.. but we’ll see. 

So they did get better, i’m still hard on it because it happened.. but I will never stop stressing how this crew usually corrected a mistake. If they fucked up, they LEARNED FROM IT, course corrected, and made it better and they listened to US. IN the good way, not letting fans run the series but listening to valid concerns and adapting to them. And given how fucking rare that is and how hard it must’ve been with the tight schedule, I.. I really appricate it and i’m going to miss it. And I can’t think of a segue so enjoy this picture of a turtle hitting a trapper in the face with a bat instead. 

“Someone Always Gets Hurt”

So let’s take it back a few hours. Hit it boys!

Donald tries getting the boys back on the ship, clearly fearing something coming for him.. and we soon meet that something. Yes it’s the hero of legend, the stork out of myth, the star of a LOT of Donald Duck Slash FanFiction only half of which he wrote, STORKULES!

In case I didn’t make it clear when I reviewed New Gods on the Block! I love this guy. He reminds me a LOT of the marvel version: Boisterious , horny (if in a far more pg version), Gay (Pansexual for the marvel version), flawed but still immensley likeable. Stork is a bit diffrent, a bit more naive, a bit peppier and entirely blind to the fact his father is a terrible person. But my love of the marvel herc means Stork was an easy sell for me and Chris Dimatopolis’ performance is second to none, only topped in this series by his later work as Darkwing where he got a bit more range than “Joyous ham who wants to bang”. Also I’m 100% convenced he’s made this memetic expression to donald at some point... 

If someone hasn’t redrawn that with Storkules yet, we have failed as an internet. And if someone has please show me. 

His crush on Donald is also endearing even if I don’t ship the two. And if your curious as to why it’s simple: Storkules is attracted to a version of Donald that no longer exists. Storkules craves a Donald whose a brave daring hero who loves adventure. And while still a brave hero when the situation calls for it as this episode will bare out.. he just.. dosen’t have the passion for adventure he did as a kid. While a LOT of that is loosing his sister for a decade, even once he makes peace with that and later gets her back... he just wants a normal life. His greatest wish was for one. He apparenlty “wishes for this every day”. He dosen’t hate adventuering anymore and by season 3 has come to terms with the fact he’ll never get everyone else to stop.. but I also think it’s always been obvious he clearly wants to one day. To have a normal life, settle down, find a girl, and if she wants to get married. Get old , fat and happy. I honestly think that’s the direction the finale’s heading in judging from the previews. I don’t think he’ll ever stop entirely, his family life’s too insane for that.. but he just dosen’t want to keep going forever and Stork, being an immortal hero does. They want diffrent things entirely and that just won’t work. Though that’s also JUST me and if you ship them or have a way around that, feel free. This is just my opinon. 

Anyways Donald’s not happy, the kids are confused  and Scrooge. has problesm bigger than simply not knowing how to say i’m not into you.... aka Zeus, king of the gods and of all assholes. He was originally supposed to be a swan due to a certian myth.. but they realized since that myth is both really fucked up and really not for children to not do that because why the fuck would you. Point is Zeus in myth is an asshole, a rapist, a cheating husband, and a vengeful, petty dick and that’s with barely any knowledge of Greek Myth on my part. He’s played by Micheal Chiklis whose famous for The Comissh and the Shield.. but whose famous to me for playing the ever loving Blue Eyed thing in the Tim Story Fantastic Four movies.. and honeslty, at least till marvel takes a crack at it soon, is the best screen version of the character. Look the film is flawed and I don’t remember a lot of it.. but his stuff in it just NAILS the character perfectly, at least the first one, and while the look is.. eh, he was the perfect casting. He just wasn’t in the right movie. So he’s naturally awesome here as history’s greatest douchebag. 

As for why Zeus is pissed at him unlike say Donald (The whole Spear of Selene fiasco) or Magica (Who while even worse than Zeus still lost her brother because of his callousness), or others he’s wronged.. Scrooge did absolutely nothing wrong here. During a beach party Storkules intiates, he reveals he used to be king of the beach and loved and worshipped by the people of ithaquack, which last time the adult ducks visited was a lovely hideaway for heroes. Scrooge naturally did a bunch of heroic and cool stuff, and upstaged him, and then bested him in various games and what not. Zeus claims they ran off because of this and because they didn’t want to party with a god bested by a mortal.. but scrooge reveals pottery showing it’s because Zeus threw a temper tantrum aka “a year long lightning storm”. So yeah for once all Scrooge did was just upstage someone who was already objectively horrible and who brought all of htis on himself. Scrooge even points it out perfectly “They didn’t leave because they liked me, they left because they didn’t like YOU. “ 

Pissing off the god who already didn’t like you for stupid reason goes about how you’d expect and when Storkules tries to cool things down by suggesting a game, Zeus turns it into a contest. His son against Scrooge’s nephews. Because he uh dosen’t want to lower himself. Yeah that’s it, totally not that Scrooge would kick his ass and then fucking kick his ass. Yeah that’s the ticket. 

So our boys don Toga’s, and gear up for the first challenge: grabbing the bag of winds. In case you thought Spongebob just made that up. Zeus of course opens it so Donald can’t just leave, but Huey simply thinks his way out and wins , Zeus demands best 2/3 and we soon get a montage of various events from chariot racing to sculpture where we get our title picture, lest you thought I was kidding abotu Storkules obession with donald. I mean there’s subtextually having a character have a crush on another and then ther’es making a naked muscular statue of him. I.. I don’t even have a joke here. He made a naked muscular statue of Donald. The only way they could be less obvious without just coming outright and saying it was if hte statue was of hima nd storkules making out. And i’m 100% sure Frank, Matt and Dana, yes Dana Terrace was involved in this one i’m as unsurpised as you are, only didn’t do that because Disney said no. 

Zeus declares one final round because he’s tired of this..e ven though he CLEARLY won the last one while Donald once again tries to just leave and Storkules finally calls him on it wondering why he’s given up adventuring and wondering what della would say if she could see him like this, having just given up and not caring anymore about any of ths stuff.  “Well she can’t! Someone always gets hurt....”

And that one very sharp and painful line both outlines Donald’s arc here, and for the season, and makes it VERY clear why he retired and why I felt like he was already on his way and the spear of selene was simply the final straw. He gave up.. because he was just tired of it. Tired of being the one who got hurt.. and devistated when it wasn’t him that time. When he lost his sister for what he felt was NOTHING. Sure hte stars would be great but they’d done everything and gone everywhere..w asn’t.. wasn’t that enough/ Couldn’t they just be done? Couldn’t he just stop. The spear gave him an excuse to do what he always wanted, but it also caused him to harden up and view EVERYTHING about his old days of adventuring as bad when like most things i’ts not that simple., There were good times, sunshine, giant sized gay men obessing over you.. okay maybe the last part isn’t a plus in his book, but point is there was good and his arc is seeing that and realizing he can’t just cling to his pain. He has to let go so he can move on heathliy. 

As for said final challenge Zeus tasks the boys and Storkules with stealing the golden fleece from a little girl. While this is part of a whole scheme... he undereistmaed his son’s valour and Storkules is naturally sent spinning over having to steal from a child and is sent into a crisis. Louie however has no such qualms, as he is a children.. and he’s also louie.. but as he tries to the child starts singing. As Scrooge puts it “nothing good happens when creepy children start singing. “ Very true, it’s usually a sign freddy kruger’s about to show up or your  about to be taken by a miltiary orginzation obssed with The Doctor. 

The boys plug their ears.. and Zeus’ plan becomes horrifically clear. Turns out he had no real interest in an actual contest this time, and has the child take control of Storkules to murder them. And gives the doucheist shrug imaginable when his OWN SON IS BEGGING HIM NOT TO MAKE HIM MURDER SOME CHILDREN. 

