#so we still have many questions

[arlmy07]

Kirishima: "I just got bribed..."

Kirishima: "Literally been at work for two minutes and I get bribed..."

Kirishima: "I accepted the offer of course."

Midoriya: "What was the bribe?"

Bakugo: "Was it at least a good offer?"

Kaminari: "Love? Food? It was food wasn't it?"

Todoroki: "Their firstborn child?"

Tokoyami: "So food then."

Kirishima: "Uh...no? It was four free tickets to the dancing seals show at the aquarium"

Kirishima: "And what about 'firstborn child' translates to food?"

Tokoyami: "A lot of things if you really think about it..."

Todoroki: "He has a point..."

[apollos-olives]

before october 7th this blog was a meme page btw.

[sevenines]

i saw this tweet and found it interesting for two reasons. one is that some people base how good cartoon network would be to toh by how it treated su, and despite the fact that su’s treatment by the network was considered poor at the time, now its thought to be exceptionally good in comparison to modern shows.

two is how exactly su got impacted by a limited budget. a common criticism is how characters like connie, peridot, and lapis are left out of missions. but balancing a lot of characters is not only hard but also costly (extra animation, extra voices—it’s been revealed that the show is limited to a set number of characters per episode otherwise they’re over budget). animation mistakes are not uncommon since retakes cost extra. the entire reason the original show got cut short was due to loss of funding!

[demadogs]

some of you need to hate ai way more than you currently do

[dreamings-free]

.

[i-dreamed-i-had-a-son]

Broke (2016): BBC Sherlock is a phenomenal piece of media and anything that seems like a flaw just hasn't been fully explored yet

Woke (2020): BBC Sherlock is an incredibly flawed series run by an egotistical writer, it never deserved the hype and is actively bad on so many fronts (especially representation)

Bespoke (2024): BBC Sherlock is flawed and bogged down by increasingly poor writing, which many fans refused to see while it was airing, leading to hugely misplaced expectations (particularly for the final series), AND it has the seeds of some compelling characterizations and portrayals, some genuinely solid performances, and touches--albeit imperfectly--on complexities that are still being discussed today (particularly as it relates to the relationship between Sherlock and John). The huge cultural impact of the show has created a massive pendulum effect in its public perception, leading to most people today remembering a caricature of the show (whether positive or negative) rather than appreciating its nuanced merits and failings...that being said Season 4 sucked

[hyakunana]

Pocky Day 2k23 feat exo girlfriends ✨

[gunsatthaphan]

also apparently the weird outfits are a reference to this movie from the 70s lmao-

[bitchliteraria1906]

Someone: What's your sexuality?

Me: well you see, I never had a serious crush on anyone. Also, I had trouble understanding what a crush even was for most of my life. Also, I identified as aroallo for a while because I thought I was aro but not ace, but now I think I'm ace too. Also, fictional crushes. Also, I enjoy learning and reading/sometimes even writing about kink but have no idea if I would be comfortable actually participating on it. Also, some days I'm perfectly happy like this but other days are still confusing and shitty because it's all still new to me. Also-

[winteriron-trash]

rdj the (whitewashed) electric boogaloo

This is a reminder to everyone who's excited about RDJ's casting as Doctor Doom that this casting is whitewashing. Victor Von Doom is a Romani character and has been a Romani character since his introduction in the 1960s. (Fantastic Four Annual #2 [1964]) Not only that, but his Roma identity and the persecution he and his family faced due to it is integral to his character, it is what forms his identity. (Books of Doom by Ed Brubaker) Even if on the off chance this casting is meant to not be Victor but instead be some variant of Tony or whomever else becoming Doctor Doom, it is damaging to the character to rob him of that important cultural background. Doctor Doom does not exist without that history. Fans have been pushing hard to cast Doom as a Romani actor for years, especially since the MCU has whitewashed other Romani characters. (Wanda, Pietro, etc) This casting is not a celebration moment, it's fucking heartbreaking that the MCU repeatedly ignores the important and nuanced cultural backstories of characters.

I know I can't change anybody's mind on whether or not you want to be excited about RDJ's return to the MCU. But I do think at the very least you should be mad that the MCU is baiting us all and destroying nuanced and interesting characters for the sake of self-referential easter eggs and nostalgia bait. Because that's what it is. Feel how you'd like to feel about RDJ's return, but personally, this is soul-sucking. I had such a deep love for the MCU as a teenager, it was obviously something incredibly formative to me, especially Tony Stark. This isn't recreating what I fell in love with the MCU for. This is turning a well-planned and artistic storyline of adaptations into cheap cash grabs and fan service. Because, I think we're past the point of being able to call the MCU an adaptation of anything. They can use existing characters' names and powers, but to say they're being properly adapted is laughable.

This is not an adaptation of Doctor Doom. This is RDJ the Electric Boogaloo because Marvel's fear of losing the interest of dedicated MCU fans overrides their willingness to tell stories that are genuine to the characters. I don't know what there is to be excited about that. The MCU has lost its authenticity and aside from a few projects, feels heartless. Every movie is a copy of a copy. This announcement isn't something celebratory, it feels like a death knell of a cinematic universe that's so desperate to cling to relevancy it's resorting to nostalgia for a character/actor who hasn't even been dead for a decade. We're not getting anything new, we're just rinsing and repeating the same song and dance.

