#neither of them win

[starlahuskyz]

Oh noes, the girls are fighting...

[dead-girl-tells-stories]

DC x DP Prompt

To the delight of Gotham's citizens, and the dismay of her criminal underbelly, the GCPD has a new specialized unit that ACTUALLY apprehends criminals and brings them to justice!

It's a relatively small squad of mostly young adults, who looked fresh out of their teens. But age didn't matter once they got the work done. And they did, as they've already got criminals like Penguin, Riddler, and Bane behind bars for what looks to be 'for good'.

No one besides Commissioner Gordan knows anything about the squad as they operate as a mostly separate entity from GCPD. It was rare to see any of them, and any photos taken were unusually blurry. They are also extremely secretive; if you exclude their social media which are usually just shit posts, memes, and thirst edits of the Wayne family.

They were a total mystery. Almost as mysterious as Batman.

But those who have seen/worked with the squad before all had the same thing to say about them. They were cool. They had an unusually effective method. And their leader is a menace. With his sharp teeth and pointed smile. And bright blue eyes that spoke to your soul. It was a pleasure to see/ work with him, it really was. But they weren't planning on doing so again for a long time.

That being said, Gotham had been quiet for a while. A bit too quiet if you ask anyone, especially the Bats. Strangely, it didn't feel like the usual calm before the shit storm. The instinctual pit in their guts that usually formed just wasn't there. This was different. This wasn't the calm before the storm. This was the ocean receding. But no one seemed to realize it yet.

Not until the tsunami came crashing down on them.

The GCPD special unit accounts that had been inactive for the last three months suddenly pinged to life. Everyone who followed them clicked the notification almost immediately. With this unnerving calm surrounding them, who the hell didn't want to see what batshit crazy statement they would make after three months of radio silence.

What they didn't expect, was to see a crystal-clear picture of justice finally being served.

The picture was a selfie, taken in an abandoned warehouse. In the middle of the dirty floor was the Joker. He was tied up and his head hung low. You could see how beaten he was, his clothes torn and bloody. His face paint was also coming off, revealing pale blotchy skin. Reminding everyone that, he was still human, just like the rest of them.

Behind him, all lined up with smiles on their faces, was Team Phantom. They were a bit bloody and bruised as well but overall in much better condition. They weren't wearing the normal GCPD navy blue uniform, but black and white ones. All stylized to fit the wearers taste. They all looked so young, but their eyes looked like old tired eyes, finally getting some relief.

From in the corner was their leader. Only part of his face was in the picture. One glowing blue eye, and part of his Cheshire smile. His hand making a peace sign next to the Joker. Even with only part of his being shown, everyone could tell he was relived as well.

And while the picture itself was shocking, the caption was what really got them. The top was what you would usually expect from the team. A big bold 'GOT EM' ' at the top. But at the bottom in small, almost unnoticeable text was:

"He will face his punishment. We will get our retribution. May we finally rest in peace."

[huntingrays]

imagine percy and jason being competitive with each other but instead of discussing which one of them is stronger, they’re arguing over whose partner is smarter - percy’s (annabeth) or jason’s (leo). they use this as a way to compete and argue while also bragging about how amazing their partners are

[dailyloopdeloop]

loop and mirabelle. That's it that's the ask

DAY 84: enrolled in the gossip wars

[xdraonarts]

happy pride to this dude

[rabarbarzcukrem]

Ok so it's like.

The motorcycle scene: Touga is obviously imitating Akio and failing miserably. Represents an attempt at achieving maturity and adulthood through adopting empty symbols of power. Gives the impression of movement and progress, but in reality is going in circles. It gets faster and faster, there's a sense of danger and agitation. Touga is driving and Saionji sits in the sidecar, they're not on the same level and Saionji disapproves. Seems like they're heading towards some destination, but they're going nowhere.

The bike scene: A reference to their shared memories. Represents clinging to the past and trying to return to the time of childhood. The wheels may be turning, but the bike stands in place. It get slower and slower as Touga gets more tired until he finally stops completely. There's a sense of nostalgia and emotional fatigue. Touga is the only one pedaling, but Saionji doesn't comment on it (meaning that perhaps Touga being in control wasn't the problem in the first place. Maybe it was always about wanting to restore their lost connection and equal footing). They're facing opposite directions, but at the same time leaning on each other.

[queer-lovebot]

any Andreil getting jealous over Kevin hcs

I feel like Neil would be very possessive and Andrew would get jealous

OH THIS IS FUNNN. You see I think it’s the complete opposite! I feel like Neil is more jealous while Andrew is knowingly possessive. Andrew doesn’t care who Kevin’s with as long as he comes home, and as long as everyone knows Andrew is always there. Watching. Lurking. Andrew will always be one of Kevin’s boys and he is NOT scared to flaunt that.

Neil, however, needs Kevin’s attention on him at all times. He and Kevin are twin flames and Neil is really annoying about it. “Kevin, wanna learn a new pass? Recorded the match between the Banshees and the Birds if you want to watch it, Kevin.” He hates when Kevin offers to train other players and tries to be so normal. Yes, he did hear Kevin say an up and coming player on the opposite team is promising. No, he is Not going to target them. He’s mature. (Lying)

If Kevin is being flirted with at the club, Andrew is more likely to place a hand on his waist or by his pulse point. Possessive. Showing that he will always have Kevin’s attention. Neil, however, is running that smart mouth and giving death glares.

[honkceasar]

Thinking about Dakota and William again and their dynamic really just is:

Who will win?

Guy that truly believes he has done/will do something so heinous that it deems him “too far gone” or “beyond saving”

or

Guy that vowed to never EVER give up on/fail to save a friend again, no matter how impossible or how futile the effort may be.

[francy-sketches]

Tbh I think I'd be a lot more into stannis if he wasn't bald. Like I'll see stannisgirls raving about how tragic and cringefail he is and I'm like that sounds great in theory however he's bald. gross

[literallyjusttoa]

I am a “Meg and Apollo’s master/servant bond evolved into something a lot like an empathy link post their dip into Chaos in TDP” truther and I will be till the day I die.

[anoant-haikyuu-dump]

Made myself one of those ship memes and filled it out with my two favorites, empty template below if anyone wants it

[bilolli]

Just for fun @xitsensunmoon ?

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[quirkle2]

he's such a fuckin nerd

[immortal-cataclysm]

obligatory outfit swap moment

[gr33nhouse-ghost]

i like to imagine that the apprentices propose traps in a presentation night format. dioramas are required and they get graded at the end. there probably isn't a gold star sticker system in place, but amanda and hoffman are keeping track mentally of who gets better grades