#jess doesn't die and actually becomes a character

[platinummoonsea]

Supernatural AU - A bigger Family

Fandom: Supernatural

Pairings: SamxJess(established)

Warning: none? Bad writing XD

Description: What if Dean left before Sam, met Adam and Jess found out about Sam being a hunter.

Authors note: Got the idea while rewatching season 1! Just wanted more characters to play with

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The reason for the Winchesters to become hunters stays the same, Mary dies and it causes John to become obsessed with justice.

John Winchester is raising the two siblings through hunting, at 13 and 9 years old the siblings get attacked by a werwolf who wanted revenge on John. Both of them ended up in the hospital. Bobby, who was helping out, finds out and allows the siblings to stay with him from that moment on, while John is busy hunting.

This causes Dean to lash out, he wants to prove himself. He made one mistake by letting the werwolf get to close, it is his duty to finish the job. Bobby tries his best to explain that he is just a child and to let the adults handle it.

Dean doesn't listen, he ends up sneaking out and hunting the werwolf by himself.

His little brother is the first to notice, Sam tells Bobby immediately and he warns John.

They save Dean and John ends punching Dean. This causes the adults to have an argument about the treatment of the children. John takes Dean and Sam by force and continues raising them in motels. The disrespect Dean showed that day was never forgotten.

Dean fears his father and tries to make up for his wrong doing, but gives up at the end and focuses his time protecting Sam.

Two years later, Dean runs again this time not towards a monster but from one.

Dean ends up back at Bobby's place, surprising him, but being accepted with wide arms.

He made another mistake and it caused John to freak out, Dean didn't know what else to do but run to Bobby.

He didn't eat or sleep since driving there, Bobby allowed him to stay on the couch.

John knocks angrily on the door and Bobby opens it with his gun in hand. Promising him to shoot, if he doesn't leave his property. It causes another fight, Dean hears everything.

Bobby shoots a couple warning shoots and John leaves, warning that he would come back. Bobby focuses his time with Dean, trying to sort everything out while Dean pushes him away.

Bobby tells Dean about his own father and that he had to kill him.

Dean is shocked and doesn't know how to react, but Bobby tells him that he doesn't have to. They end up living together since then and growing closer.

The siblings still talk with each other, but it's getting less and less.

Bobby ends up finding out about Adam Milligan through a hunting friend who was told by John. Adam's mother died through a poltergeist and with no known family, he would end up in the system. Bobby forges some papers and Adam is allowed to stay with him.

His fear of being like his own father is being healed by his relationship with Dean. Dean(16 now) mistakenly calling him Dad didn't hurt either. Adam, 5 years old, has to adjust to having a new family and seeing his mother die in front of him. Surprisingly, the two new siblings bonded fast over fast-food and movies.

Time moves and Sam plans to go to Stanford, John feels betrayed and they end up having their fight. Sam goes through the door and doesn't look back. He ends up calling Dean for the first time after a while and finds out about Adam.

He feels replaced and let's his emotions get to him. Not even telling Dean about college.

Sam starts his journey in law school and meets Jessica through their friend Brady. They become a couple fast, him in law and her in medicine.

Sam tries to live his normal life until his nightmares start, he gets spooked by them until he can't ignore them and does his own research to calm himself. It only makes him more nervous and he ends up debating on asking for help, before he can decide Bobby calls him.

He decides to pick up, they want his help on a hunt that they can't ignore and Sam agrees to escape his own thoughts.

Jess who is worried about him and tried her best to calm him, decides to secretly tag along to ensure his safety.

Sam(22) meets Dean(26) and Adam(15) in a library, going over the information they have. Sam is a bit jealous over Adam, while Adam gives the two siblings the space they need. Only stepping in when necessary, Jess meanwhile is finding out for the first time that Sam has siblings.

They are hunting a group of Vampires, Jess gets caught by one of them and gets used as bait. Sam is freaking out and tries everything to get her back, his brothers help.

Together they end up beheading them and saving Jess. She ends up patching the boys up while explaining her reason on being there before it's Sam turn to explain. Sam comes clean about his life and introduces his siblings.

Sam and Jess go back to college, but Jess is unable to focus on becoming a doctor while more important things are happening under people noses. She ends up calling Dean and telling him her issues. They end up talking for hours and keep going over everything multiple times. Jess head tells her no, but her heart already made the decision on becoming a hunter herself.

Sam is angry, because the plan he had for them gets ruined. It gets revealed that Sam wanted to propose to Jess.

Jess admits that she wants to say yes, but that she can't ruin his live and she leaves to learn under Bobby the same way Adam is. Both of them got the chance to choose a normal life, but both want to fight.

Sam isn't able to keep his emotions in check, his worry and nightmares become worse. He finds out that he has telekinesis powers. Sam ignores it, deciding not to tell a soul and focuses his time on finding Jess.

At Bobby's house the five try to talk but get interrupted by a call from another hunter, who request help. Bobby, Sam and Dean go hunting while Adam starts to do research. It's his current main role in the group, while also now teaching Jess. She gets the hang out of it quickly and ends up finding the crucial information to kill the monster. Unfortunately, they aren't able to reach out to the others. Adam ends up leaving to go get them, while leaving Jess at Bobby's place. Handing her a weapon and telling her what to do for her safety.

Adam is allowed to hunt smaller jobs or as extra backup if something needs to be burned while Sam and Dean fight. He is eager to fight more, but is willing to wait because other people lives are at stake.

He ends up taking a day and a half to get to the city only to find Bobby in the hospital with no trace of Sam and Dean. The hunter friend was the one who brought Bobby to the hospital and is now also looking for the two. Adam and the hunter end up finding them tied up and before he frees them, the hunter attacks him from behind. The shapeshifter took the appearance of the friend and has now all the siblings tied up.

He takes the appearance of Adam and goes back to the hospital to deal with Bobby. While there the siblings manage to escape and they try to get there on time to warn Bobby. Bobby was able to knock out the shapeshifter himself after arriving in the motel. The shapeshifter making a small mistake that made Bobby realize the truth. They deal with the corspe and do a funeral for the hunter.

Both parties drive back, Sam with Dean and Bobby with Adam. Sam calls Jess to inform her about how the hunt went.

Jessica keeps reading articles the next morning on her laptop, switching from one tab to the other and cross checking with Bobby's book. The lights begin to flicker and she feels watched and notices that some of Bobby's traps where pampered. Jess tries to act cool, her mind racing on what to do. Holding the knife tighter and being prepared for everything and nothing.

She sees a man standing in one of the rooms before the blond could do anything, in one blink of an eye the being disappeared.

The main door opens later that day and the boys enter tiredly. Jess tells them about what happend, Sam is concerned and angry about not being told immediately after it happened.

Redoing the traps and drawing more protection symbols on. All of them are on the edge, they realize that the monster just wanted to prove that it could do anything if it wanted to, it was toying with them. Sulfur. A demon. The hunt continues.

Dean Singer,

Sam Winchester,

Jessica Lee Moore,

and Adam Milligan

Fighting together and finding their family on the way.

[coraniaid]

🔥 about tara

OK, so for the record I like Tara a lot. She's definitely in my top ten favorite characters. I am still in the early stages of a (painfully slow) Season 4 rewatch, and one of the things keeping me going is the thought I will get to see Tara again soon.

I think Tara's death is very sad and I can understand why Amber Benson felt poorly treated by the way it was handled (especially with the stupid gimmick of adding Tara to the opening credits just for that episode). On balance -- and especially given the context arround her introduction and her relationship with Willow -- I think that it was probably a fairly significant mistake from a writing perspective for at least a couple of reasons. (It's not really a good look to kill off half of your show's groundbreaking lesbian couple, whatever the context, and the writers didn't really seem to have any sort of coherent plan for what to do with Willow afterwards.)

But it kind of irks me when I see it described as an obvious case of the Bury Your Gays trope because ... it really isn't?

Tara doesn't die because she's gay: she doesn't die shortly after coming out, she isn't targeted because she's a lesbian; she isn't, in fact, targeted directly at all. Her death is basically just a stupid random accident. She was in the wrong place at the wrong time.

Neither is Tara treated as more expendable by the narrative because she's a lesbian. By the time Tara dies, Buffy (and the Angel spin-off) had already killed off (among other recurring and at least occasionally sympathetic characters) Jenny Calendar, Kendra, Larry, Doyle, Forrest, Joyce and Darla. By the time both shows end the writers will have also killed off Jonathan, Anya, Cordelia, Fred and Wesley. Buffy isn't quite a show where Anyone Can Die, but certainly it's one where anyone can die if they're not in the Core Four (and if they're not vampires Buffy has slept with, in which case they can die for a little bit but they'll get over it).

And nor is there some sense that Tara's death affects the rest of the group any less than any of the others on the above list. On the contrary, other than Joyce, who is the protagonist of the show's actual mother and had been a presence in the show for almost twice as long as Tara was, she gets mourned for longer and by more people than anyone else on that previous list. (Xander and Willow's supposed childhood friend Jesse gets mourned so little I couldn't even bring myself to add him to the list.)

Yes, the show is far from perfect. It definitely is, at various times, racist, sexist and homophobic, often in ways that cannot at all be dimissed as the show being a product of its time. I think you could certainly argue that Tara was a victim of the show's persistent narrative misogyny (Willow's first girlfriend, Giles's first girlfriend on the show, and both of Xander's girlfriends die, but neither Oz nor Riley die and neither Angel or Spike die in a way that matters).

But Tara's death isn't automatically an example of the Bury You Gays trope just because she dies and was a lesbian. Even though, as I said, it was a probably the wrong decision for the character and the show and I wish it hadn't happened.

