#something something i think both of them actually have this problem of not feeling like they deserve the other's love at times

[newbiespud]

I'm sure it's been said before but I'll say it myself because why not

The game In Stars and Time makes for a revealing contrast to the movie Groundhog Day in how they treat their final time loop and how that reflects on the main character. (Even though, if I remember right, the dev largely wasn't aware of Groundhog Day when they came up with ISAT.)

Spoilers for both after the break, I guess.

In Groundhog Day, Phil starts out narcissistic and self-centered, has the realization that he can live life without consequences, gets depressed after having tried and done everything that he's got everyone and everything memorized so that nothing can delight and surprise him anymore, and finally escapes when he performs a loop that proves that a better, happier world is within his grasp to make, not something owed to him, and that he is happy with the life he has today, not always pining for his ambitions for the future.

In... In Stars and Time, Siffrin starts out deflecting and aloof, has the realization that they can do this perfectly - 'this' being not only the impossible challenge of defeating the King but navigating their relationships with their party - gets depressed after hitting wall after wall and repeatedly fumbling into faux pas after faux pas with their party, and finally escapes when they perform a loop where their true feelings come out, no matter how ugly, and they're honest about their own desires and wishes rather than trying to keep up an ideal façade.

Plenty of people have pointed out that In Stars and Time subverts the 'escaping on the perfect loop' time-loop trope that Groundhog Day largely codifies. Not only does the 'perfect' loop completely fail, Siffrin escapes on arguably the 'worst' loop, the one where they rightfully worry that they've hurt and alienated their loves ones forever and cannot escape those consequences anymore.

But I don't think this contrast is as direct as it seems, even though one could say that Phil got away scot-free compared to Siffrin and that In Stars and Time is the superior story for portraying a harsher outcome. (I do think that exploration and advancement of tropes is just inevitable and even healthy over time, and Groundhog Day came out in 1993 so of course it and the tropes it spawned deserve modern critique, but I digress.) I actually think that it reflects how both stories and the mechanics of their time loops are built around their main characters. (There's also something to be said about how genre shapes narrative since GD is an existential comedy and ISAT is an action-adventure focusing on interpersonal drama, but that's another digression.)

ISAT makes an impact on the whole time loop genre with its clever subversion, but like all the best subversive stories, it's couched in strong characters that embody its themes.

And to take a broader perspective, the best time loop stories are allegories for the real-life situation of making the same mistakes over and over again caused by your own deep-seated personality flaws, and being forced to finally confront your inner demons and overcome them and become a better, healthier person. (Relatable, much?)

Phil is a man who's never happy with his lot in life, so he needs to learn to find the eternal richness and beauty of what he has within his grasp, and that a better, happier life is something he can make for himself. Thus, he escapes on the 'best' loop.

Siffrin is a person who refuses to share their true feelings and problems with others to the point of self-destruction (and complete reinvention in one aspect), so they need to learn that no matter how ugly and twisted they think they are, being open and honest doesn't mean their loved ones will care about them any less, even when Siffrin is seen at their lowest point possible. Thus, they escape on the 'worst' loop.

It's not just clever subversion, it's holistic circular story structure!

...Though maybe I'm just drawn to these stories because I, too, would like some extra time to Figure Some Shit Out and have that time come with some superpowers along the way, even if it nearly destroys me in the process.

[teeny-tiny-revenge]

Look, when Ed leaves with Jack it isn't Ed choosing Jack over Stede as the better partner/love interest. This is what Stede thinks is happening. Stede hasn't even entirely admitted to himself at this point that his investment in Ed is romantic, but he does treat it as a breakup, he sees Jack as a rival for Ed's attention/love, so from Stede's perspective, yes, Ed is leaving him for Jack.

Stede thinks he is in the romance novel plot and has to compete with his love interest's ex for his affections.

This is also what Jack is intending to make Stede feel.

Jack is playing a con. He is actively working towards Stede coming to the conclusion that Love Triangle Business is happening, but Jack's motivation isn't winning back Ed as a boyfriend from Stede. I don't think Jack does boyfriends. Jack does dalliances. He would probably agree with Lucius's "we don't own each other". And this would apply if Jack happened to randomly come across the Revenge and decide to fuck with Ed's new crush for kicks and giggles (which is what Anne and Mary do when in that situation!). But Jack doesn't come across the Revenge by accident. He is on a mission, given to him by Izzy. We don't know if Jack gets paid for it or if he does it because he's worried about Ed and doesn't want the Navy to get him, or some combination of both, but Jack is the only one in this equation who actually knows what is happening, and what is happening is a plan to drive a wedge between Ed and Stede to make Ed leave the Revenge so he's out of the picture when the Navy shows up.