Scrooge naturally gets involved. Meanwhile Donald is trying to escape the lightning cage Zeus is using to make sure no one leaves... when he hears the boys cries of terror. He may hate this kind of thing.. but there’s one thing and only one thing that can make him snap back into who he used to be like it was yesterday. And that’s harming his boys. So Donald snaps into action and it’s a glory to see as Scrooge snaps back with him “Just like old times”. The two once again get a little closer to reconclisation by wrestling a golden pansexual to prevent him from brainwashdely murdering two children. God I love this show and this job. 

Huey however is more of the aim for the head sort and Louie simply uses his natural talent to talk the siren into working with him, with him as her agent. As he puts it Zeus just wants to use her.. he wants to use her too.. but to make them BOTH rich. She agrees, Louie wins, and Donald finally accepts storkules is his friend. Scrooge TRIES to use this to mend fences with Zeus.. but Zeus being a petulant dick wants another game and Scrooge simply throws a game of billiards or something like it to get this over with. 

So we get our wrapup. Dewey and Webby return, and Storkules and Donald say their goodbyes. Donald finally admits he’s his friend.. and in that one act finally admits he can’t just bury his past because parts of it are painful. And as Storkules puts it he may be done with adventure.. btu adventure’s not done with him. He’s got more of his old self in who he is now than he thought. Dewey also accidently wins and our family finds launchpad took the plane apart. There.. there’s no real ending. I can only assume Selene said knock this shit off when she found out or beakly later came in guns blazing. I don’t know. 

Final Thoughts: This episode is excellent. It has it’s fault: there’s no plot progression, and the ending is just stupid and is the only one of the series that feels like nothing was resolved. That being said.. the rest of the episode makes up for it. It’s filled with great gags as usual.. but the real meat is the character work. Dewey’s worries about his mom, and Donald’s attempt to literally leave his past behind, it’s really amazing stuff that elevates the episode past it’s flaws and into one fo the series best. Wheras revisting Other Bin reminded me it had a bad subplot that drug it down.. revisiting this one showed me just HOW near perfect it is with only a few things holding it back. Even with the dispaoitnment factor.. this one’s still excellent, with Ben, Kate and Tony all at the top of their games. Great stuff. 

Next Time on this Arc: Dewey has to face the future when the truth comes out. And Scrooge.. bitches with his dad for half the episode. Sure beats his dad sadly btu sweetly passing on to be with his wife huh?!

Next time on this blog: Amphibia time! Speaking of facing the consequences of lying to your family, Hop Pop’s FINALLY forced to face hiding the Box from Anne, and we also get an ivy episode. Super fuckin shooters. 

If you liked this review, consdier joining my patreon, link’s in the blog and next stretchgoal is a darkwing duck episode a month. Until the next rainbow it’s been a pleasure. 

[ohmygodtheywereparabatai]

Finally watched Hello Future Me’s video floating around my recommended feed, and halfway through his excellent analysis struck a spooky thought! Here’s a theory for the girl in red.

Sane at the Time of the Finale:

Azula’s Downfall Was in Spiritual Revenge

The poetic justice of Zhao drowned by the moon spirit’s other half, Ozai’s power stripped by a full-fledged Avatar... part of what makes Azula’s defeat so unique is her crumbling sense of self, an introspective enemy instead of an outside one. Katara, whose confidence and network of support are pointed out as the mirror image of what Azula could have had, finally gains the upper hand and pins her down.

From birth, the princess endures an environment that perfects and hones her nature to the shattering point. Plenty of signs point to her devolution: the betrayal of Mai and Ty Lee, getting sidelined by her own father at the literal crowning moment, and her irreversible childhood at the center of the snowball effect. But how ‘bout I do anyway, and tie in the mechanisms of the spirit world with Azula’s last moments? The connection is far from obvious, but well and present. The role of another world in weakening such an iron-fisted character visible in the first GIF itself.

I. “Taking you down is the Avatar’s destiny.”

The spirit world is one fundamental half of the Avatar. Its guidance and power are endowed to a messiah-like figure, who masters the four bending disciplines in order to restore and keep balance. It’s constantly reinforced that the Firelord is meant to be brought down by him, that a century of bloodshed is repaid when the warlord’s life is taken, and the end of his corrupt regime is the beginning of a fuller, more peaceful era.

“Aang, you must defeat the Firelord before the comet arrives.” (Roku)

“Your destiny! This is incredible. You will be involved in a great battle, an awesome conflict between the forces of good and evil.” (Aunt Wu)

“I should have seen this war coming and prevented it... But I believe you are destined to redeem me and save the world.” (Roku)

“Because I know my own destiny. Taking you down is the Avatar’s destiny.” (Zuko)

“Everyone, even my own past lives, are expecting me to end someone’s life.” (Aang)

A seemingly inconsequential detail is that the Firelord at the time of the final battle is not Ozai - it’s his daughter. By then, the title of Phoenix King is exchanged for her coronation. The nail on the head isn’t nitpicking terminology, but that Aang already suffered defeat at Azula’s hands. She herself plays a masterful and instrumental role in the war, literally her father’s will embodied. She’s there to hunt the Avatar, lead the massive drill against Ba Sing Se’s walls, orchestrate a coup, oversee the takeoff of the airship fleet, suggest the annihilation of Ba Sing Se in the first place. It’s a long time before we see Ozai at the warfront in the flesh, and even then, the damage dealt by Azula in Book Two and Book Three resonates. Keeping all this in mind, jump to Aang’s death.

“I went down! I didn’t just get hurt, did I? I was gone! But you brought me back.” (Aang, to Katara)

At the end of Book One, when a spirit is killed and revived, balance is reduced to moonless havoc, and all hell descends on the guilty party. The Avatar-slayer would be far from an exception to this counterbalance. So what we witness in “Into the Inferno” - Azula, gruesomely unmade - may just be the most brutal act of vengeance onscreen, and as a direct consequence of this:

While Aang is not directly responsible, it’s safe to assume the spirit world often acts of its own volition. Notable spirits possess harsh views on modernization, and lash out at humanity for its flaws: Wan Shi Tong’s disappearance, the ocean spirit’s wrath, the aye-aye spirit in LoK antagonizing any human presence, the Mother of Faces admonishing vanity and disrespect.

In this vein, the Avatar spirit remains a powerful source of Aang’s strength, weaved into the very outcome of greater forces such as fate and salvation. In the crystal catacombs, Azula threw a wrench into a universal narrative - for an instant, the world really was lost.

And, truth is, we’ve already watched as an entity descended from the Avatar’s power - one who Azula identifies repeatedly as her lifelong plague - haunts her to the point of systemic delusion. Ursa herself, granddaughter of Roku.

II. “You’ve turned my own mind against me...”

Time to reconcile show canon with the comics!

There’s no one who ties more into the tragedy of Azula than her mother. Hello Future Me dredges “The Search” and “Smoke and Shadow” for panels where her condition is exacerbated by fear and animosity. She’s obsessed with the idea that Ursa was pitted against her from day one, and even claims her influence strangled the loyalties of her friends and forced Ozai to “break free of her control.” The possibility of the slightest truth to Azula’s more elaborate fears raises a host of alarming implications. Especially when acknowledging her character is as sharp as a tack - a dulled edge when madness factors in, to be sure, but not negligible.

Is it logical to develop the belief that Ursa was an agent of evil in the royal court? The death of Azulon and her subsequent disappearance... It wouldn’t take long for Azula - aware of Zuko’s fate at the time, and her mother’s resignation to prevent it - to connect the dots. Ursa’s blood relation to the same Avatar that rivaled Firelord Sozin is another thorn in the side of trust. Whether Azula was aware of it or not, the strife born in Zuko, the eternally entangled red and blue dragons, exist to her biology as well. This makes it difficult to ignore a spiritual side to her illness, which draws primarily from Ursa’s “ill” intent.