--

Oh, also, a bonus hot take:

In a hypothetical Season 7 where Tara survived, I really don't think I can see her relationship with Willow lasting long. The show sort of forgets about it in favor of advancing the subplot in which Willow becomes a magic addict after her Evil Friend Amy takes her to see a drug dealer and then forces her to relapse, but .... Willow's supposed magic addiction isn't why she and Tara broke up. They broke up because Willow was messing with Tara's memories and consent, well before she'd ever met Rack or de-ratted Amy. Willow hadn't actually done anything to address the things that made her take Tara for granted and consider herself entitled to mess with her mind with magic at all. She'd been sad about the relationship ending, sure, and Tara missed Willow, but ... Willow was absolutely the same person who did this to Tara.

The show doesn't bother to address the actual reason she and Tara broke up, preferring the cheap shock death just when they'd gotten back together again. But after a while I think Tara would have realized this, and without the shock of losing Tara in the first place I think Willow would find it very hard not to fall back into her old habits. Habits which have nothing to do with Amy's supposed malign influence. After all, Willow was trying to use magic to change her best friend's mental state without his consent as early as Lovers Walk, a full year before she ever met Tara. And when she and Oz broke up that same season she very quickly started talking about wishing she had a way to "make [him] trust me". This is much more a part of who Willow is than any addiction to evil magic.

[the-cat-and-the-birdie]

I had coffee my thoughts are all over the place it's not gonna make sense and I'm probably gonna change my mind about some of the things I said later but here's my ramble.

I'm so mad right now. There's so many things that piss me off with Peter B. I keep thinking about all the mess he keeps pulling throughout the first and the second movie. The fact that he betrayed Miles not once but twice BUT THREE TIMES (typing Miles up in ITSV, not telling him about the Spider Society or that he was an anomaly, CALLING HQ ON HIM BECAUSE HE WANTED TO SAVE HIS FATHER. Technically that's 4 but moving on.)

He refuses to acknowledge Miles as a fellow spider(which is probably why he didn't feel bad about finding Miles was an anomaly now he has a reason to not take Miles seriously.) And he keeps trying to insert himself into a mentor role when he's yet to do a whole lot of mentoring. What also throws me here is how he had the audacity to say the trauma builds character while being a mentor to help guide Miles into becoming Spiderman so Miles' could avoid the mistakes that Peter made.

I WILL NEVER BE OVER THAT CHAIR SCENE IN ITSV. How is it you as a grown man. A grown white man no less took a black teenage boy who you viewed as so much of a liability that you had to tie him up. And I know multiple people have talked about everything that's wrong with this scene but there's still something so haunting about watching him just nonchalantly be tied up kicking and screaming about how he wants to be let go that bothers me so much. And I find it hard to believe that this was just a scene we're supposed to just move on from. Did they do this on purpose? Was this supposed to showcase something about Peter's character that I'm not picking up on? Because I find it so hard to believe that the writers who made sure to explicitly show how Gwen's Peter is Christian because he later turns into a lizard wouldn't understand the implications of this scene.

I also don't think he's a strategic as he thinks he is. What do you think was going to happen when you forcefully tied this boy to a chair? You thought he was going to sit still? Also would you think the boy who's trying to save his father was going to do? Actually listen to your words? Sit back and be like, oh you're right I should just let my father die. (This is me going off my reasoning that he didn't plan out that one scene in ATSV. I think that he thought that because he's Miles' "mentor" he could get through to him in a way others can't. Which pretentious much?) His actions do more harm than good and it just works out for him somehow. (For instance Miles saving them in ITSV because he came late.)

These are my thoughts do with this what you will. All the stars decided to align today ig because I haven't been able to come up with coherent thoughts like this in a minute.

(I really need to rewatch itsv. So if there's anything here that I'm wrong about regarding itsv it's been like 5 years since I've seen it.)

I GET THISS SOOO HARD (I waited until I had coffee to answer this lol)

BUT YESSSSS Because like I can understanding giving Peter the benefit of the doubt, it makes plausible sense for a movie to have a certain amount of wiggle room plot wise.

But with writers who clearly understood punk enough to accurately show it in Hobie's arc, repeatedly put in the work to respect Cockney and Puerto Rican culture, who wrote every one of Hobie's lines with PERCISION - would just overlook the glaring hole in their story that is Peter.

Because we as a viewer are continually told we SHOULD look up to him and we SHOULD trust him - but in doing so they accidentally make him the exact opposite. Like.. It doesn't make sense to me.

The Focus on Jess & The Absence of Peter:

aka GODDAMN I hate Peter B. Parker [yet another rant about 'bad' writing, plotholes, and Peter not showing up for Miles or Gwen.

For example,

Jess is Gwen's mentor, and we see her mentor style is extremely different from Peter's and that's suppose to be a contrasting dynamic between them and the relationship between Miles and Peter. Okay, makes sense.

But by NOT having Peter be Gwen's mentor, the writers are implying that he didn't step up as an emotional mentor when all this given - HE SHOULD. Because he's the only adult that she knows, and she a freshly homeless teen who needs to be around people she trusts, rather than working at a society with an auditorium of adults.

But by trying to show off how much we should judge Jess, the writers have inadvertently given us a Peter who just..didn't take responsibility. That's what they're implying - that Hobie and Jess were the ones who came to get aid. And we're suppose to look the other way. I... can't do that, sir.

"Look at how mean Jess is, why not blame her-" Jess is doing her job. Where's the adult she actually knows and trusts. Can we get some dialogue about what he did for her? Or did he just do nothing?

Did they just forget to include that, or did Peter just forget to help?

For me, that's two points in the bucket. Not housing Gwen, and not being her mentor. He could've done one, the other or both.

But because he didn't, we're left asking "What WAS he doing in the Society?"

Missions, I assume. Cause he wasn't mentoring her, so he must have been off putting in legit work for Miguel, I assume.

If we're looking at the characters as full-rounded - which I would hope they are considering the depth of Gwen, Miles and Hobie, it's not a large jump to ask 'How involved was Peter in Gwen's time at the Society? Why is he not her mentor, or why is she not living with him?"

Gwen..should be staying with him. If you're an adult who knows a teen and they become homeless, and it is within your means - yeah, I do think it's a moral obligation to open your home to them, at least temporarily. If you care about them. But that aside, let's extend the benefit of the doubt. Maybe Gwen didn't want to see him.

But then the ratting Miles out thing. This, I can't get around-

Some may say that it was simply for plot development and that Lyla spoke suddenly as a mistake on her part.

And I gotta call bullshit.

Firstly, because this is the same movie where we're shown Hobie stealing parts prior to learning what the parts are for. The same film that literally animated a fight accurately to Bushwick down to the very street. Let's cut it some slack here.

And moreso - I could understand the justification that it was a mistake on Lyla's part.

If Lyla was human. She's not.

She's an AI, and a very sophisticated one at that. Lyla runs on protocol, because that's AI's do. She's made to do things the way that is mathematically most effective, based on her analysis and her code.

It's easy to see Lyla as just an avatar, and a comedic one at that - but Lyla is literally one of - if not the - smartest 'person' in the multiverse. She's the only one who can track Spot in real time. If Jess and Miguel need aid on a mission or with Spot, they call Lyla. And she's handled every Society mission prior to the chase.

Her speaking out of turn suddenly and giving Peter away is an understandable plot mistake, if she was subjected to human mistakes.

So far, Lyla isn't. It doesn't make sense, based on what Lyla is.

I think Lyla would know better than to give Peter away suddenly by detecting Miles' presence and still speaking out loud.

A lot ask 'What motive does Peter have for ratting Miles out?', but we also should also ask "What motive does Lyla have for ratting herself out?'

It's her goal to find Miles no matter what. She doesn't care, she kinda can't - she's an AI. She just has to find him and send Miles' location to Miguel. Her objective.

So her locating Peter without his knowledge and then giving herself away to him doesn't make sense - especially if Lyla knew Miles was that close, from a human standpoint and definitely from the standpoint of the most sophisticated AI in existence.

So I was under the assumption that - like you mentioned now, that before when he gets Miles alone, he may genuinely be trying to convince him still, but by the time they get into that space, I think that's around the time that it becomes a 'Okay, let's just get Miles back to HQ and talk about this' situation.

He genuinely ratted Miles out. In my eyes.

Because at this point, Miguel hasn't assaulted Miles. That comes later. So realistically speaking, his goal was probably to calm Miles down, and get him back to HQ however he could, and talk to him there.

Peter could've helped WAYYYY earlier.

People give Peter credit like 'Oh but he came over to Miles' side at the end-'

NO. YOU DO NOT GET A COOKIE.

Peter could've helped SO much earlier, and if anything, he was THE ONLY ONE in a position of helping.

Gwen can't do anything, like they physically restrain her when she tries to. And there's no point after they come to HQ that Gwen has the chance to turn around and help Peter.

Gwen doesn't get that chance. Peter DOES.

Had Peter helped Miles HERE, IMMEDIATELY, Miles would've gotten away without being assaulted by Peter.

If Peter had turned around and changed course in this moment, Miles would have been better off.

Fuck Peter B. Fuckkkkk hiiiimmmmm. NAWWWWWW

If Peter had let him go here, or helped him escape - Miles wouldn't have been taking hits up on that train. That's crazzzy.

But he wasn't trying to help Miles escape. If he wanted to, he would've. He could've just said "Matter of fact Miles, I think setting the WHOLE Society on you is a bizarre move and you should probably get out of here until Miguel can calm down and I can talk to him."

But he was like 'Nah, hold my baby. Matter of fact lemme tell you story in this pivotal moment when you're actively in danger. Here, look at me. What do you mean - I'm not stalling? I didn't rat him out on purpose.

Like either you did. And even if you didn't you didn't help him when you were literally the only person in the universe who could. In fact, he got away slower because of you. Lovely.

Peter is a grown man. He's not an idiot.

He knows Miles is in active danger. Why would an adult turn the conversation in that direction - about his baby - KNOWING Miles has no time.