But neither of this is what's going on from Ed's perspective. (This entire episode is a masterpiece in the "characters completely misunderstanding each other and what's going on" trope.) Ed doesn't really figure that he's been cast as the pivotal point of a love triangle. Ed isn't spending the episode trying to choose the better boyfriend candidate and then leaving with him.

Ed is busy having a personal identity crisis.

This crisis has been ongoing for a while when Jack shows up. With Izzy's pressure to pirate a certain way gone, Ed is freer to explore what Ed wants to do now and how he wants to live and who he wants to be. He is tired of the traditional pirate life, he wants to try something different. He also isn't ready to fully do a hard cut. He just figured out Stede might return his feelings during the treasure hunt. They just decided to co-captain. A lot of things are changing for Ed.

And then comes by a very old pal. Jack and Ed have history, they used to sail together, they survived their difficult youth under a cruel captain together. Jack represents a different type of pirate life than Izzy. Jack is fun. (Everyone but Stede thinks Jack is fun, and that's in no small parts because Jack is actively working towards making Stede uncomfortable but everyone else have fun and take Jack's side - this works on everyone in the crew including Ed!)

From the beginning on, Ed is struggling to make Stede and Jack get along and like each other. He's trying to somehow combine his old life and his new life because he doesn't want to choose between one of them. He wants to have the best of both worlds. He wants his old friend and his new friend/his ex and his crush to be friends and get along. He wants to keep what was fun about traditional piracy (as represented by Jack) but also move on to Stede's new brand of doing things. He wants fancy breakfasts, and then has to realise that Jack pours alcohol into his teacup. He wants to play coconut war like the old times, but has to realise Stede hates the idea. A big part of this episode, from Ed's perspective, is about trying to reconcile these two worlds and failing.

Ed's main problem, through both seasons, is that he doesn't really know who he is or who he wants to be. He struggles massively with self-worth and self image. He views himself as an unlovable monster and spends his entire life bending over backwards and wearing masks to cater to what he thinks other people want him to be. He plays up Blackbeard for Izzy, Blackie for Jack, and he isn't sure if who he is being with Stede is actually Ed or not. Ed thinks nobody can possibly like him, so he constantly tries to perform to whatever expectation his direct peers have of him.

Next to this main crisis, Ed is having another secondary crisis called "fuck I'm in love with this guy" and "does my crush like me back". This secondary crisis is heavily influenced by the first, because Ed thinks he is a terrible unlovable person, remember, so "does this guy who I think is the bee's knees return my feelings" becomes a lot more fraud than it would be for a person with a modicum of self-esteem.

Ed, who struggles with "who/what am I as a person", sees Jack as a person who is similar to Ed. They have a lot in common. They share a lot of backstory. They are both pirate captains. They used to do the same things. Ed always played Yardies and Whippies and Turtle Vs Crab, because really that's just pirate culture. The main difference between Jack and Ed is that at some point Ed outgrew this life, and Jack didn't. But Ed, who is bad at recognising himself as a person and to define his identity, is only sorta vaguely aware of that. In Ed's perception, him and Jack are very much alike.

So when Stede, Ed's new friend and crush who he already thinks is too good for someone like Ed, starts rejecting Jack and Jack's behaviour, and says things like "I don't like who you are around this guy", what Ed hears is "I don't like who you are". Ed hears Stede thinks Jack is a bad person, and because in Ed's head a) he and Jack are the same and b) Ed is a bad person anyway, Ed hears "you are a bad person".

"You were always going to realise what I am", says Ed, as he is leaving with Jack after Stede tells Jack to leave the ship. Note the dehumanising "what" instead of "who" Ed used for himself. Ed, who thinks he sucks and is an unlovable monster, thinks this is the other shoe dropping, and he's been waiting for it to drop all along, because someone great like Stede isn't for a guy like Ed. Stede was always going to see what Ed is.

Ed's leaving the Revenge/Stede is 100% down to Ed's abysmal self-worth. It's a self-perception born from childhood trauma that fucks Ed over several times during the show (and ultimately leads to his suicide attempt).