Azula is also seen embracing the idea that spirits risen solely to take revenge can derail lives, legitimacy, and loyalty. The comics give us a chance to absorb the hidden subtext at face value.

The Kemurikage were born when robbed mothers abducted the children of others as punishment. Fear of the spirits crumbled the warlord Toz’s support and ended his cause. The masquerading dissenters in “Smoke and Shadow” are able to undermine Firelord Zuko’s authority, create a divide between Mai’s family and her father, and sow widespread fear. Curfew, searches, and interrogations shape the beginnings of a “ruthless” rule, eerily evocative of Azula’s much more rapid descent...

So how do Azula’s visions of Ursa, conjured unconsciously or from a little something more, and her steep debt to the world and Avatar link together - forge the ideal weapon and circumstances for retribution?

^ Just like that.

This only covers Ursa’s side of the family, the redoubling of spiritual balance after Aang’s fall like the snap of a rubber band. Azula’s complete undoing has to do with the lashing out of both families.

III. The blue dragon

Now, what was it about that first GIF?

Azula’s health begins to spiral right as she’s slated to become Firelord. Her identity is unraveled and called into question - Ursa made manifest slips through the chinks in her armor, prying at insecurities. Her inner turmoil admittedly makes her a poor candidate for ascension, and at the pinnacle of Fire Nation victory, - the crucial, final stages of the Hundred Year War - past rulers would look down on Ozai’s decision to usher her onto a seat of absolute power. Sozin’s Comet itself is an event that imbues firebenders with enhanced abilities, and it’s been theorized before that the “acting up” of royalty during the finale could be explained as such. The phenomenon may have also caused the reemergence of imperial spirits... and it isn’t too far of a fetch. More on that shortly.

It’s made clear that Azula’s destiny is far from holding royal court. The comics throw around that word, “destiny” a lot, but it’s a given signpost for any projected arc in the world of Avatar. And it ties in nicely with the will and workings of spirits.

Roping predestination with the probable dissatisfaction of the lineage, we finally have a whole picture. The combined force of an upended natural order, demanding the Avatar-slayer’s penance, and a royal bloodline destabilizing her reign in its infancy... planting mistrust and paranoia, and causing rash decisions. From a cherry pit to five minutes’ tardiness, Azula’s clarity and self-assurance are hacked away.

This is inviting the subversion that it wasn’t all in her head. That the Azula who readily accepts the Phoenix King’s declaration is rattled and isolated at best, but far from the composure that took just one afternoon to shatter. Zhao and Ozai face justice at the hands of the spiritual. The third main villain of ATLA might not have escaped due consequence either.

Finally, this scene. Azula, ensconced in blue flames. Is there any suggestion of the presence of spirits?

Azula’s fire is blue for purposes of flaunting her skill and sheer drive for perfection. The hottest temperature is blue in color, exactly her achievement. The technique isn’t bothered with because it saps extra effort, and so Azula’s signature symbol of power is hers alone. Fitting. But the fact remains: after leaving her hands, the fire quickly cools to orange. See below:

This color change isn’t seen in Azula’s throne room. The fire surrounding her is definitely detached from her body.

Now, it’s obvious why the animators didn’t suddenly decide to give the iconic blue a rest... but it’s incredibly intriguing from the imperial spirits angle. If Azula herself wasn’t keeping up the blue flame, then at the time of “Into the Inferno”, we’re staring into the faces of invisible devils on her shoulder, supplying the driving energy from the beyond. Onis whispering unseen evils down her ear that cause her, inevitably, to snap - the voices of Sozin and Azulon, a hundred sprawling generations. The cherry on the top is Ursa, descendant of the liaison between mortal and spirit that Azula personally killed, who torments her long after she’s relieved of the crown.

“Trust is for fools. Fear is the only reliable way.”

Hello Future Me describes Azula’s personality as a Machiavellian type, named after the guy who coined “It’s better to be feared than loved.” Watching her escalation unfold, it’s sad to wonder how someone as fearsome as her responds to being the recipient of that fear - when her own weapon turned on its hilt cuts too deep.

IV. End!

I think the scene above - the girl who opens with this directly after the demise of an admiral who engaged the incarnate of the tides (and swiftly lost), is a bit telling of her fate.

*To clarify, my framing of Ursa’s appearance as spookier than just a figment of Azula’s imagination - *cough* possibly the personified revenge of the Avatar spirit - is NOT meant to demonize Ursa herself! It just offers up an alternative explanation to what Azula hears and sees. Their bond is a poignant standalone, and I don’t mean to hate on the real Ursa/Noriko. Neither does any part of this discredit the impact of Azula’s childhood and history of neglect on her future.

That is all. Thank you for entertaining my theory!

[kiarou]

Fire Emblem Three Houses is, to date, the most successful Fire Emblem game- both commercially and critically. It took me a while to play and complete the routes, but after having done so, I can understand why. FE3H is a radical departure that really emphasizes the characters over the gameplay. The FE series is currently going through a rebirth process that mixes several genres, resulting in a massive game that has its ups and downs. When it’s good, it’s really good- better than FE4 and FE6. But when it’s bad- it’s worse than FE Fates.

As a FE veteran, I had many moments where I was questioning if what I was playing was actually an FE game. At times it felt like a dating sim and other it felt like a visual novel. Both of those aspects aren’t bad, but I’d be lying if I didn’t admit that some of the more interesting map designs and FE game mechanics got lost in the rebirth.

However, I pleasantly surprised by the main three lords. These three are some of the most interesting Lords to ever be in FE. I tend to have a penchant towards Dimitri since he is the most traditional FE lord with complexities and morally gray areas built into his character. The result is a character with massive amounts of depth and nuisance. The same goes for the Edelgard and Claude. I think all three complement each other as difference aspects of FE archetypes, highlighting the positive and negatives of those traits. Edelgard is the idea of empire- that only the strong would be able to rule. Dimitri is the idea of the king- that only the chosen should be able to rule. And Claude is the idea of the Machiavellian politic- that only the exploiters can rule.

The concepts of war, tragedy and perspective are the most interesting part of the game. However, the scope and breadth of those concepts lead directly to my biggest criticism. Most of which revolves around the writing and how the events unfold from point A to B. This problem is twofold- first from a game play perspective and second from the perspective of Byleth.

My first point is simple- the individual routes are simply too short. 21 chapters did not seem enough to wrap up each of the routes. I can’t help but get the feeling that the original story for the game was sliced up into subpar outlines to produce passable plots that end without a proper conclusion. I can’t play BE and gain closure on TWSITD, and same goes for BL. But both routes provide satisfaction for the larger geopolitical situation. Meanwhile GD rushes through the political conflicts with flippant ease only to fully delve into TWSITD as a true ending- while most of the characters have very little to do with the organization. Both Edelgard and Dimitri have more reason to seek the truth than Claude.

And even within the routes, I feel not enough time was given to the world, specifically in part II. How great would it have been to have a map showing Dimitri’s escape from execution, similar to FE7 Chapter 11 Hector Mode where you control only two units (Dimitri & Dedue) and have to make it from one end of the map to the other. Or to have a map where Edelgard storms the castle to reach her father so that she can become the new emperor. A lot of plot points in the game happen off screen and with very little explanation. As much as I love Dimitri’s exile and fall into madness, I never got to see it and it made it that much harder for me to understand him, which really hurt his eventual character arc. My point here is that each route would have benefited from 28-35 total chapters to flesh out the events of part II.