As soon as Miles got his hands on MayDay, Peter is trying to change the conversation. Suddenly he's joking and laughing.

Even though Miles is freaking out. Why is Peter joking? He knows this isn't a joking situation. But here he is wasting Miles time, either accidentally or intentionally.

Because that'd be some good ass stalling.

There was nothing stopping Peter from helping him leave. But Peter was still on The Society's side, so he didn't. If he was on Miles' side, he would've helped him. He should've, but he was still for Miguel, because at this point Miguel hadn't assaulted Peter yet.

Congrats, Peter. Big L. Humbling Reality Spider-man everyone.

Like combine all this. AND THEN THE SCENE IN ITSV.

LITERALLY AND PHYSICALLY PETER IS ALWAYS HOLDING MILES BACK.

You cannot expect me to believe that the writers of a movie I can write 10k+ words about, just so happened to leave these two glaring plot holes for ONE character.

That I'm just suppose to ignore that Peter restrained Miles, a black boy, in ITSV. That he betrayed Miles for months, wasn't very active in Gwen's time at the Society, and he actively hinders Miles escape - if not actively ratting him out.

It baffles my mind.

It doesn't make sense, that these writers can write Hobie, Jessica, Miguel, Officer Stacy, Rio, and Jeff as fully rounded, well-thought characters. But for some reason, when it comes SPECIFICALLY to Peter B. - they just forget how to write. They just stop thinking about him the second they don't look at him.

IN BOTH MOVIES?

I don't buy it.

To have every other character be thoroughly thought through but have one of, if not these most iconic character full of plot holes...

I think the likely answer is they wrote him that way on purpose and he's just a bad person.

I'm sorry, and I'm laughing while writing this but like.

Either Peter is the ONE singular character who has a series of emotional plotholes - or he's just a bad mentor. It's one or the other. And it's open to interpretation.

But I wanna cut the writers some slack and say, No - they thought it through. And No, Lyla did not just randomly speak out of turn, he contacted her first off-screen before she replied to him.

And by waiting till the very end to come around, waiting until the person who looks up to you is deeply wounded to finally turn around - that's the same arc Officer Stacy goes through.

And we're not supposed to clap for him. It's lovely, but he doesn't get an award. And neither does Peter, not at all.

Maybe if had helped Miles escape in that moment. Maybe if he was Gwen's mentor or he housed her.

But as far as we know he spent those months of Gwen in the Society doing fuck all. We've seen no sign of his contribution anywhere.

And in a story about mentorship, that says something.

Anyway. This is long. Again fiosfgihrgirturetuier I'm SORRY

Once again, Fuck Peter B. All my Hobies hate Peter B. (not a typo)

He's worse than Jess.

And he's not worse than Miguel but I like Miguel more and it's not because of the ass that's just a bonus Miguel is cool (but also very wrong. but like personality wise we're cool).

Ummm I feel like I got off track here. Oh well!!

Damn he be doing Miles dirty. SMH

Bye.

[enden-agolor]

i would just like to drop a thought off rq

after lukas and jesse die (if they can) i just imagine them being happy gay ghost men in the afterlife together

In canon I like to think they never die and they live their lives happy and in love forever and ever and ever 😁 !

But.......

I have actually discussed this with my partner a few times and I won't even lie the thought of one of (or both) them dying stresses me out so bad. Like I have actually cried over these fucking minecraft characters dude 💀

I always have imagined Jesse passes away first. How? I don't know, but it is absolutely devastating for Lukas. Like, he suffers through the grief horribly, and doesn't show his face in town as often as he used to. By now I'd think he's aged physically a lot more, kind of like how the old builders did? So he and Jesse lived a long, looong life together before he passes and when Jesse is actually gone, Lukas doesn't really know how to function properly without him.

I've always imagined maybe one day, a month or two after Jesse passes, Lukas gets this envelope from Radar that he found in Jesse's office while reluctantly cleaning up and organizing through all his work. It's an unopened letter with Lukas' name on it, written in Jesse's sloppy handwriting. He settles down somewhere alone and opens it, reading through it and becoming progressively more and more emotional, broken down and sobbing because it's a letter Jesse meant to give to him around the beginning of their relationship, detailing how happy he is and how he's never felt so loved and appreciated until he and Lukas got together. It's really sweet and written with all the love Jesse holds for him, and though he's not as poetic as Lukas, the fact that it's from Jesse's heart makes it so much more special and meaningful than any piece of writing Lukas has ever indulged in.

I also love the idea that when Lukas does eventually pass away too, that BeaconTown puts up these like, on scale statues of them sitting on the Beacon monument together so they're like, forever a part of BeaconTown.

And then yeah they spend the rest of eternity together as homosexual ghosts or something and it's very cool 😍

[edwinspaynes]

I want to ask you about those characters you have liked less, and you have commented on the blog, if you could change some stuff on their writing and on events that involve them to make them more likeable what would they be? I think yours are Lucie, Jesse, Gabriel and Cecily right? Like for example "make Jesse be resurrected in the beginning of chain of iron and develop more Grace and his relationship" , or "make Lucie hold less secrets from Cordelia".

Sure, I hope I'm understanding what you want correctly.

PSA: When I gush about how perfect I think TLH is I don't mean Ghostwriter. I never mean Ghostwriter. Their story is terribly executed. However, TLH is still perfect because I give 0 fucks about Ghostwriter, so their poor development and terrible relationship doesn't impact my reading experience in the slightest <3

Lucie and Jesse

Lucie would basically just need to get her head out of the sand. I find her annoying primarily because all the other TLH characters act 25 and she acts like a spoiled 12 year old.

She starts the series with her head completely in the clouds, dreaming of silly fairy tales, and ends it in exactly the same place. Zero growth. And why would there be any? Everything that happens in her TLH plotline, what with getting a ramifications-free ghost boyfriend, reinforces that life is a fairy tale that she can twiddle her thumbs and dance through.

I think that this is what's disappointing about Lucie. She's fine at the beginning of ChoG because that's where her arc begins, but the problem is that she ends it as the same silly girl she started it while most other characters around her grow a lot.

I also think that Lucie would benefit from, like, just generally being less selfish. There was no reason for her to endanger Cordelia by not telling her about the Creepy Ghosts at their prospective parabatai ceremony. So, yeah.

As for Jesse, dude, I don't even know where to start. Get this man a personality, please, or at least a semblance of one. I genuinely believe that perhaps Cassie purposely made him a flavorless cardboard cutout so that teenagers reading could project their ghost-fairytale fantasy man onto him.

The main thing for Jesse, though, is that he needed to be less of a shithole to Grace. He was just so fucking godawful to her in Chain of Thorns that everything else about him (which isn't much to start with) pales in comparison. I hope she never talks to him again.

An aside --

I have a whole Ghostwriter plot idea that I think would have made Lucie's story really layered, but Jesse would actually die in it (thus forcing Lucie to show actual growth). Basically, everything would be the same until the end of ChoI, when Lucie would fail to bring Jesse back to life and realize then that her power was gone. She then would no longer be able to see his ghost. No more Jesse. Lucie would need to confront her happy-go-lucky-lalala-life-is-but-a-dream attitude and would therefore need to actually grow tf up. Lucie and Grace console each other and become close friends. They also both lost their love interests (I'm changing nothing else about TLH in this world, only Blackdale stuff), and both girls' happy ending lies in that friendship.

I loathe character death and I almost always hate tragedy, so you know shit's bad when I'm saying this. But Jesse's not an actual human; he's just a plot device! So maybe we should use that plot device in the best possible way if we're not going to make him a layered character :)

Gabriel and Cecily

I don't think about these two nearly as much as Ghostwriter, who I contemplate sometimes because I'm a TLH girlie.

I also don't find Gabriel or Cecily anywhere near as annoying as Lucie or Jesse. I don't care for them, but I also don't really hate them or even dislike them.

In Cecily's case, there's not really anything I'd change or even would want to change. I liked her a lot when I was 18 and the annoyance has built up steadily over time. Now I'm 27 and just view her as an annoying teenager. There's nothing wrong with her, but she reads young (I staunchly consider almost every TID character to read 20ish and every TLH character to read mid-20s. Cecily and Lucie are exceptions). I also don't want her gone, she contributes to the story and has her Moments.

Gabriel just is imo kind of off-putting to everyone besides Cecily and occasionally Gideon, and I just personally am not a big fan of him. But unlike Lucie or Jesse, he's a complex character with an interesting plotline and a tangible personality. He grows. He just didn't resonate with me. I will, however, say that there are a few moments where I want to give him a hug, because damn that kid got hit over the head with a ton of trauma baseball bats in a row.

Basically, in the end, Lucie and Jesse are characters I think are poorly-written and badly developed. Gabriel and Cecily are fine characters with good enough development, they just don't resonate with me through no fault of their own and that's okay.

[plantwriting]

Rereading the "Rolan and Rand catch Kian with Jesse" oneshot rn. Just like for fun. This is genuinely so good how did I write this. Collection of my favorite lines from the fic under the cut because im genuinely proud of it and wanna show it off again

"Kian Stone was an act, a performance, a character built up to hide the pieces of Kian that would leave him as nothing but that nameless child again if they ever came to light. Kian Stone was a pretty face, a nice voice, a fun personality, a rockstar. All the pieces of Kian that could be loved. A perfect mask to make people want to be near him without getting close enough to notice the small cracks in it." IT SURE FUCKING IS god he's so fucking convinced that people could only ever care about him for who he pretends to be rather than who he is aghhhh

"Nobody else would be willing to deal with all of his baggage, all of the frankly pathetic pieces of him that Rand and Rolan were willing to put up with." i dont think i even did that on purpose. kian doesnt think they love him. or care about him. he thinks that even they just put up with who he really is. not that they could actually fully care about him as a person. god. fuck.