Ed is so busy having All That going on that he mostly fails to notice that Jack is playing him, or what exactly happens between Jack and Stede, that Stede perceives Jack as a romantic rival for Ed's attention/affection or that Stede too struggles with self-worth and that Jack is hitting him where it hurts all the time. Ed's headspace in this episode isn't "oh, two sexy guys I like, which one should I choose to be with". It isn't even "oh my old pal is being a real dick to my new friend who is feeling really insecure here". Ed's headspace is "I'm a terrible person and Stede is seeing it now and Jack wants me to do more pirate party stuff but Stede hates that so now they both hate me and I probably deserve that because I'm a monster".

Ed leaves for Jack as much as Stede an episode later leaves for Mary. It's the exact same situation. For Stede, his own trauma and self-worth issues show up in the form of Chauncey Badminton, telling him he is a monster and ruins beautiful things, and Stede's reaction is to agree because he already thinks that of himself, so he takes his horrible ruinous monster self away from beautiful things (Ed) and back to where it belongs (to a miserable life he was hoping to leave behind). And for Ed, no Chauncey Badminton is required, because he's already constantly thinking these things about himself anyway. From Ed's perspective, Stede tell him he is a bad person (just as Jack), so Ed agrees and takes his horrible self away from beautiful things he doesn't deserve (Stede) to a miserable life he was going to leave behind.

Neither Jack nor Mary actually feature into the leaving much. Neither situation is "leaving the new guy for the ex". They're both situations of "I have a fuckload of trauma and self-hatred and it destroys my actually pretty nice new relationship".

And this is very interesting as a parallel. It doesn't even end there! When Stede returns, and Ed hears where he went, Ed too goes to "you left me for Mary". Same as Stede went to "you left me for Jack". And neither of it is actually what was happening!

Stede doesn't leave Ed for Mary, and Ed doesn't leave Stede for Jack. They both decide, driven by very similar trauma, to leave because surely the other one is going to be better off without them.

[velvetvexations]

TW for brief mention of abuse in the last paragraph (nothing detailed, just, a mention of stats) I'm dumping this here because I'm scared to have my name attached to it, but I quite firmly believe that you cannot actually be an ally to all trans people while also hating cis men. Obviously there is something to be said about how it harms trans women, but I don't fully understand the experience that comes with that, and I'll mostly be speaking about AFAB transmascs here because I'm AFAB transmasc. I'm also disabled and using my last spoons to understand and type this, so apologies.

I find that people take two routes as to how to approach trans men, when they hold hatred for cis men, in that they either divorce the idea of us from the idea of "man", or they decide that because of our manhood, we are both privileged, and they must hate us too.

When it comes to separating us from manhood, a lot of people will talk about "men" and "trans men" as separate categories, and you see it in things like "not you though, I didn't mean trans men", but you also see it in the way that people have completely different expectations of how trans men and cus men should interact with the world, particularly with women. I don't really have the energy to think about how to put it into words, so if anyone else can pick up what I'm putting down, feel free to add on, or I might come back and elaborate later. But I find that it completely alienates us from the concept of manhood.

I've also had similar from my own mother, who told me that it was hard to see me as a man, because I had such "feminine traits", like, being helpful. Kind. Thoughtful. Things like that, because she found it hard to reconcile the fact that I was apparently all of those things, while also being a man, which is apparently the bad gender. Because evil is stored in the gender, obviously. (/s)

The other way I mentioned is the way that transradfems most often take, in the idea that men always oppress women, and there is no situational factor to it, and therefore trans men are included in that, and are therefore privileged and so it is fine to hate us, because we're men, and therefore it is okay to hate us, and this will never cause us any harm. For example, being denied access to shelters for being men. For many transandrophobes, us complaining about this is us being whiny and privileged, or weaponizing our AGAB, whereas, to myself certainly, I can't speak for others, male victims are more common than most people dare to think, but there is a lack of shelters that provide for men, which is an even bigger problem for trans men, because we have extremely high rates of abuse, but nowhere to turn to without having to detransition.

I also maintain it'll always be a major threat to trans women as well. If you call yourself a trans ally but hate cis men, as far as I'm concerned you're one step away from turning on me because there's no basis on which you can logically claim cis men are categorically worse that doesn't also apply to trans women - like, is it because of how they're raised, how society teaches them to be? Because that sure sounds a lot like you're expressing a belief in male socialization! TERFs are wrong about trans women, but if you accept their worldview you can't take it halfway and expect it to make sense.