I understand that a lot of plot threads were split up and placed in other routes to provide incentive to play the other routes (so that one can see the full conclusions), but I would argue that part I makes the replay value excruciatingly painful and that the strength of the characters fully explored would be reason enough to replay (like FE8’s split route)

On a side note, was anyone else confused by how the time skip was handled? Byleth just fell asleep? Why do that when you have a perfectly good mechanic already introduced. The spell of Zahra would have worked as a perfect reason for a time skip. Byleth gets trapped, escapes but time has passed differently and it’s now 5 years later. This handling of the time skip had me completely flabbergasted.

On the note of Blyeth, that leads me to my second point. Byleth is a narrative road block. On one hand, I understand the reason for Byleth’s inclusion as a self-insert character. But on the other, many of the decisions in how he/she interacts with the world really hurt the story. The decision to make Byleth never speak or have a defined personality made every interaction awkward for me and difficult to take anything relating to him/her seriously. Another point of serious contention is how the story treats Byleth as the main character.

The three new lords of the series are so interesting yet they are treated as side-exhibits for the main attraction of Byleth. When I chose a route, I chose it to spend time and see one of the three Lords be the protagonist. Instead, in every route, the majority of the time and effort are spent on Byleth and his/her past and super-special-ness. In my opinion, the houses leaders should be the main driving force and the focus of that route, like any other Fire Emblem entry sans Fates.

Despites these negative points of a rushed story in all three routes and the annoying intrusion of Byleth, I greatly enjoyed the game and appreciate how many new fans it has brought to the series. I have high hopes that they can fix some of the writing issues and improve on their map designs for the next entry.

[roswellnmsource]

Jeanine Mason and Roswell, New Mexico showrunner preview season 3 of the extraterrestrial drama

ENTERTAINMENT WEEKLY: Was the year time jump because of the pandemic? To sidestep making that too central to the plot, or was that always the plan?

JEANINE MASON: That was always our intention and it was just sort of a saving grace in that way. We also don't acknowledge the pandemic in real-time on our show. There are no masks and that was just so wonderful just to get work in that way and have that time where it was a little more normal. Also, that's just our show — we want you to come to us the way you always do, which is for nineties nostalgia, sexy Cowboys, brilliant scientists, you know?

CHRIS HOLLIER: So we wanted to drop our characters in a year later, let them stew in their individual decisions that were made last season. We want everyone to root for our poster couple but we want to honor what happens in real life, which is sometimes you step away from that person, even if you are entwined with them in a very particular way. So we wanted it to be a real enough time and distance so that they could live a little life on their own.

With showrunner Carina Adly MacKenzie departing at the end of season 2, has much changed? Or are you still working with ideas she had in place?'

HOLLIER: It's a little bit of both. There are things that Carina and I built that live all the way through and then once the story got up on its feet, discoveries were made with our new crop of people that we were like, "Oh, we're going to bend it this other way."

Jeanine, how is Liz doing in her new life in L.A. when we pick up this season?

MASON: Well, it's been a year and at this point, her life is actually pretty great. She just hasn't taken a second to acknowledge that. She's doing what she does best, which is just full head in her work and trying to figure out what she could use of her discoveries and her brilliance to save Maria. She has a great job, a really nice place, and an awesome partner at work who is a good time and a real match for her in terms of intellect and ambition. He begins to ask her to recognize that and to maybe give something a chance that she's been reluctant to because of how drawn she is to Roswell and to Max. It's a fun first episode. It's sexy. It's fun to find opportunities for her. She's our hero so she's got a lot on her shoulders and anytime where we can find levity for her is always a real treat for the writers and for me.

And no Crashdown waitress uniform must be nice?

MASON: Honestly, I miss it quite a lot right now. I have a note in my notes with Chris, I'm like, "I gotta tell him we gotta find him more opportunities for it."

Should Liz and Max shippers be worried about them finding their way back to one another after he destroyed her work and didn't follow her to L.A.? Should we resign ourselves to a season apart?

MASON: This season really is about these characters having themselves mirrored to each other. Max and Liz need some growing and ultimately they can't do anything but be orbiting each other. We found so many opportunities to have such a beautiful language around the cosmic element of their connection. They're asking, "Is this our decision, or are we just acting off of a decision that the cosmos made for us?" It was so fun to navigate that. I always have such a good time with Chris Hollier and with Nathan Dean, just finding the little tiny notches, a tiny bit of movement towards where they're going next. I really loved following them. It's my favorite Max and Liz season to date.

HOLLIER: It's not a season apart. I'll tease that they, in an unexpected way, end up in front of each other relatively soon. But it's really about when am I ready? And what does it mean to talk to my ex? When someone makes such a big influence in your life, when do you know it's over and when do you know you should fight again? We tried to give them real grown-up lives.

Steven Krueger (The Originals) also joined the cast as Heath this season. What can you tease about his character?

HOLLIER: He's just an awesome human being. I know him from The Originals and we were like, "If we're going to have to be stuck with people in the desert, who do we want?" You want to be stuck with a handsome and lovely and charming Steven Krueger. So really this was looking at, "Well, what did Liz want and what does it look like when you start to give Liz versions of what she wants?" Heath is somebody that is beyond being just a lovely person, he is smart and wants to advance science and that's appealing to Liz. It becomes, "What does it look like when the man that I hang around with all day is also into the same things that I am?"

MASON: I love him. Heath is just such a fun, whip-smart, fantastic character. His humor was so fun. We've been having a good time with kicking the humor up really through season two and in season three, we just took it up another notch. There are some moments that are like, "Is this a drama or is it a sitcom?" Looking back on it, he was such a fun partner to spar with. They're both such intellectual characters and I love that there's a real meeting of the minds. It makes it competitive and sexy. I know a lot of fans are so excited because they know him from The Originals and he's going to be a great addition.

Technically, Mr. Jones is a new character too. Can you tell us anything at all about him?

HOLLIER: I'd say he's a new character — and a fully-fleshed interesting new character. Mr. Jones has an awesome beard. At some point, he might lose that beard. A lot of people are asking me, "Is Jones good or bad?" And what I would argue is that's a perspective based upon who you are in the conversation that you're having with him. He knows a lot about our heroes' story and he knows a lot about home. He'll be able to answer questions for them. This season our heroes will get to learn why they ended up here on earth. One of the things I think that people will love is that they're going to get to see that home planet this year. We asked ourselves a lot about this whole season, "What have we set up for the past two?" We look at these first three seasons almost like a trilogy so a lot of things are going to be paid off.

Has Nathan enjoyed pulling double duty this season? Or is he just exhausted?

MASON: He's exhausted, but he's such a champ. That really is the beginning of this mirroring thing that starts with Max and Jones with him actually getting to look at himself to a degree and those questions that come up. The self-analysis that it provokes in him is really the beginning of what is happening to all of our characters this year; everybody's being confronted with themselves. I loved that the Max/Jones of it was also a real sci-fi element.

Did he really grow that beard or was that not possible if he had to go between the two characters?

MASON: That was a prosthetic beard and our makeup team killed it. He was not accustomed to early mornings, which, of course, all of us babes are. It was a lot of extra time in the chair for him.

Can Jones dupe Liz into thinking he's actually Max since she doesn't know he exists?

MASON: You're totally on to something. It's a real and pressing threat. I mean, she's totally in the dark and he looks like her cosmic lover!

HOLLIER: What I will say is that, Liz — beyond her being number one on the call sheet — is integral to this story in a way that she and none of our characters are going to perceive when they start episode one. We're bringing [the characters] to a new crossroads moment in their lives and they're getting, through Jones, a mirror into their own lives to decide what they're going to become next.

How's Rosa (Amber Midthunder) doing this season?