"God was a fucking bastard. An all-knowing, all-powerful, all-loving creator, who knew very well this was all the nameless child he’d made would become. He’d known very well that Kian would become just another sinner, cast out of the light of heaven and into the torment of hell. Why make him at all if that was the only fate that could await him? Why bother creating Lucifer Morningstar if God knew he would fall?" WHAT DO YOU MEAN I WROTE THAT??? HOW. WHAT. my magnum opus for real jesus fucking christ

"He wished he could have had both of them here with him, his best friends, his first loves, his everything. The two people who got to see him as a full person, and still loved him anyways. He could imagine it so clearly, Rand’s rough and thick hands holding him steady as Rolan’s slender ones explored each piece of him, the taste of alcohol and weed and smoke on his tongue as they took turns kissing him, how they’d take him, need him, love- 'What the fuck?!'" evil.... evil evil evil heheehehehehe fuck i love it so so much >:)

"His best friends, who stepped closer towards Kian, still frozen in place where he stood. Who were staring at him with so much disgust and hatred. Who’d just seen him and Jesse making out in a filthy alleyway between the hardware store and the gas station. Who looked so unfairly beautiful in the pale moonlight." he's so scared and so panicked and thinks theyre literally about to kill him and yet. he cant help but still think about how beautiful they are. look at this fucking gay ass fucker wow

"(Kill him) For tricking them into being friends with something like him." something. someTHING. not even someone like him, no, he doesnt get that luxury. the luxury of being considered human. he doesnt even allow that much to himself, hes something, hes not a person, hes. aghhhhhhhh and it only gets worse when he gets older.... to the point where he sees rolan as more human than herself... agh

"They had every right to be upset, to hate him, to want him fucking dead. He deserved whatever they would throw at him, and he’d take it, he’d let it happen. But he could at least do it as someone better than Kian." and the fact that he cant understand that thats what they want him to be. not a rockstar, just kian. they just want him as a person. but it doesn't fit with how he sees the world so he refuses to accept it

"'You coming? Or are you just going to fucking stand there for the rest of the night?' He looked to Rand, who’d stopped walking and was now just standing at the end of the alleyway, looking back at Kian." Fun fact! I couldn't decide whether I should have Rand still offer to drive him home or not. Like would his care for Kian override the disgust he felt? I wasn't sure. So I rolled a die! Can you believe that this shit could have been even angstier than it ended up?? wild

"He wanted to sit in Rand’s attic bedroom and talk about stupid shit with him and fall asleep on the spare mattress set on the floor near Rand’s bed. He wanted to wake up to Donna telling them that breakfast was ready, and race Rand downstairs to get to the kitchen first. He wanted to listen to Rachel talk about space or science stuff or any of the other things he was too fucking stupid to understand, and then tell her about music in return. He wanted to stay somewhere that actually felt like home, with an actual family, that didn’t have the smell of incense barely covering that of rotting food and whatever drugs his parents had gotten their hands on. He didn’t want that. He didn’t want to be at home. He didn’t want to be alone." pretty sure this was the first thing in a fanfic i wrote that made me cry. just. the desperate need for something that should have been such a given. for family, for love, for just any amount of care from others. and he thinks hes lost it forever. he thinks he DESERVES to lose it forever. god. why did i do that to him i didnt have to but well. i did.

"He stepped inside after her, instantly overwhelmed to the point of nausea as the smell of mold and rot and whatever else he didn’t even want to guess hit his nose. He hadn’t gotten the chance to clean in way too long since his parents always got pissy about him going through their stuff, and they hadn’t actually gone out anywhere in several weeks. He didn’t know how much longer he could handle the filth he was forced to live in." knowing his future living situations as well.... ah. delicious delicious angst :3

"But he didn’t deserve to be Kian Stone. He didn’t even deserve to be Kian. He deserved to be nothing, that nameless and unlovable child, who’d spent so many nights crying alone in this exact same room, trying to block out his parents’ sounds as they did the same with his cries. Kian Stone was attractive, Kian Stone was popular as much as he was hated, Kian Stone was a rockstar. Kian was fun, Kian was a caring and good friend, Kian was a music lover with the skills to actually make something that sounded nice. Kian Stone was someone worthy of admiration. Kian was someone worthy of attention. He wasn’t either of those things. He wasn’t worth anything." he can never see himself as deserving of love and affection because he cant even see himself as a person :D

"He stood up carefully, taking support from the wall next to him to avoid falling over. A part of him was nervous about leaving his room like this. Of his parents seeing what he’d done to himself. But a far bigger part of him was extremely aware that they wouldn’t give a shit even if they noticed. And there was a very, very small part that hoped that they would. That still wished they’d care." he still wishes that theyd care. hell forever wish that theyd care. theyre his parents, theyre supposed to love him, so why wont they? maybe they hate themselves for it just as much as he hates them (not enough)

"He couldn’t play D&D with them anymore. He’d never get to see the end of the campaign that Rand had planned for them, he couldn’t yell at the dungeon master with Rolan when he threw some absolute bullshit at them that got their favorite npc killed, couldn’t see the sketches Rand made of the characters and the monster they fought. Couldn’t theorize about everything going on with Rolan, couldn’t tell Becky about everything that had happened afterwards, his set of dice would end up collecting dust in the small box underneath his bed with no reason for them to be used anymore." ......was i thinking about how in canon they never got to finish the campaign in the end? maybe :)

"He really could not understand what Rolan’s problem with Jesse seemed to be. He knew neither of his friends had ever really liked him, mostly because in their eyes he was just an asshole jock amongst other asshole jocks, but Rand had always been the one that actually seemed to dislike him before. Obviously it made sense that they might have had something against him now that they knew he was gay, but… still." Rolan's being jealousssss and he doesn't even realize ittttttt because that would require accepting that the reason he got uncomfortable seeing Kian and Jesse making out wasn't because that's gross but because he wished he would've been in Jesse's placeeeeeeeee

"He couldn’t let them find out the truth. Not ever. He wasn’t losing them, he couldn’t lose them, they were almost all that he had. He’d rather die than live a life without them, he couldn’t fucking go back to being completely alone, unloved and either hated or ignored by everyone. He needed them to be worth anything, nobody else could ever truly care for him. And if they found out, then they couldn’t care for him either." hey. hey do you. do you think hes ever fully let go of that? That he ever moved on from the idea that if they found out he loved them, they'd cut him out for good? at the point of the therapy series rand doesn't even remember saying it. he doesn't remember implying something like that. but kian sure does <3

Just. Wow this fic is the best thing ive ever written. kiangst my beloved. i cant wait to draw parallels to this oneshot when- *gets shot before i can give any spoilers*

[frazzledsoul]

The thing about season 4 of Gilmore Girls is that I think it mostly rests on the plot arcs of the supporting characters.

Lorelai is dating yet another upper class love interest and is putting the inn together. Jason himself is fine (we all know Lorelai's in no danger of settling down with him) but because he's such a fixture on the show we're treated to those mind-numbingly boring insurance industry plotlines and it's not any more exciting to hear about Lorelai waiting for an oven to be delivered.

Rory is even worse. She has no love interests, no real friends at college except Paris, and her Yale plotlines are mostly Rory being listless and awkward. Yale isn't a compelling environment with its own social context and relationships, like Stars Hollow is and Chilton was. It's just Rory being socially maladjusted and it's boring to watch. It doesn't help that her biggest problem is she's bored and she might have to drop a class at one point. Big whoop.

Almost everyone else in her friend group has more exciting stuff going on and are dealing with actual adult issues.

Paris dumps her age-appropriate boyfriend for a senior citizen and vacillates between wondering if he'll get bored with her or just up and die on her. Lane recruits new band members, comes clean to her mother about her chosen lifestyle, becomes temporarily homeless, and then finds a new home for the band and makes up with her mom. Jess is also homeless and has been wandering the country after things appear to have gone sour with his dad: he fights with Luke, refuses to pacify his mother, drops unwelcome love bombs on Rory, makes peace with Luke, and tries to be vulnerable with Rory only to have her shut him down and force him to start over and orient his life around something else. Dean is stuck in a marriage he never should have initiated and is trying to make ends meet: he and Rory get mired in trying to relive an idyllic relationship they never had while both of them ignore his actual adult responsibilities (before they get to this point, Rory does spend quite a lot of time haranguing him and Lindsay for not living the comparatively privileged college life she is).

The season basically lives and dies on these B-plots until the end of the season, when Luke and Lorelai get together, Jess pops in again and causes drama, Richard and Emily separate, and Dean and Rory choose the absolute worst way to resolve their current sense of ennui. However, it does appear to me with Rory specifically she has no plot while her friends are trying (and sometimes failing) to be adults and have much more pressing concerns which she seems rather...unbothered by a lot of the time, especially Dean and Jess. Her primary concern when Jess comes back is not that he is broke, homeless, and not terribly mentally stable, but how his presence makes her feel. She cries on Dean's shoulder about dropping a class while nagging him about not living the same kind of life she is (all the while making their dynamic all the more problematic). But the thing is ... why should her feelings take precedence in all this, instead of the more compelling characters? They're the only interesting things about the show at this point.

[surejess]

" there is nothing you've got when you die that you keep. you were all that you were, were you all you could be ? "

BASIC INFORMATION:

character name: jessica "jess" turner

nickname(s): jess (also there's some fun wordplay in "jess turner" regarding clown physiology that i hope someone will get...)

face claim: margot robbie

mutation status: mutant (gen ii)

birthday: february 24th, 2141

sexuality: bisexual

moral alignment: chaotic neutral

occupation: coal miner

work sector: sector 8

affiliation: nobody

3 positive traits: gregarious, passionate, imaginative

3 negative traits: nonsensical, unreliable, obsessive

biography (optional): link !