I get it. I love Tony Stark, his death destroyed me and I to this day, rue the ending he got in Endgame. It misunderstood his arc and it robbed him of a satisfying conclusion. But the solution to that isn't dragging the corpse out of the grave five years later to whitewash an existing character with rich and interesting nuance, just to forcibly tie his existence in the MCU to Tony. Whether he is a variant or not. Why would you want someone else's fave's legacy to be destroyed simply so your fave's legacy can go on? Hell, if we were really all so hellbent on the return of RDJ and/or Tony to the MCU, we have the multiverse for a reason. There were other ways to do it that didn't whitewash and ruin someone else. This just. Isn't something to be happy about.

[bumblingbabooshka]

B'Elanna, Neelix, Tuvok and Chakotay needed to star in an episode where they just talked about their different beliefs and approaches to spirituality/religion. Paired off and all together. I need to gain more insight. I need characterization and I need it to be messy.

[nebulouscoffee]

"My name is Nyota. I'm the communications officer, I- I was born in Kenya- I used to have a cat, named Kamili. My first memory is watching my dad play the piano. I'm real."

Okay but I was wholly unprepared for how much it would mean to me to see more of Uhura's African identity actually being canonised by this show. The "I'm real" especially got to me; just a throwaway line but it really made me think of the Ben Sisko/Benny Russell parallels! Nyota, born in the 23rd century, is exactly the sort of person Benny Russell dreamed could exist in the future. She is real! She exists!

[bellesdomain]

Thoughts on Female Greaseball

I just wanted to share my thoughts, my concerns about changing gender for Greaseball. Now we don't know the extent to which they're rewriting the show, and these concerns may well be addressed, we'll have to wait and see... but follow along with me here...

First off, to tell a story, you need conflict and resolution. You got to show the bad things, to then overcome the bad things. Greaseball is an antagonist in the show - he does bad things, we, the audience, don't support his decisions. Sure he's a lovable character but he's flawed.

Greaseball is the "Reigning Champion", he represents the present world (Electra represents the undefinable weirdness and possibilities of the future, Poppa is the cozy nostalgic past.) He's representing some of the bad things we want to learn to do better from through the course of the story.

"UNCOUPLED" is sung by Dinah at her lowest point. She's just been dumped and from what she tells us in that song, it suggests her partner has been borderline gaslighting her and emotionally abusive - she's blaming herself for her partner's choices. Her partner that she's singing about has been really shitty to her.

Now, with a masculine Greaseball, we all immediately recognise the Misogyny there, all familiar tropes of "he's left me for someone younger, prettier, thinner, less outspoken" fuelled by the toxic masculinity, objectifying women. This is showing the bad stuff that the characters overcome - this is the story arc. Masculine Greaseball is a recognisable trope, he's "Alpha Male" - all the privilege has led him to being able to take whatever he wants. But Feminine Greaseball, a queer woman as antagonist who's been abusing sweet Dinah, what trope does she fall into? Evil Lesbian.

This is a sung-through roller-skating musical about toy trains, there isn't room to tell complex character development for the average audience member - these characters rely on archetypes to be easily recognisable. There's so much room for the performers to add subtlety, context, subtext, sure, but the main picture is painted in broad strokes. And I'm not sure that replacing "Toxic Alpha Male" as a villain, with "Evil Lesbian", is actually progressive.

Maybe they've thought this through and already have solutions... maybe "Evil Lesbian" is the trope they want for one of their antagonists. It just feels to me that it would be more productive to be working with "this macho alpha male crap is a problem" than taking it out of the discussion.

[the-eclectic-wonderer]

Congratulations to OMITB on boldly going where no one else has gone before. It's about time we got a rude, creepy, money-crazy, sexist, vulgar, full of shit, ethically questionable Hollywood exec who is a woman. A woman named Bev Melon. God I love this show

[batbrainrot]

starting a praying circle for dc to give juni ba a red hood book next. we'll meet every thursday 11pm lmk if you're interested

[acediscowlng]

another funny kind of narrative dissonance with dead boy detectives is like. okay. so the boys are convinced that once a ghost's unfinished business is done, Death can find them immediately and take their souls. Which she does. When they're ready to go, she arrives and takes them where they need to go. But therefore this means that the boys immediately have to run away as soon as a case is finished or she'll take them too.

But there's also like. A whole community of ghosts. Just kind of hanging around. Everywhere. Like. In general. There are a lot of ghosts. They seem to be a whole entire community of ghosts. Emma hangs around in a graveyard, a place infamously not associated with death. Suicides apparently automatically get a special version of being a ghost where they are not in Hell but also not taken by Death to the afterlife. Like. Are all these ghosts also under the impression they're like. Pulling a fast one on Death? Do they all think that she can simultaneously turn up to where a ghost is within seconds but also somehow fails to notice a whole community of ghosts just kind of chilling in the same place for decades. Or is this like, a Charles and Edwin thing that no one has the heart to correct them on despite the fact that most ghosts are fully aware that Death simply does not give a fuck where they hang around.