MASON: By the end of season two, Rosa really makes the decision to start taking care of herself. She really becomes an incredible asset to the Scooby-Doo gang. It's something that Liz is in constant adjustment to. As much as she's the younger sister, she feels very protective of her sister and Liz has had to make adjustments in her trust and faith in Rosa. I loved it because it just felt like a real personal, authentic thing that sisters would go through, but also that Hispanic sisters would go through. I think we sometimes, culturally, have a tendency to baby our women — maybe that's the wrong word — but just to underestimate their physical ability and what they might take on, and sort of 'queen' our women in a way where we treat them tenderly. I hate that. I'm a tough bitch and so is Rosa. So Liz has to confront that and go, "I'm an idiot to underestimate you. You've done nothing but prove me wrong."

What about Maria and her visions?

HOLLIER: This year I think Maria has the most complete arc of any season, as she recognizes things about herself that cause more questions about who she is, who her family is, how she's linked to this story. We dive into it in the present-day and we dive deliciously back in time too.

In the exclusive clip above we see her have a vision of a funeral, can you tease anything about who potentially might be about to die?

HOLLIER: Maria is front and center in driving the first half of the mystery for us. She's burdened with trying to figure out whose death she is seeing. It takes a few episodes to unravel and we use it to ask, is this linked to our supernatural stories or real-world stories that are going on politically? Is it bad luck? Is it herself? There's a whole gambit at play. We joke that we solved a past murder, now we're going to try to stop one.

Can Malex (Michael and Alex) shippers have hope that this might finally be their time?

HOLLIER: What I would say is that I think that Malex fans are really going to dig this journey. We, as writers, put them at the same level of importance as Max and Liz. So we wanted to really honor the next step in what they may or may not be. How did they grow up and how did they have those hard conversations just like Liz and Max are going to have?

Is Isobel going to continue to date women this season?

HOLLIER: Isobel is going to go on a more personal journey. You got to love yourself before you can love someone else. We lean into those possibilities by the end of who she might love. It's not something that is dropped all season — it is something that you'll see. We play some romantic comedy stuff with her character this year and with Maria that I think fans are gonna dig. There's a lot going on in the world and wanted to pump some humor and hope into it.

Will see more of Liz fighting to challenge the perception of the Latinx community?

MASON: I think that just by nature of it being one of such few shows that are led by a Latin woman, it's always going to be, to an extent, a protest or an assertion of the space that I get to fill and that Liz Ortecho gets to fill on network TV. I was really excited to just have Chris as a collaborator. Over our hiatus, before the season started, I was doing a lot of reading. I chronicled the books that play into Liz every season on my Instagram. I was reading some Sonia Sotomayor. Her book is just incredible. I was texting him screenshots of pages of the book with things underlined. Ten episodes deep into season 3, he's like, "Remember that page you sent me?" He's a real dream collaborator. I loved him for that. A pressing struggle for people of color is going through the ranks in these big corporations and then sometimes coming to find out that those corporations are purporting to support marginalized groups but actually aren't following through. So how do you, as someone who's having your success, your dreams become reality, navigate supporting the company and giving so much of your intelligence and your work — that they often legally own, especially with science — to a company that isn't going to be for your people?

[dragonflyxparodies]

okay so i have finished all three winx movies and seasons 1-5 (i’ve started season 6).

Season one is Best Season. Holds up super well as a twenty-something rewatching a massive part of my childhood. It’s The Labyrinth tier of Good. Trix are best villains here. Icy spends the whole season flirting with Bloom. 10/10.

Season two is p good, I’m only side-eyeing it because I distinctly remember Darkar as a villain, and it turns out only because this is the season with Hot Bloom, and shes not even there for that long and also Darkar is just. so cringe. layla/aisha is fucking incredible though, 9/10.

season three is uh, Fine. I absolutely hate valtor. I grew up on the Labyrinth, and if Darkar made me cringe just bc he was like, campy??? Valtor made me cringe because he was a fucking try-hard, and I’m still laughing over it. Objectively more threatening villain; the creators just wanted to fuck him too much for him to be Good though. It’s just knock-off Gareth who appears w/his own little guitar riff. also also hate the trix being petty bitches and fighting each other for a dude who is so transparently manipulating them, they deserved to literally rip him limb from limb and go about stealing all the other planets’ magic on their own.

Season four was ass. First twenty episodes aren’t even worth existing. Great concepts, they just waste so much time on the winx and their respective partners cheating on each other and hammering in that you can’t possibly have a platonic relationship w/someone of the opposite sex once you’re in a relationship, and that’s Toxic AF. Roxy as a character was pretty good though?? I just hate that they didn’t give her anything unique. She’s a straight up copy of Bloom as far as her arcs go, down to her exact fucking backstory?? And that’s ass for her. She was pretty well fleshed out as a character, and Deserved Better, especially because the winx spend the whole season alternately lecturing and infantilizing her. They coulda done a lot of interesting shit this season, basically, and didn’t. OH. Tecna gets kudos bc in ep 1 she’s ready to full on straight up murder a small child for hurting flora on accident and I approve of Tecna going apeshit in any situation, so, they did good there.

Season five was very meh. very forgettable. It exists solely to establish Icy is a monsterfucker lmfao. also, layla/aisha can’t catch a fucking break, did the winx just not tell anyone she went straight to murder when Nabu died, bc why the hell else would Trittanus (sp?) have straight up promised to murder her entire family and then been shocked when she immediately tried to stab him. I think it’s fucking hilarious that S4 went through so much trouble to avoid giving the girls violent spells (idk if y’all picked up on that - layla/aisha is the only one who got violent spells) only for this season to just give them a whole arsenal of “X punch/kick/stab/etc” spells lol. also also also trittanus himself, what the fuck, literally every single one of his family members, subjects, and People Who Know Him do nothing but talk shit about him and you’re *surprised* he tried to kill y’all??? 3d animation was ass, the selkies were horrifying to look at, also Trittanus seemed to straight up absorb pollution on earth so what the fuck was the problem??? like he created more to beget more pollutants/toxins in ONE episode, but the rest of it, he straight up just took them and left?? so like. no. let him go to town. and then deal w/him later. also the winx turning an oil rig into an oil right that’s run on solar/wind power had me fucking cackling like. oh my fucking god. most capitalist Thing ever i stg lmfao.

AND. The movies. Were. Uh. Third one was dumb af. But the first two were pretty decent. I actually hate the concept of bringing Sparks/Domino back with all its people and royalty just. fine and alive and all? probably why i like the second one better lol. i like the “Eraklyon was supposed to protect Sparks/Domino and betrayed them” thing, that’s p cool. Also Bloom and Daphne having a consistent and v close sibling bond is adorable, even if they didn’t actually work for it in the show, i can buy it Just Being Like That.

So far I don’t really have any thoughts about S6 except uh, they def straight up retconned daphne also being a fairy of the dragon flame, right? right. i don’t like how they’ve so drastically weakened her just so the winx can be the ~heroes~ of the series or whatnot.

idk i have more to say but i have shit i’m supposed to be doing

[life-rewritten]

SPOOKY SEASON! An ode to Mo Dao Zu Shi: one of the best BL story created!

HAPPY HALLOWEEN!!!!! One last Halloween post and it's about one of my favourite pieces of media in the world of BL, romance, and supernatural stories. Roll your eyes because once again I'm talking about Mo Dao Zu Shi (The grandmaster of demonic cultivation) I mean already with the demons, and cultivation is already hinting why this is Halloween themed, and trust me MDZ has much more than that: from zombies to ghosts, to magical instruments and weapons, and we love our fantasy cultivation sects and clans. Anyhoo, I am here to write a fun post another verdict/review on each of the adaptations available so far for MDZ, yeh you heard me I've listened, read and watched all versions of this masterpiece, and I'm here to tell you to go and do the same for Halloween. Also in case, you haven't heard MTX (the author of MDZ) has another show on its way TODAY! And that's the magnificent, the excellent and incredible Heaven's Official Blessing after marathoning MDZ do that too. 