QUESTIONNAIRE:

how do they feel about living in sol city? have they always lived there or did they travel from another settlement? she's always lived in sol city and has no strong feelings regarding it. she's never thought too hard about leaving, but she's also never thought 'wow, this place is so great, i couldn't want for anything else!'

do they trust the council’s leadership? why or why not? not really? i mean, they're in positions of power and power inherently corrupts (just ask the creator!). whether they were all mutants or all humans or all plankton, it'd be the same answer.

if they chose their sector and profession, why did they make that choice? if they didn’t, why not? were they happy with their assignment or not? she did not make the decision, but she doesn't... hate it? she's not thrilled -- the mines are boring and dangerous and physically taxing -- but she's got the creator and her silly goofy powers to keep her occupied. she's also, like... 90% sure she isn't gonna die in there... like, that's what the creator has implied... but the creator also pretended like she'd give her free-will if she murdered her parents, so she's gotta take everything the creator says with a grain of salt! that said, she hopes to become a stand-up comedian in sector 9 one day <3

what’s one object that they always keep on their person? honestly? with the power of miming and her little 'bag of fun' (a sort of pocket dimension), she doesn't need to worry about not having [xyz] at any given moment. for sake of character, though, we'll say a pack of hubba bubba gum.

(mutant only section)

what is your character’s ability (or abilities)? fun lord ( + clown physiology )

are they gen i or gen ii? gen ii

what can your character do? what are their strengths? she can manipulate anything IF. and only IF. it's fun -- either to herself or to some outside party. she has all aspects of cartoon physics and, much like ihsan grows stronger when there's fear, she grows stronger when there's laughter. she can manipulate the whole plot (think fleischer bros & looney tunes) to make it fun, but... that obviously won't be used for anything on a grand scale. she can manipulate logic to make it fun, she can induce fear and confusion, she can mime actions and make them actually happen, she can generate balloons and cards (both of which can be used as weapons, especially if the balloons are, ya know, actually bombs), she can make people laugh, etc etc. if it's fun, she can do it! she's also fully aware of the fourth wall and fully aware that she is a fictional creation, thus she's perfectly capable of breaking the fourth wall.

what can’t they do? what are their weaknesses? the real struggle bus came with fourth wall awareness. that damn near ruined her life ! outside of that, i'm definitely not saying she's mastered everything on the page -- i honestly don't even know how to explain half of them ! -- but she can do 'em, good for her ! that said, all the weaknesses that come with them ? like just being... odd to those around her ? obviously those are very present.

is there anything else you’d like to specify about them? 1) lil note on her physiology (copied and pasted from an intro i wrote once!): since margot’s played harley quinn in three different movies and, each time, she’s looked a little different: facial features like suicide squad (2016), always has those lil bedazzled eyebrows she wears in birds of prey, color scheme of the suicide squad (2021) ! ( that said, probs won’t be using many ss gifs because there was like… one pack still available ahdlsaifjsk so just <3 imagine <3 ) the one thing i would add that’s in none of the gifs is one iris being a shade of pink and the other being the regular blue. 2) she won't be breaking the fourth wall as much as the intro and this task might make it seem (it was just very important for the bio!), but! it will happen! and it will be silly goofy! 3) BACK IN MY DAY, superpower wikia actually had those as the titles for the pages... where did the fun of that go? there's no passion in "archetype: clown" or "fun reality manipulation"

[seraphtrevs]

what do you mean by BCS being a ghost story?

Every major character introduced in BCS with the exception of Kim is doomed to die, and their deaths haunt the events of BrBa.

Chuck's final words to Jimmy and his suicide play a huge role in turning him into Saul (think of the flash-forward in 6x09 with Jimmy now living fully as Saul, mockingly echoing Chuck as he sits at his desk - "may justice be done, though the heavens fall"). If Jimmy never became Saul, Walt would have never been introduced to Gus, and none of the events of BrBa would have happened.

The curse of Nacho Varga leads to the annihilation of the cartel - without his sacrifice, Gus's schemes would have been found out and the cartel would have executed him and then continued on for who knows how long. But since Nacho takes all of the blame, Gus is able to evade detection, build his empire, and complete his quest for revenge in BrBa, wiping out the cartel for good. However, because Nacho put Hector in the wheelchair, it means that Gus doesn't get to survive for long after his triumph, since Hector kills Gus (and himself) with the bomb Walt gives him.

Lalo and Howard are buried under the superlab where Walt and Jesse work, putting them metaphorically and literally in the foundation of everything that happens in BrBa. Lalo and Howard, just like Chuck, play their roles in turning Jimmy to Saul, and haunt everything he does.

Even Gus and Mike are dead men walking, although their deaths don't occur to the BrBa timeline. Kim and Jimmy don't actually die, but the Kim and Jimmy we came to know and love do. They become ghosts of their former selves. This is a capital-T Tragedy. Everyone ends up a ghost in the end

[deanwasalwaysbi]

Dean’s Self Acceptance & Chekhov's Grenade Launcher

If you aren’t here for a deeper look at episode 12x22, metaphors, and Dean being bi, keep scrolling because we’re going to get into that holy hand grenade - Supernatural’s Grenade Launcher, the weapon that Dean has loved since season one but always got shamed out of using; shamed out of using UNTIL 12x22; an episode literally titled, ‘Who We Are’.   

After which Dean loses Castiel and goes into the Widower arc ... ok. ... Cool. I’ll just read nothing into any of that shall I?

(cont under the cut)

Okay first- ‘what grenade launcher? I don’t remember a grenade launcher?’

Dean has a grenade launcher in the trunk that we’ve never seen him use. It's been there at least since episode 1x02. He has assigned a gender to the grenade launcher, calling it ‘she’ like his car.  It has appeared multiple times, but one noteworthy time was two episodes ago when Dean was showing his arsenal to Max Barnes, the openly gay witch hunter, in 12x20. Mmmhmm, nothing to see there. Nothing about the slow progression of Dean learning to accept himself. Nothing about Dean opening his trunk up to a canonically gay man.

Dean often wants to use  it  her, but  it’s  she’s impractical,  it’s  she’s not stealthy.  The thing is unsafe, and other characters are constantly telling him no, put it back, don’t bring it, don’t use it. (See 12x05) 

When Dean lost his memory - when he would have seen no reason NOT to use it, one of the other characters reminded him with a post-it note: this thing that you want to do, that’s a natural instinct for you, don’t do it. (See 12x11)

[gif credit to @demondetox​ & ​ @shirtlesssammy​]

Okay, now that we have a bit of primer - let’s talk about 12x22.  There’s a lot to unpack in this episode.

Mary has been brainwashed and the boys have been locked in the bunker to die.  After trying magic and pickaxes (shout out to “goggles? goggles.”), Dean realizes it is time. Time to tear down his big concrete wall with something, "Big, Beautiful, and Dumb" regardless of what the British lady in the bunker says, and he's getting no more resistance from Sam.

"I have had this thing for so long, I have been waiting for the *perfect* moment to use this."

We've been seeing the grenade launcher for 12 seasons, and in how many episodes and they just happen to have Dean finally use it to break OUT by breaking DOWN walls in an episode titled ‘WHO WE ARE’?!  

Having torn down that wall with the grenade launcher, it becomes time to deal with other, less physical ones.  There are British Men of Letters to fight, Mary is still brainwashed, and there is no magical shortcut that is going to cut through. In a display of how far the characters have come, Sam is becoming a leader in a fight he originally wanted no part in [which the show will drop over and over for no reason] and Dean, well this one’s about Dean for me.

Dean fucked up his leg coming out ... of the bunker, I mean. Finally using the grenade launcher, it hurt, but it didn’t kill him.  An earlier Dean would have joined the fight at the men of letters compound anyway, prepared to die in a blaze of glory.  However, Dean has changed.  Instead he recognizes that going into a fight right now would be idiotic and he stays behind to fight with EMOTIONS instead of brawn.  It’s okay to Dean, and even his idea, to not go into the ‘manly’ fight.  Dean has become secure in himself enough to volunteer to go into the battle that requires being open and honest about feelings.  He initiates the hug and feelings talk with Sam, (only undercutting a lil with a classic 'bitch' 'jerk' call response). No chick flick moments indeed. 

So Dean and Sam hug, Sam promises Dean he’ll come back, and we move on to the most important scene in the episode. Dean has broken through mind control with feelings before, with Cas in season 8 episode 17 when we had the infamous ‘We need you. I need you’ moment (though apparently Jensen Dean  was still guarded enough that this was not an ‘I love you’.) but this time Dean goes into Mary’s psyche; Mary who has been a stand in all season for who Dean was emotionally before his character growth.

The viewer is expecting some big declaration of love, that’s how dean broke through last time.  But no. That’s not what we get. 

Dean finally lets out his true feelings. About his childhood. About John. About Mary’s death.  About everything that has ever happened to Sam. The walls are coming down.   Dean is honest with someone about the resentment he feels (which should be directed at John) about the responsibility that was put on him as a child.   In sharp contrast to his reaction to Mary’s guilt at the beginning of the season, of Dean as the perpetual caretaker, now Dean gets to acknowledge his own feelings, that he does blame Mary and her deal for what they went through.  Watch this scene.  He hates her and he loves her. okay. 

Yes, Dean got to use the grenade launcher, but it wasn’t in a climax of some epic battle.  It was in the ramp up - the beginning of an episode.

No, the climax of the episode was Dean comin to terms with feelings the character has had since season one.   We’ve been looking at this grenade launcher for 12 years, but we’ve been witnessing Dean’s feelings here for just as long & Dean takes his emotional predecessor, Mary, along with him. 

I will skip past the fight scene between him and ketch - which is actually impressive given the horse tranquilizer he’d been given.  Instead, I want to get to 12x23, to his reunion with Castiel. 