[transformersbrainrot]

MegOp is making me crazy as usual, but now I have some new, specific inspiration!

So it started with @that-fanperson-meg saying this under a post I made about the Transformers account posting a TFO MegOp edit.

I recognized the name of the song but had never actually listened to it, and hooooo boy, it activated something in the part of my brain that thinks about MegOp... So, I'm listening to this song, and I have the clearest vision that it's about Megatron's mindset/thoughts during his mental health's lowest point in the worst depths of the war. (fair warning, my analysis/brainrot is based on my own personal continuity/au, so there are some minor references to that, but it's all fairly standard, and I explain it a bit, so just go with it, and you shouldn't be confused.) Ok, preamble over. Time for the lyrical analysis:

I hope that our few remaining friends Give up on trying to save us I hope we come up with a failsafe plot To piss off the dumb few that forgave us I hope the fences we mended Fall down beneath their own weight And I hope we hang on past the last exit I hope it's already too late

Megatron assumes that Optimus is in just as bad of a place as he is. He's wrong, of course, OP certainly isn't enjoying himself, but he has an actual support system that he feels comfortable leaning on. On the other hand, Soundwave is the only thing even approaching a friend for Megatron (and he is waaay too closed off at this point to admit it). Starscream is a backstabbing, power-hungry sycophant with his own heap of baggage (I really gotta make a post about my version of all that sometime); Shockwave is purely logic-driven as usual, only interested in advancing the Cybertronian race via the Decepticon cause. By this time, Megatron feels like both sides are too deep into the war to even consider peace. He honestly can't fathom it.

And I hope the junkyard a few blocks from here Someday burns down And I hope the rising black smoke carries me far away And I never come back to this town again in my life

Megatron has always wanted to escape the path that was decided for him. But now, after losing what he and Orion had and the resulting fallout, he won't go quietly into the night, not before causing some irreparable damage first. And the war will do just that. He hopes the destruction the great war causes keeps pushing him forward, even out beyond Cybertron. At least then, he won't ever need to face the past and who he used to be. He couldn't recognize himself now if he tried, so he doesn't even try.

I hope I lie And tell everyone you were a good wife And I hope you die I hope we both die

Even though it's clear to him that they hate each other and are not good for each other, Megatron still has some form of loyalty to what he and Orion had. If somehow, someday, someone were to ask him about them, he wouldn’t tell them about all their problems, but instead that they were good together. Maybe if this hypothetical future version of Megatron doesn't mention all the pain their split caused, then maybe it was a little less real. He knows that as long as Optimus is around, he won't be able to stop fighting; he's just too hurt and angry. He wishes Optimus would just die, that they both would.

I hope I cut myself shaving tomorrow I hope it bleeds all day long Our friends say it's darkest before the sun rises We're pretty sure they're all wrong I hope it stays dark forever I hope the worst isn't over And I hope you blink before I do And I hope I never get sober

Soundwave, the only even semi-positive influence on him right now, is the one telling Megatron it's darkest before the sun rises. Soundwave is a true believer in the original cause of the Decepticons, probably the last one in High Command; everyone else is either using the cause as a means to take out their pain (Megatron and Starscream) or as a means to an end (Shockwave). Megatron is finding it harder and harder to believe Soundwave with each passing day, and yet again assumes Optimus is doing the same. He's starting to hope it never ends. He's comfortable with it now; the war fills the hole that his old life left in him. All he really knows is that he can't bring himself to yield to Optimus and doesn't think he ever will. If he did, he wouldn't know what to do with himself.

And I hope when you think of me years down the line You can't find one good thing to say And I'd hope that if I found the strength to walk out You'd stay the hell out of my way

Megatron is hoping that Optimus is suffering too, since he is, and doesn’t want him to feel anything positive through this since he cannot. But at the same time, he’s trying so hard to be a bastard so that it won’t hurt as much. He does still want to speak well of their past if he gets the chance, so some loyalty or fondness remains deep down. If there were good times to look back on, there would be sadness that those times are over. If Optimus has nothing good to say about him, all he would feel is relief that that part of their lives is over.