As always with my verdicts: we have ratings: From 1 to 5 (1 being least excited to watch, 5 being most,) how excited am I to delve into these again? 

Country: China Genre: Danmei, Supernatural, Action, Fantasy, Romance, Comedy, BL, Horror,

1.The Book

We begin with the one that started it all. The reason for my devotion and love for this world, for Wei Wuxian and Lan Wang Ji. My heart hasn't stopped loving this book experience. And at first, it wasn't easy to understand all the logic and terms needed to know for this world of cultivation and sects and clans, and magical skills. But once I got the hang of it (maybe after reading it three times I wonder how I had time to do this by the way), this is a book that I keep on returning to, crying to, and just breaking down into a mess too. This book is the most original source for the love story of Wangxian and to be honest its a masterpiece. Now onto the pros and cons, I guess about this adaptation.

Pro: 

First, I would say that this is the most non censored version of MDZ, meaning China couldn't mute the romance or delete scenes because it's the original written story. The romance between Wangxian stands out and makes your heart go through a lot of emotions, from frustration at Wei  Wuxian not realising how he feels for Wang Ji, to pain because of Wang Ji's perceived unrequited feelings for so long, to happiness when they're just together, to confusion at some drunk scenes and then to all-out shock as the story reveals its self to the villains, the background of Weiying's death and more. 

The introduction to all these characters, all of them have a role in the story, all of them are important to keep an eye on, and they all grow and develop throughout the story as we find out more about their circumstances and their own perspective on Wei Wuxian.

Cons but not actual cons

The book is longggggg. The first time I read it I wondered when we would finally get a resolution or hint that Wei Wuxian finally understands what he's been feeling for sooo long, but it took forever and to be honest even though this is a con to me, it also is a positive for those who love slowwwww burns, and slow reveal to the background and development of Wangxians feelings for each other. There are many missions although essential to the world-building and the actual plot/mystery that at first seem so useless and not needed, but they are there for a purpose, and they do help us find out more clues about what's been going on and why Wei Wuxian was brought back from the dead. 

The book is the most non censored version of MDZ, and so there are many questionable moments/questions about Non-consent that occur during moments when Wangxian are drunk. Honestly, these scenes are so weird to me, because they hold so much truth and revelations to Wangji's feelings for Weiying. After all, he's drunk and the most authentic version of himself. There are so many moments (like stealing chickens or showing him the bunnies) that make you just want to cry at his love Weiying and the pain he had to endure when he thought he was never coming back. Still, at the same time, there are many moments where you're like oh wow that escalated, and you feel just a tad discomfort at the idea of the non-con. But like I said these scenes are required for these two to really like give into what they've both been trying to push away or ignore, and it's nice to see how Weiying reacts to his feelings becoming uncontrollable and more prominent. 

There are some moments in the book where things seem vague or unexplained (which the other sources did their own thing with), some characters who are mentioned but not really given enough detail, some plot details where it's not fully understood. However, I do think that because the book is already so long, the most critical information needed was there and the reveal of the mysteries were all done well. I think though that it's better to see how it materialises visually hence the other media adaptations. 

Ratings: 4/5 -It's not easy to pick up the book and read, but I have so much fun returning to it and laughing along with Wei Wuxian's thoughts and ideas about Wang Ji.

2.The Manhua

I was so shook when I found out MDZ has a manhua. Mostly because China wouldn't really make it easy for the book adaptation to be honestly portrayed visually. But the manga shocked me, it is censored, but the writers and the artists are all so obsessed with this book and this couple that despite having to remove or edit some scenes, they draw some additional scenes and post it online so that international fans can still get to see these moments visually. That is incredible, and I'm so grateful that we have a team of people who respect and love the piece as much as the fans do. 

Pros: 

With any graphic novel/manga the art of MDZ is fantastic to see, the characters are brought to life with colour and also the inclusion of chibi drawings to make a moment incredibly cute or funny. Weiying is very naughty, so a chibi drawing of him makes us see him like how he's acting a child. I enjoy the manhua of MDZ so much, and I love how they drew each of the characters and the world. 

Cons but not really cons: 

I think, however, there are better visual sources for MDZ available that is more detailed in terms of characters and includes more information about the world-building. The plot also has to be condensed as well because you can't draw everything from the book. The manhua is also still in the works so, its a very slow upload and it will take years for it to be completed. But this is understandable, and I can't wait to read the full completed copy. If you hate reading and can't stand words, I think the manhua version is for you!

Ratings: 3.5/5 -It’s the waiting that lowered the ratings for me and the fact that I prefer other sources but I’m so grateful for the manhua. 

3.The Show

The one that brought international fans like swarms to this story. Untamed shocked all of us in the BL community as the first time we heard about it, sure it was nice to see that Yibo was cast as Wang Ji, but even then his acting wasn't that profound or praised so we didn't care, and Zhan also seemed like an interesting choice for out Weiying. I think there were an outrage and confusion when we heard this was going to be censored and a bromance. It felt like it made no sense because there's no way really to edit the relationship and love of Wangxian, so people went into the show resentful and worried. But after 20 episodes, the anger, worry and upset were erased. Untamed is a masterpiece, and it blows my mind how censored it is but still not really censored? It deletes the questionable moments in the book but adds the essential parts even where we get to see Wang Ji's feelings (Though obviously not mentioned as feelings but respect). We get to watch Weiying realise how much he cherishes whatever he has with Wang Ji and how much he misunderstood the latter, and how much Wang Ji cared for him. The show as Netflix says is not about just friends. Still, it emphasises the connection between these two using subtext clues and symbolisms, and visual metaphors to make sure the audience knows that these two are soulmates and are meant for each other. Here are the other pros and cons of the show:

Pros:

The acting is incredible, like so good and I can't think of two people who were more suited for Wangxian, Yibo shocked me as Wang Ji because although I knew him (because of Kpop), I didn't really think he would pull of stoic but still vulnerable Wang Ji. He was good at showing the emotions of love and longing that has been connected with Wang Ji. Zhan was an excellent Wuxian, he made me smile, he made laugh, he made me so happy because of his mischievous aura, but he also played serious and emotional and resentful Wuxian well as well. I keep crying every time I see the death scene in the show because it's just so done well.The directors and producers who didn't care about hiding the relationship between these two, they still wanted to be respectful to the writer and the source, and they still wanted to show as much as possible that these two loved each other. For that, I'm so grateful and they did a brilliant job with what they could. The character arcs and development and depth; Its the way they took the other characters from the book and fleshed them out giving each of them more depth, more understanding, more dimensionality and more story connecting to our plot, and it broke my heart how much I loved everyone in this show. The actors all performed so well, and some gave me goosebumps at how well they portrayed their characters  (Xue Yang!!) like stunning and just a great cast.The storyline was also written in an innovative way, the flashbacks were first shown to the audience, how Wangxian became Wangxian and so the audience felt every single hurt and pain that Wang Ji was feeling. We understood why he acted the way he did. The flashbacks also provided plot structure to the mystery and the actual plot of the show, it left clues, and we watched the villains become villains (secretly), we saw how some characters grew. Each of the arcs in the book was told in a way that it flowed together and made sense. Due to this way of structuring the plot the show became so much more profound in the way it messed with our emotions, every death mattered, and every character had their own story and importance to the audience. 

Cons:

The censorship. I've praised how they overcame it, but it's still there, the ending of the show was done this way because of censorship and to be honest I still think everyone should read the book because there are moments where the romance of Wangxian is fun and memorable to see (the confession scene whilst it was done okay in the show because of censorship it doesn't hold as much oomph as it did in the book. Mainly because the events that happened before it was already so filled with angst and drama and the results of the confession Wangxian clinging onto each other despite being in danger is a must-see, the censorship is annoying because it shouldn't be there, it's something that whilst it did help with some stuff, it still feels like an insult to the piece, and it still doesn't sit well with me that China censors their BL. So its a con.