Dean has used the grenade launcher. Dean has accepted himself and admitted something to himself that you can’t even really see until you look back at this episode’s placement retrospectively.  Dean is no longer trying to fight with Castiel, he just wants to help him.  Castiel heals Dean’s major knee injury and Dean, well we get an interesting jacting joice: 

in fact, the moment continues with a lil half smile and Dean looking down and checking his knee, I’m just having trouble getting a gif or a video to make one from.  Throughout the entire episode Cas routinely addresses Dean specifically despite being in a group at all times. Cas later makes a run at Lucifer and Sam wrestles a yelling concerned Dean away and back through the rift, just as Dean wrestled him away from Jess in the pilot.

At the end of this episode Cas is killed in front of Dean, who for the first time doesn't continue on in the fight, instead dropping to his knees. This all flows right into Dean’s intense season 13 widower arc.   Dean feels Cas’s death in a way we have never seen him grieve before. 

Ho.ly.Shit.

"Who We Are". 

It gets another use later in the series in the same episode where Dean also wears a live action version of the pink sleeping gown he wore in scoobynatural, but we’ll get to that later.

[chambersofthesea]

What you said about Logan not doing anything to change his situation, even though he complains about his family so much... It's SO true. And I don't know if it's that he's too afraid of losing the comfortable life he's used to having or partly that he doesn't know what else to do with his life, but as much as he claims to hate it, I think part of him actually likes having his overbearing family as an excuse to do whatever he feels like doing with no consequences. He feels sorry for himself, but it's a self-indulgent kind of self-pity, because he can tell himself he "deserves" whatever because he's "so unhappy" and don't you think he deserves a little happiness? And if his family calls all the shots, he doesn't have to take responsibility for anything ever, because "it's out of my hands." Like in the Revival, when he "has to" marry Odette because it's "part of the dynastic plan." Sorry, Rory, but there's nothing I can do! You're not allowed to be mad at me, because it's not my fault! In the end, unlike Lorelai and unlike Jess, I don't think Logan really WANTS to change, or at least not enough to want to do it without someone MAKING him. For someone who projects such a "take charge" persona and chides Rory for being afraid to "jump" and take risks, he really is extraordinarily passive. Risking his life and physical health actually feels "safer" to him than risking his security. It's like he'd literally rather die than live life as a "poor person."

Yep, that's pretty much what I get from him as a character. And I don't mean to say that Logan is the only one that is solely responsible for the way his life is, particularly when Mitchum is like that as a person and father to him, but after a certain point you have to understand that as you grow up, you also become responsible for your own behavior and life more than your parent is. And Logan pretty much comes off as never realizing this, even with the half-hearted attempt the season 7 writers made.

I feel like his behavior is overall a combination of both of what you mentioned, that he is passive because he himself has never taken the time and effort to realize what he would want for himself, without taking into account his relationship with Rory or anything else, and that in its own way, he has more of a "reason" to behave the way he does and live his life extravagantly because hey, he's had to put up with his asshole father for years, might as well take advantage of all the money he's been given by him. Which is pretty ironic considering how Mitchum is an asshole towards everyone. I mean by Logan's logic, I believe Rory would also have to be monetarily compensated for because his father decided he can be a dick to a university student on an internship for free just because he was the one that offered her the post.

It's also why I find any of his attempts at distancing himself from his family to be lackluster because again, compared to what Lorelai or even Jess managed to do, it simply boiled down to Logan getting another job, all the while still reaping from the benefits of being a Huntzberger and having a guaranteed pot of gold on the side. Comparing this to both Jess and Lorelai deciding to start a new leaf while being homeless young adults is even demeaning on their behalf, not just because of how they started but because they were also driven by the need to change their lives for themselves, and not as a result of some other issue like say, chickening out of facing the consequences when your business deal results in monetary loss. And another issue with this is that we actually don't see Logan stick it out for once after this either. I mean, we see him dump Rory solely because she didn't want to marry him and conform to his life plans, and that's it. We don't even see him settle in his new job in order to actually believe that he's changed for the better, which is part of why his "regression" in the revival isn't out of character in the slightest. When you have a character that falls back on negative patterns of behavior every time they face an obsticle in their lives, and not even get to see said character grow above that in a pretty substantial, long-lasting way, then there's only so much benefit of the doubt you as a viewer can give them.

[coraniaid]

🔥 honestly just let loose with controversial btvs opinions I’m ready

So ... I think I've probably said this before, but at the risk of repeating myself: I don't like the way the show treats the idea of Harmony as a vampire.  In particular, I really don't like the way the show depicts Buffy Summers finding out that Harmony is a vampire (in Season 4's The Harsh Light Of Day).  I don't think it's consistent with her character as established to this point, and I don't think it makes much sense logistically either.

Before Season 4, I think the show is actually pretty consistent in how it treats the idea of 'becoming' a vampire.  Yes, a vampire remembers their past life: we see that with Jesse as early as Season 1's second episode, The Harvest. And yes, a vampire's personality is heavily influenced by the person they were when they were alive: again, see Jesse's continuing obsession with Cordelia, and also what Angel (almost) says in Season 3's Doppelgangland about Willow.

(Indeed, this is really the only excuse for Giles repeatedly telling Buffy about the crimes various vampires she faces in the first three seasons committed while they were alive: which he does for Andrew Borba in Season 1's Never Kill A Boy On The First Date, for the Gorch brothers in Season 2's Bad Eggs and for Zachary Kralik in Season 3's Helpless.  Why bother doing that unless it tells her something about the vampires she'll now be fighting?) 

So yes, a vampire remembers being human and (at least sometimes) retains a lot of their former personality.

But equally, the show has also been consistent up to this point -- and, more importantly, it has consistently shown that the characters in the show believe it to be true -- that the human does die when turned into a vampire.  The vampire retains the memories and something of the personality, but something ineffable -- call it a soul, continuity of self, whatever -- is lost.  As Buffy tells Ford in Lie To Me, you categorically do not "become" a vampire:

"... that's not how it works.  You die, and a demon sets up shop in your old house.  And it walks, and it talks, and it remembers your life, but it's not you."

-- Buffy Summers, Lie To Me

This is why Buffy can't just let vampires turn people into more vampires, even if (as in Lie To Me) those people are willing for them to do so.  Because it's murder.  Because it's wrong.  It's something that's pretty much central to the premise of the show.  Not that it is necessarily a true belief about the world -- the show is fiction, after all, there is no objective truth to be found -- but that Buffy herself believes it.

And, at least for the first three-and-a-bit seasons of the show, she does believe it.  Ford gets turned by Spike, and -- just as she promised him she would while he was alive-- Buffy waits up by his grave that night and she stakes the vampire he has become.  She doesn't congratulate him on his plan to beat cancer succeeding because -- as far as she's concerned -- it did not succeed, it could never have succeeded, and her old friend Ford is already dead.  In Doppelgangland, after meeting the alternate reality vampire Willow, the gang all react as if their Willow has died: they speak of her in the past tense, they offer up eulogies for her.  They don't wonder why Willow has decided to 'become' a vampire.  They mourn.  Buffy blames herself, because (she thinks) her best friend has just died.

That's the other thing the show is consistent about.  By Season 2, if not earlier, Buffy has deeply internalized the notion that she personally has a duty to protect her friends and her classmates from harm.  And when she fails in that duty she blames herself.  Willow's a vampire?  Well, that must be because Buffy called her "reliable".  Angelus turned Theresa into a vampire?  Well, of course that's Buffy's fault: she's to blame for everyone Angelus kills, isn't she?  Buffy's new college friend Eddie's a vampire now?  Well, that's definitely her fault too, so she'll apologize to him even as she readies herself to stake him.

But then there's Harmony.

Granted, Harmony Kendall is not a particularly admirable person in life.  She's a bully, she's shallow, she's fickle.  She does not treat Willow or Marcie Ross or Cordelia kindly or well.  And when Buffy Summers, Class Protector, asks her to, she risks her life, just like all of the graduating class of 1999 - without powers, without destiny, without training -- to try to stop the Mayor's Ascension.  And we see on the screen how it ends.  One of the vampires she's fighting gets close enough to bite her; and that's the last we ever see of the human girl called Harmony.

Harmony is not a good person, but she dies a hero. She dies fighting to save the world.

And how does Buffy react to finding out that Harmony has been turned into a vampire?  Does she mourn her?  She's known her for over two years, by this point, far longer than she'd known Eddie.  Longer than she'd known Theresa or Jesse as well. We first see her in The Harvest, as part of Cordelia's clique, and so -- since Buffy tried befriending Cordelia when she arrived in town -- it's possible that Harmony was one of the first people Buffy ever met in Sunnydale.

Does Buffy blame herself?  It was her plan, after all, to have her fellow classmates arm themselves and fight the Mayor and his vampires.  She had to have known there would be casualties.  None of them have superpowers.  They'd just given her an award for protecting them.  This isn't like Theresa or (as she mistakenly thought) Willow.  There's no complex, convoluted chain of reasoning required here.  Harmony is dead because Buffy decided her best option was to ask her to risk her life.  Most of the time Buffy is wrong to assume it's her fault people have died, but this time I think she might have a point.

Just how does Buffy react to finding out that Harmony is a vampire?  Well, she says this:

"Harmony's a vampire?  She must be dying without a reflection."

-- Buffy Summers, The Harsh Light Of Day

She makes a joke of it. And ... uh, that's it. Although Buffy will run into Harmony again (and again, and again...) that's the most reaction we ever see.  We never see any suggestion that Buffy blames herself for Harmony's death: we don't even see her acknowledge the fact that Harmony is dead. There's no apology for Harmony.  At best, she's a punchline.  The fact that Harmony's dead is funny.

So yeah, I think that kind of sucks, frankly, and I don't think it's consistent with how Buffy was acting as recently as two episodes earlier.

But also ... how, exactly, can Buffy only be finding out that Harmony is a vampire now?  Graduation Day was months ago.  Buffy stayed up by Ford's grave in case he'd been turned.  Did she not bother to do that for the kids she talked into dying in a fight against the Mayor?  For that matter, how does Willow not instantly know that the 'Harmony' she runs into must be a vampire?  Did she not even bother to find out which of her fellow students died in the battle?

(Or, maybe, is the point meant to be that Harmony got bitten in the battle, didn't actually die at all, but then somehow got bitten again later that summer? Everything I've read online suggests Harmony was meant to have died in the Season 3 finale, but I guess it's not explicitly stated in the show that she did...)

More generally ... well, I think having one of Buffy's old classmates come back as a vampire is a solid writing choice.  I don't think it would have been a good idea to have it be one of the regulars -- that would have been far too depressing -- so a minor recurring character makes a lot of sense. Personally I'd have liked to see School Hard's Sheila come back in a later episode, but failing that Harmony is as good a choice as any.  And -- since the show has already established that a vampire's personality owes a lot to the human they were in life -- it makes sense (albeit it's a bit mean-spirited) to have Harmony as a vampire be vapid and self-absorbed.

I don't think it's quite as funny a joke as the writers obviously did though.  Funny enough for one episode, maybe two.  Not twenty-eight (across the full runs of both Buffy and Angel).

[wedreamedlove]

Hello, I've seen now that your doing an analysis of the game "Light and Night"

If you have time can you please a analysis of the game of each the ML are falling for the heroine like how slow build their relationship is going in, and what type romantic love the heroine has with them.

i'll try my best but please keep in mind that the game is barely 3.5 months old, so there's still a lot to learn about the characters. i'm also still missing one SSR for all the characters except Osborn.

i'm going to talk about the characters below in the order of fastest relationship development to slowest. warning for spoilers up to Chapter 10 of the game and its released cards!

Osborn (Xiao Yi)

he's known as a pro racer for a reason LOL (the joke is that "driving a car" in chinese means making dirty jokes or flirting). he's the first of the guys to get an explicit kiss card and he constantly makes the heroine blush. sexual tension is always present in their interactions!

i'm actually slowly working on a more detailed post about the relationship between them but Osborn is basically a combination of a bad boy, reliable older brother, and "more than friends, less than lovers". ironically, even though we have a childhood friend character, Osborn is like half of a childhood friend and gets the theme of "home".

what i love the most about him is his ever-present confidence and sense of freedom. a question that is brought up in various dates basically asks if he will just up and leave one day, but Osborn answers that he immediately does what he wants to do and goes to see who he wants to see. he never makes the heroine feel insecure and will always strive for a win-win situation.

i would say his love language is acts of service, quality time and physical touch.

Jesse (Xia Mingxing)

he and the heroine are childhood friends, so you can imagine where this is going. he's always basically revolved around her, until he had to move because of his family (and then he got involved with Some Stuff that still needs to be explained).

they're extremely casual and touchy with each other but Jesse seems to be holding back on fully confessing his feelings, probably until he settles the rest of his life stuff down. the heroine knows he's a grown man now, but occasionally she still seems to treat him like a little brother. i feel like, at this point of the relationship, jesse needs to be the one to make a move.

his love language might be giving gifts, quality time, and physical touch.

Charlie (Zha Lisu)

a rocky relationship since the heroine ran away from him at the beginning to escape their engagement LOL and she acts pretty prickly towards him. they're a comedic duo where Charlie acts ridiculous and the heroine deadpans or makes a snarky remark, although she's gotten nicer recently (there was a huge complaint about how she was being too mean).

i think their relationship is developing at the most normal speed though. both of them were in this arranged engagement without much thought about the other but now, as they get to know different sides of the other, they become more drawn to each other. it mimics our experience of getting to know the characters too. anyway, Charlie is extremely purehearted underneath his "flamboyant" persona so you can't help but love him.

his love language is likely giving gifts, words of affirmation, and acts of service.

Sariel (Qi Sili)

"it's complicated" probably describes his relationship development the most. he doesn't want to get involved in the world anymore! it sounds like his heart died way back in the past at the traumatic event that happened on his birthday, and now he just wants to revive whoever died that day (his lover? the heroine's past life?). however, the heroine is getting under his skin and he is opening his heart to her.

but none of this is going to stop his tragic degeneration and how he seems like he's going to lose his memories or die soon, because he's not going to get involved in the fight for the survival of his species.

so, we're probably going to get a lot of push and pull here. Sariel has already tried to distance himself in a date and failed, but he is probably always going to keep a bit of him reserved until he knows he has a future with the heroine (aka. we gotta solve his degeneration and either the past person gets revived or he moves on).

i would bet his love language is quality time, giving gifts, and acts of service.

Evan (Lu Chen)

i don't think he's contemplating love right now LOL just revenge. he may not be feeling the happiness he expected at finding his final weapon (the heroine) to destroy his family because he has some affectionate feelings for her, but it's clearly not strong enough to stop his plans or use of her.

like i mentioned in my previous essay, i think the heroine is going to need to do something monumental in order to overcome his nihilism. he was shaken by her words in the cello date about how she would bring him the smiles and laugh in the world, but hearing someone promise you this and actually experiencing and believing in it is something else.

he can only grow as a person after he gets rid of what's been haunting him his whole life. right now, i think he considers himself a weapon that is going to point its blade at the family that made him, or a dead man walking who will finally be free in death after his revenge has been realized. anyway, this is definitely the most glacial of relationship developments among all the men LOL.

his love language would probably be words of affirmation, acts of service, and quality time.

[patchworklove]

thoughts on mayans pt.2

(s4 mostly) part 1 here bc apparently i have a lot of thoughts

controversial - but i kinda like hope and nails. i think nails was better suited to hank, especially because he was gonna step up for her in a way that angel never did. and sure nails was a ons/fwb broken condom situation, but that doesn't mean she should be faulted for falling for someone who was a self-absorbed arsehole and wanting her child to have a 2-parent household. she went about things wrong, but at the same time, i think angel led her on in regards to what he would and could bring to the table. i hope she bails after the loss of her baby.

hope and coco had a sweet relationship, and whilst i don't think they were madly in love soulmates, it was nice to actually have a mayan in a relationship and be putting in the effort. (obvious exception: marcus). i also enjoyed her storyline: she was from charming and after soa s7, got mixed up in drugs. like the nords were still probably running it, and sons overlooked it. and she ended up around stockton and oakland mayans bc that's what she knew? let's not act like sons were saints with mad respect for the girls at the clubhouse bc they weren't. her ending up on meth mountain, with a son who didn't care, is supposed to be shitty, bc that's what the club gave the girls who weren't old ladies: a shitty deal. so her getting clean and having happiness with coco was a good thing. addiction isn't easy, and nor is recovery and i liked that they showed that, and how coco was going to help her through it. it sucks that there is no hea for hope, but i don't think there should be.

leti is an annoying character, and after the rumors i've read about emily, that 4x06 scene was annoying and kinda cringy. she's not the greatest actress and i feel like she sort of doesn't do much other than be pissed. i can't tell if that's the writing and lack of development for the character after 4 seasons, but it's growing stale.

i don't know how i feel about taza's storyline being ongoing still? it's good that there are actual repercussions for things that have happened in other seasons, bc they keep getting overlooked. it is getting old though, and lbh bishop could just drop him in it and tell marcus that's the reason for the war.

the sons/mayan war storyline is frustrating. jess should've known what she was doing, and her naivety is annoying. how do you hang around a clubhouse for years and not realise they'll shoot people. you literally heard someone die a few months back. did you think they were gonna sit down and talk it out??!

i'm glad marcus brought up 92 and how no one won, bc i feel like mayans (show) often forgets he does have a history. i'm a little annoyed they're bring esai into it though i can't wait until he tells ez it's bc his son was a power-hungry idiot who made moves that impacted everyone, and he needed to die to stop a war. 1 necessary over many unnecessary. marcus has become softer from sons, which means he'[ll probably die bc he's not what a 1% leader should be. even though i actually think he's one of the bet ter leaders.

i've been annoyed by the galindos in the past seasons, but at this point thank fuck they're here. the only saving grace. i'm ready for miguel to be the cartel leader he was in s1 but more. i have enjoyed him sort of spending time with his aunt and tomás, and working on himself. i think he lost who he was after dita died.

i'm conflicted over what emily's storyline is bringing to the table. like i know we need to know she's alive and in hiding, because it's gonna be important to miguel's story. but outside of that, i don't really care. i liked the emily who was ready to get her hands dirty and join miguel's world when cristobal was missing. i don't like the dreary "ez 😍" bullshit version. but i fear any hope of emily being a force not to be fucked with is long gone.

i'm glad tig is returning, but it will probably be some fanservice cameo, and it may not be enough to make fans view this show like they have before

i realise this is so much longer than it should have been, and the fact that i have had to make 2 posts?! goddamn. but i have a lot to think about. i'm not sure it will be renewed, which is a shame bc it had potential. if it does, s5 would (read: should) be the last. and even then, i don't know that i'd watch it. i'll have to finish this season and decide if i can go through more of this.

[buddha-in-disguise]

I've been around fandoms for several decades now. Both before the internet, through the earliest days of internet fandom, to the present day.

I can genuinely say, the way Supergirl treats its fans, especially the LGBTQ or BIPOC fans as a whole, has been the worst by some margin. Particularly in regards Supercorp in terms of queerbaiting.

Whether those involved in the production of Supergirl want to admit it or not, Supergirl as it stands has been queerbaiting a large portion of the audience. Without a doubt, in terms of a ship, the largest core group of fans there is for Supercorp, and by some margin.

Have there been some fans who have taken things too far? Absolutely. And every good SC fan I know recognise and understand this, and constantly say this.

Yet somehow, an entire fandom gets tarred with the same brush continually.

But worse still, when anyone tries to address the queerbaiting that has gone on with someone who works on the show, other than the women in general, Jon Cryer (who could teach those BTS of SG a lot on how to engage with fans on SM, and not piss off swathes of fans), and Jesse, there are few instances I can think of where it then hasn't resulted in SC fans getting dumped on, or called delusional, or basically saying it isn't there.