Ratings 5/5  I think I could spend so much time breaking down why Untamed is a masterpiece BL show, but all I can say is despite 50 episodes (longgg) it is worth the time and effort and if you watch BL, go see it. 

4.The Audio

The audio for the MDZ is like my favourite thing in the world. I love Chinese audiobook dramas; it's an incredible experience to listen to. With MDZ, this is what the show would be if it wasn't censored. The actors for the audio drama are amazing, and I love them so much. The audio drama is three seasons with some extra scenes and it's incredible if you don't want to read the book, then just watch and listen to the audio drama because its the same story but its brought to life by the acting and storytelling. Also though there are some scenes removed, I think the audio drama is the next uncensored gem of MDZ that shows Wangxian's romance the best way possible. I squeal, and I laugh, and again I cry at every single moment; their first kiss, the inn scene, the confession (i spend time pausing it just to cry at how good it is) and more. I just love it, and I prefer it to reading the book. Other pros and cons:

Pros:

 The story is structured and told properly, follows all the arcs and events in the book and brings them life by voice acting, and the music is incredible. It's nice to listen to and hear Weiying's thoughts and to also listen to an audible version of the book. The audio drama has all the pros from the book as well.

Cons: 

Nothing much to say about the cons. It is not easy to attain the audio drama in English subs, its hard to download and store it, but once you overcome that it's great. I think the audio drama is the most difficult to obtain.

Ratings: My favourite adaptation  5/5

5.The Donghua

Lastly, we have the Donghua or the anime version of MDZ.  What can I say about this, its brilliant, masterpiece, it's gorgeous. If you think the art for the manhua is good, the donghua takes it to a different level. The visuals are stunning, the animation is breath-taking, and the story is again following Untamed ways of censoring the story but making sure it doesn't remove the romantic connotations and symbolism to Wangxian. The donghua also follows Untameds way of starting with flashbacks to explain what happened to Weiying before it started. I have nothing else to say about how great this is. It's the same thing I've been saying about all these adaptations. The donghua though is the best visual masterpiece for MDZ, in my opinion. 

Pros; 

Packed full with symbolism and clues to the plot, it's detailed so well for the storyline and its an excellent way to tell this story. The music and ost for the donghua are also beautiful and gets me emotional each time I hear it.

Cons: 

Censorship. That's it, that's what it always is. For me, I think the donghua is the most censored version of MDZ? Or maybe I just feel that way despite the subtext clues; I do feel irritated at the censorship in the donghua.  Let's pray Heaven's official blessing overcomes that.

Ratings: 3.8/5 - I love it so much because of the visuals but apart from that I prefer other sources for MDZ. Still the best donghua that exists. 

So here you have in an in-depth and messy conversation about one of my favourite media pieces to existing right now in BL. I think I will never stop singing praises at MXT for creating this story and I think there's nothing else I rather do than just spend times when I need a distraction watching, listening or reading this story again and again. What about you all.  What do you feel about MDZ? What pros and cons do you have for each adaptation? Which is your favourite. And have you been able to get any rest when we know that Heaven's official blessing is out TODAY!! Let me know your thoughts. Happy Halloween, Enjoy it.

[rwbyconversations]

The Scarlet Letter: Let’s talk about RWBY’s male LGBT rep

I have been sitting on this post for nearly four weeks waiting until the 15th due to the Before the Dawn spoiler rules.

So let's start with a blunt statement: RWBY's male LGBT representation has not been good. If the series' handling of female LGBT rep is good (which... well there's worse shows) and the general standard for how you write LGBT characters in a show like this, its handling of male rep has been... how not to. And Before the Dawn kinda solidified the idea in my head that the show's handling of its male LGBT cast just isn't good enough, either by the standards of when RWBY began in 2013, or today in 2020 when compatively massive steps have been taken over the past decade to show a more diverse list of characters... or at least a more diverse list of female characters.

I don't wanna make this a pissing match over how over-or-under-represented male or female LGBT characters are, but I feel like it's safe to say that the majority of the trend-setters for modern romances, especially in western animation, have been between women. Korra and Asami from Korra, Chloe and Max from Life is Strange, Marceline and Bubblegum in Adventure Time, (insert the relevant Steven Universe characters here, never watched it), and more recently, Adora and Catra in She-Ra and Luz in Owl House.

Compatively, while studies have shown that in general male LGBT characters get more appearances on a purely numerical level, in general they're more one-off characters there to pad a roster, or played more for comedy (see Josh Gad in the Beauty and the Beast remake or the gay guy in Avengers Endgame that was more notable for how hard China and Russia snapped him out of existance). The only big male-LGBT focused media I can think of from the last decade would be Yuri On Ice, Moonlight, IDW's Transformers: More Than Meets The Eye (Chromedome/Rewind best pairing fuck you Roberts for issue 16) Love Simon, and the anime adaptation of Banana Fish.

So it's no surprise that RWBY basically follows these ideas. It's big romance is (unless the writers are very stupid) going to be between Blake and Yang, their first out character was Ilia, Coco got sent to the Book Dimension where she confirmed "I use my sunglasses to perv on women without their knowledge" which uh... yeah you can definitely tell RWBY is written by men... and Volume 6 had Saph and Terra being a good example of an LGBT couple without any real drama. In the last three years alone, the show has drastically increased its lesbian and bisexual characters, alongside even including its first out trans character in May Marigold (albeit only revealed on Twitter). In general, these depictions of sexuality have been pretty OK. Would have liked it if Ilia wasn't immediately written out of the show after Volume 5 as it made her feel a bit more disposable than intended but whatever, subject for another day.

RWBY's male rep though is a bit spottier. There's the plant bois in Volume 5's premiere, we nearly had Pilot Boi until some last-minute revisions, and... Scarlet.

Why Scarlet's a bad launchpad for male LGBT rep

I don't like Scarlet or how his sexuality has been handled. Scarlet's homosexuality wasn't revealed in the show, or by the writers, or even in anything that's actually canon. He's confirmed gay in his sole of dialogue in a non-canon fan anthology, where the manga's Twitter team had to say that Miles suggested the idea and approved of it.

In short, Scarlet is Dumbledore'd, where his sexuality is revealed in out-of-show material and in a way that doesn't make it supremely obvious (Miles himself never commented to confirm this so this news was limited in how far it could spread. I'm genuinely curious how many people still don't know Scarlet's gay), and Scarlet himself is a nothing character who was written out of the show after Volume 3 and only reappeared in Before The Dawn, half a decade after he vanished. Compared to Ilia, as this came out after Ilia's entire arc in Volume 5, it's not a great starting point for mlm rep. But things would have been forgiven if it had gotten better, if the show did have more male LGBT characters introduced, even just on the Saphron/Terra level of just being around for a few episodes before leaving. Then it would have been a misfire but then we could all say "Things got better."

It... didn't. Which is why when Before the Dawn released in 2020, a full two years after Scarlet was first confirmed gay, while the franchise had more than doubled its wlw rep, Scarlet remained the one male character in the entire franchise who had a name and liked men. I remember vividly a fake leak for After The Fall which claimed Yatsuhashi would come out to Velvet and admit to having a crush on Fox. And I remember as well how many people were disappointed when it was said to be false, because it would have been nice for Yatsuhashi's character, especially after the fleshing out he gets in the CFVY books. If Yatsu had come out as gay in the books I'd like his writing enough to say he's a good case for rep, albeit with the caveat of "This is all in side material." But in reality, the leak was fake and Coco was confirmed gay instead.

Unfortunately, Before the Dawn proceeded to ruin Scarlet and made me at times feel genuinely uncomfortable as a queer man! Let's talk about that.