Here's the thing.

As LGBTQ fans, the majority of us - especially the older ones like myself - know exactly what queerbaiting is. How do you think it even became recognised as a problem?

Because we called media out on it. The LGBTQ audiences defined it, via our experiences. So we know exactly what queerbaiting is thank you. We don't need to be told it isn't there or isn't something going on - because we are the ones who wrote up the damn definition!

In all my years of fandoms, never have I seen queerbaiting on the scale Supergirl use. Season 5 - especially 5a - brought the queerbaiting to a whole new level.

So many of us now dread S6, because S5 was so bad in a multitude of ways for the LGBTQ audience, including but not exclusively Supercorp queerbaiting.

And I don't speak for all SC fans, but I do see a lot like me are caught in a conundrum. We all love the majority of the cast. Particularly the women. Sure we all have favourites, but also as a whole, the female cast is loved and respected.

Here's my dilemma. I want to support the female cast. Hell I was a Chyler, Katie and Azie fan long before Supergirl, and have grown to love Melissa, Andrea and Nicole particularly. Nicole as a transgender women especially holds a place dear to us. I will support them all beyond Supergirl.

As S6 will begin filming, I want nothing more than to show them I love, support and care for them. But then I'm at the point where I want to just tell the show to go jump, because they've sucked all the enjoyment I had out of it for me. When you actually dread what the next week might bring, that is not what any show should be about. Yet here I find myself dreading what the show might bring.

I also am questioning do The CW even care about Supergirl any more, especially as they finally got Superman, which they've coveted for years, and made no secret of it.

They seem to forget that Supergirl and Superman have two pretty distinct fans. I like Superman, but I love Supergirl. I'm also just a little bit done with all the iterations of Superman we've had on screen.

Supergirl has always struggled on the social media side of fan engagement as well. Not once have I seen a showrunner actively engage with the audience. Or at least, if they have it was a long time ago. The current showrunners definitely haven't. Hell, one doesn't even have a SM account.

But even if a showrunner or others involved in the show don't engage, when others do, it becomes a nightmare. The last 6 or 7 hours are a case in point.

Again, yes some fans take it too far where Supercorp is involved. Yet, once again, rather than just stepping away, a writer got embroiled into something that didn't need to happen, because they gave out conflicting tweets on replies to fans over Supercorp, and then began blocking fans who were polite and respectful and did absolutely nothing to warrant a block.

Then they also liked a post that called SC fans dicks.

Yet somehow again, we are all the bad guys.

I've no doubt that they felt overwhelmed on how the reactions went. I truly do. But I really don't understand why anyone doesn't just step back. Put out a polite post saying it's all getting a bit too much, and they need to disengage. I think each and every decent fan would understand and respect that. I know I would.

But here's the thing.

Ultimately the writer shouldn't be in that position of trying to answer fans on it all. Nor should they dismiss fans who say it is queerbaiting, if they're not LGBTQ themselves.

The problem is Supergirl social media is so lacking, it places a higher burden on writers and others instead. That is on the show. Entirely.

I also have to question just how diverse is the writers room? Having a number of women, if they are White and cis, when you have a cast of characters who are LGBTQ and/or Black or POC, is not having a good diverse writers room. And it shows.

If you say there is no queerbaiting, but not LGBTQ, you need to stop trying to redefine what is accepted queerbaiting.

If someone says it is a gay agenda, you need to stop with that, because that is homophobic. End of. That's no different that being racist if you write it is a Black agenda.

Supergirl put themselves in this position.

I've had family watch Supergirl with no preconceptions on characters suddenly say: I see something between Kara and Lena. Are they together? And being astounded when not only do they realise they're not together, that they actually have 4 seasons of this and counting.

This has come from straight family. Or my very gay, very into men brother in law.

If others see it who aren't involved as Supercorp fans, who might even be straight - that is queerbaiting.

But here's the thing. It shouldn't need us to say others see it too. If a large segment of audience see it, say it is there, pull out receipts to show why they are saying that time and again, that should be enough.

Yet it isn't.

As much as it pains me - I sense now The CW has Superman, they're going to let Supergirl go by end of S6. I'd be more surprised if they announce a 7th season than not.

Whatever decisions on the shows future they might be making, one thing is clear.

If they don't allow Supercorp to develop, and don't get rid of whatever homophobic block is going on for the show, Supergirl will be left with a legacy of being probably the worst example on queerbaiting your audience ever.

The 100 are still panned to this day over Clexa by LGBTQ fans.

Supergirl still have a chance, a choice to pull it around.

Sadly I doubt that will happen.

In the meantime, I'm stuck on wanting to stop watching the show, but wanting desperately to support the cast. That's the conundrum many of us now face.

The legacy Supergirl will leave is not going to be about empowering women if they don't change significantly for S6.

It will be how they queerbaited, how they dismissed the only full cast Black woman, worse still, who played an LGBTQ role. How they dismissed the LGBTQ as a whole.

Those are legacies that will not die away for LGBTQ fans. The CW in general has tainted itself with the LGBTQ audience in more than one show.

What a mess.

And it really wouldn't take much to avoid all of this. That's what is so disappointing. It is an easy fix.

Apologies for any typos/mistakes as I'm posting unedited.

[ml-salt-central]

So, I finally watched the Miraculous New Your special...

I know this is late, sorry about that. It took a while for me to find a way to watch the special but I finally did so let's just get this shit over with:

Okay, how the fuck are these fucking pidgeons lifting the Eiffel Tower? Do they get super strenght from Mister Pigeon or something?

51 TIMES?! HAWKMOTH HAS CHOSE TO AKUMATIZE THE PIGEON GUY 51 TIMES?! HOW DESPERATE CAN YOU BE, BITCH?!

Astro Cat's design is cool af honestly but Cosmobug's design is awful! Why can't Marinette have a good design for her hero form for once? Oh, right, misoginy...

Okay so, I'm just gonna skip every Love Square scene because then this post would be even longer and I reacted the same way towards all of them, I just rolled my eyes and didn't care

Marinette's still a drooling idiot for Adrien despite claiming that she tries to move on which is... tiring and not funny, JUST LET HER MOVE ON!

Ms. Bustier is having a baby or whatever but I hate her so I don't care

If you saw Ms. Mendeleiev's reaction to Kim calling her a stick in mud and thought that that scene would lead to her trying to be more relaxed and less strict then you get to eat shit because it goes nowhere other than one scene at the airplane

Alya and Nino are just straight up terrible in this special, they spend all of their screen time trying to push Mari and Adrien together despite the fact that Mari said she wanted to move on and that Adrien has a GIRLFRIEND! WHAT THE FUCK, GUYS?!

Miraculous Ladybug: Where cheating is okay as long as it's for the sake of the main pair

I do not like the idea of historical figures being miraculous holders, am I alone on that?

Nathalie's apparently in pretty bad shape for using the Peacock Miraculous too much... good! Die, bitch! Also Gabriel's the fucking worst again, no surprise there

Luka deserves to be an actual character, poor boy is just being done dirty again and again

I said this before but I hate, hate, HATE the fact that there are other superheroes whose powers don't come from a miraculous. This just destroys the already weak world building, New York and Paris in ML don't feel like places that would exist in the same universe and it raises so many questions like how do people like Majestia get their powers? Why don't any of them go to Paris to help stop Hawkmoth since it doesn't seem like that would take much effort? Why are superheroes seemingly an exclusively american thing?

Mister Damocles's owl thing was funny at first but it was kind of annoying here, like this just proves once again that the characters never learn anything, didn't he realize that being an every day hero would be better for him in the episode he got akumatized?

All the american heroes are just knockoff versions of already existing heroes from comics, they couldn't even bother to parody the interesting ones they went with the more boring (and sadly most popular) ones

They made Aeon (the first black girl character of the show) a robot, made her become ivory white when she transformed and gave her the name "Uncanny Valley"... FUCKING YIKES! And that's not even all the things wrong with how her character is portrayed! She isn't even good as a concept! At least the idea of Jess as a character could work if she was written by people who knew what the fuck they were doing

The scenes where Adrien and Marinette can't get through automatic doors are really funny and cute ngl

Normally, I would be all for magic hot dogs being a thing but not on this show

The american heroes having all of their identities being public is just BEYOND stupid! Do the villains just not target their families or try to murder them in their sleep? And if having your secret identity being public has seemingly no consequences then what is Mari's and Adrien's excuse to not reveal who they are to eachother at least? I know the answer is to drag the show out for as long as possible but still!

I don't like the existence of the Eagle miraculous or the fact that there are more miracle boxes out in the world, why add more shit when you've barely explored the things you already have?

Techno-Pirate is boring and his name being Miracolonizer when he wields the Eagle miraculous is just... all kinds of uncomfortable

Adrien throws himself a pity party after almost killing Aeon due to him getting angsty mid-battle, I don't feel bad for him at all honestly

Knightowl looks so ugly without her suit, holy shit!

How the fuck did Jess know the deactivation words for the Eagle Miraculous' powers? Also her suit is so ugly! And her hero name is just "Eagle", at least Ladybug is now tied with someone as the blandest hero

Why the fuck did Knightowl and Sparrow hide the fact that they were female? Like there are plenty of other female heroes around so it's not like they're gonna be judged for it and if it's to hide their secret identities then why are they the only american heroes that do so?

The Miraculouses just keep piling on, making them even less special than before but now with the added bonus that they now seem like a pretty shitty power source compared to the american heroes' superpowers

Lastly, what's up with the technology in the ML universe? Like most of the time it feels like the show takes place in modern day but then we get these very advanced pieces of machinery out of nowhere and it feels so... jarring and inconsistent

In conclusion:

The fuck was all that?!