Before The Dawn is crap and Scarlet's writing is borderline offensive

I hate Before the Dawn. It's... bad. I read it while on a vacation and the only solace I had about the entire thing was that I'd bought an M&M chocolate bar. The bar was finished before the book. That bummed me out. It's not a very well written book, the prose is very Early 2010s YA Writer, none of the characters are memorable and there's various Fun Incidents like "NGDO using children as bait for Grimm," and "Neptune's hydrophpobia being used as a threat to torture him and the scene is played for comedy."

Theo was cool. I can't wait to see him as written by good writers, he should be a highlight of the Vacuo arc.

I had two hopes for Before the Dawn- "Don't be bad," and "Let Scarlet and Sage be well written." I'd liked how After The Fall had handled some of its characters (barring, y'know, Coco perving on women), especially Fox and Yatsu who were surprising in how much I liked them. I was looking forward to seeing Myers give Sage and Scarlet similar treatment- two relatively nothing characters meant he'd have a blank slate to write them however he wanted, he could give them unique personalties and if nothing else it could be cool to see their Semblances.

And then I read the book. (Sage fans I am so sorry for you, you got baited harder than Johnlock fans)

Scarlet's a giant dickhead in the book. It's his sole character trait and his inner monologues go on, and on, and on about how much he hates Sun, how he revels in mocking him. Most of his dialogue is sarcastic put-downs about Sun and how lame he is, and Sun is never properly allowed to defend himself or point out how going with Blake meant he was able to help save Haven Academy.

(hey remember when Sun in Volume 6 expressly says to Blake "I was a bad leader for ditching Neptune and the others, and I need to work on that" only for Before the Dawn to have him staunchly refuse to accept that he let the team down? I don't think Myers did but I do)

Scarlet being a ratty bitch would be one thing if, again, the franchise had done more rep. He'd still be a badly written character, but it wouldn't sting as much. But because Scarlet is still the only expressly confirmed male LGBT character in canon (the book teases that Nolan is gay but there's never confirmation either way beyond him smiling at Scarlet), it means that he has to represent that entire ideal. So when the one gay man in Remnant is being an asshole and a snide loser, that means that by extension, this is how the franchise sees gay men. And that fucking sucks! I wanted to come out of Before The Dawn singing its praises, I wanted to like the book, but it was a massive letdown, especially coming off of the other big 2020 RWBY controversy involving gay characters.

Yeah. We're doing this.

Clover and Fair Game: Technically not queerbaiting. BUT:

Let's pre-empt this: Clover wasn't queerbaiting, and Fair Game, while cool and I dig it, kudos to them for becoming one of the top 5 RWBY pairings on AO3 in one year that's fucking impressive (I say with mild malice as an IronQrow main), never had a chance. The writing never seriously boosted it barring one interaction which was flirty (them talking in the lobby of the Schnee Manor), and everything else was out of show boosting through the social media teams and CRWBY hyping it themselves by saying they liked it. If you wanna blame people, blame the animators who went off-script with stuff like Kim Newman adding the wink as a deliberate nod to the Volume 4 waitress, or the social media team deliberately using the same policies for Fair Game as they do for Renora and Bumblebee.

It wasn't Eddy's fault that things escalated, and he himself has said that in retrospect, he should have warned people that this never had a shot.

But I can't blame the Fair Game fanbase. Because Fair Game took off like wildfire. It came right as the fanbase began seriously asking for more male rep, Qrow's pretty hot, and the Clover wink came right after the Great IronQrow Reawakening of November 9th, 2019. The rocket was primed, and they rode it to the moon. Finally, to these people, after seven years RWBY seemed to be doing something with mlm rep in show. People started getting into RWBY just for Clover and Qrow's interactions. And if heroes were boring, Watts and Tyrian also had a fantastic dynamic that made Nuts and Volts one of the more popular villain ships overnight. Things seemed to be turning around! RWBY was remembering that gay men existed! You could hear the choir sing!

... And for those people, that meant that episode 12 hit like Truck-Kun.

People got pissed. People were horrified. And it didn't help that some members of CRWBY had said in the build-up that episode 12 would have some shots that made them nauseous (probably the Tyrian thumb thing) Out of context, it looked to these fans like CRWBY were basically laughing at their suffering, like they were saying "Lol, you thought you had a chance, get fucked, I hope your vomit burns on the way up."

Yeah, Fair Game was never gonna be canon, and I think some people ran too far with it. But in the wider context of how desperate RWBY's mlm community had gotten for basic crumbs of content? I can see why they'd run with what they had. The writers aren't at fault for what happened, but CRWBY didn't help matters. And that desperate mix of what felt like official backing from the crew, jokes about how cute the ship was, and the hope that finally the show would have onscreen rep? I can see why people ran with it.

So why is the show more lackluster in depicting mlm characters?

Money. Let's be honest, most RWBY fans don't care if the show doesn't have good male rep. I'm willing to bet some of you reading this won't care and just dismiss it as not being that big a problem. I don't think the writers care if the show doesn't have good mlm rep because they're not poaching that market. They're after what they see as a bigger, more lucrative market, which in this case is female LGBT rep. That gets people buying games, watching shows, raising awareness and boosting awareness of your property, which means you make more money. In short: Two women kissing hits more markets and generates more attention than two men.

Am I saying that Miles, Monty and Kerry deliberately sat down seven years ago and said "We're not doing gay men because it won't generate enough ad revenue and traffic to be worth the loss in revenue from homophobes?" No, that's silly. But I'm saying that it's less important for them, and it shows in the things that are small and add up. Things like Miles not verifying Scarlet's sexuality or retweeting the manga account's confirmation to spread the message (compared to how he enthusiastically confirmed Ilia being a lesbian himself during the Reddit AMA). It shows in how Pilot Boi would have been the first mlm character only to die in his second full episode until M&K were told about the Bury Your Gays trope. It shows in how Shannon believes that Ozma is "megaqueer" and Miles jokingly laughs it off instead of confirming it, leaving it to just be Shannon's headcanon. It shows in how actor shipping is compared between the mlm and wlw ships, where Arryn and Barbara's frequent pushes for Bumblebee are seen as "official confirmation that it's endgame" while Michael and Kerry saying they enjoy Seamonkeys is treated as "well it would be cute if they did it, but they're never going to."

I'm not gonna say anything like "CRWBY are gonna have Qrow end up with a woman like Robyn out of spite against the bad apples of the Fair Game crowd." I'm not gonna say that I don't think CRWBY cares about male representation in the series. It is, however, definitely a low priority for them, and because that leads to gaffes like Scarlet's writing in Before The Dawn being offensive in his depiction, it only makes the contrast between the sexes all the more painfully apparent.

I'm kinda tired of waiting for Rooster Teeth to show that they do care about mlm. I'm kinda tired of RWBY's male rep being written like it came from a 1993 time capsule where I have to enhance the screen to see a guy holding a sign of Sun's abs or be content with the only onscreen rep still being the plant bois in Volume 5. I'm tired of how often the crew dances around answering basic questions about sexuality (and age, and birthdays, and heights, and so on) by treating it as a spoiler question, as if just wanting to know what way people swing would ever be a spoiler. I'm just... tired of all this. When the best mlm rep in Rooster Teeth's history remains the two dads in Camp Camp who show up in a few episodes, that should say something really bad about your company and your biases (To say nothing of the recent Red vs Blue seasons and their blatant queerbaiting for Grif and Simmons and the whole can of worms that is Donut).

I'd like to not feel like I'm borderline unwelcome because I'd like to see two men in this show kiss, and that the sole thing that represents people like me in this show is some British twat who complains about sand.

I'd just like to feel like my sexuality isn't a joke to Rooster Teeth (or at the very least, be like Donut and have it be a funny one). But at this point after the last few years? I feel like a very uncomfortable punchline to them. And it just sucks.