I am drowning There is no sign of land You are coming down with me Hand in unlovable hand And I hope you die I hope we both die

Megatron can't see any way out of where he's gotten them. To him, there's no path to peace anymore. The only solace Megatron can find is the hope that Optimus falls with him. Even now, the two of their fates must be interlocked, as if it were a universal constant to him - simple common sense. He just wants it to be over, even as he can't bring himself to stop.

[ananke-xiii]

ah yes, of course I have more to say. This time it's not about a specific comparison/trope, more about how angels are perceived by viewers (but also partly by writers, too, tbh).

anything about angels being ethereal and divine etc: I think sometimes the non-in-universe view warps what's canon when it comes to angels. For instance, the way we the audience commonly perceive angels sort of interferes with the in-universe depiction of said creatures. Like, maybe we see angels as ethereal, celestial, incomprehensible figures but in SPN they're anything but. We can very much understand their motives, their feelings and what their agenda is. It's totally not beyond human comprehension, as amatter of fact, it's very much human but it's also NOT human at the same time because angels don't have the same morality as humans do and their notion of "good" and "evil" is quite peculiar, if they even have one. This is also why the "halo and a harp" joke is thrown around quite a few times as a reminder that SPN angels are not "our" angels.

The same misrepresentation happens when it's about angels and love (and sex). It's pretty clear that in SPN (hashtag not all but many) angels are actually very, very, very much interested in sex and love. I'll concede that they tend to confuse obsession for love and that there's a lot of repression/suppression/sublimation/you name it going on in that department but, frankly, it's not something so inherently alien that humans can't relate to.

Anyhow, I don't think it's only the audience's fault, though, as I see SPN writers implicitly inserting their own personal view into the story as well. For example, the idea that Lucifer is the "primary agent of evil" in s14 after we've spent a whole season dealing with how God has traumatized and abused both his own sister and his own "son" and how said sister has, in return, abused and traumatized Lucifer doesn't exactly hold up. I mean, if there must be one primary agent of evil in SPN everything seemed to point to Chuck well before s14's big "reveal". Moreover, from their first appearance in S4 angels have perhaps wreaked havoc more than demons and other monsters combined. Lucifer is admittedly a big problem (among other things because he is an abuser and a general piece of shit) but he's not the only problem in paradise (lol).

Related to the first point, how Dean's in awe with Cas because he's a celestial being etc: this is something that I read in a lot of fics so it's just both my own personal taste and my fic preferences (I like when fics stick to canon as far as possible because I like to see how different minds might have developed a particular storyline) that differ from others and that's fine, to each their own. The thing is, I don't really see it. Maybe S3-4 Sam was more in awe with the idea of angels but after Lucifer I don't think the guy's particularly moved by them. As far as Dean's concerned, I actually see him hating on angels the most. Vampires can be okay, werewolves maybe, he's surprisingly okay with demons as well, but angels? He doesn't like them at all. And I mean this, this is actually interesting because out of all the creatures in the world he hates (and who have hurt him and his family) he ends up getting a best friend/consort who belongs to that particular flavor he just can't tolerate and who probably hurt him and his family the most ("Angels are just monsters with good PR"). As in: Dean finds Cas amazing because he's Cas, not because he's an angel but he IS an angel nevertheless and that alone causes some problems. It makes for a very interesting moral dilemma and an engaging angle to explore where a good chunk of their issues stems from.

[rainybyday]

This is mostly based on these three ideas I had circling in my little head please send help. 

Warring States Period - First Idea

Kaguya won in this timeline and only Team Seven survived, both past and present (Sakura, Naruto, Sai, Sasuke, Tenzo, Kakashi, and Obito (all in a total of seven :D)), and so they went into a new timeline as they used their last bit of Chakra to destroy their timeline so Kaguya will never escape and take over other dimensions 

Relationships 

ObKk because I somehow am in a toxic yaoi shipper cycle, god help

Sasuke and Sakura will stay together because I have a massive pin collection with amazing pins of these two so it made me biased

Naruto and Sai are without any partners since their timeline got fucked

Pray

Ok so let me go over some little details I like to have

Uchihas love so fucken deeply its not even funny so when their loved ones are threatened, all hell breaks loose,

Hatakes are a feral clan and while they are seen as “domestic” in modern times not so much in the Warring States, there are two reactions. One (stupid) people will try to fight them to scare them off (ha) or are scared to high heaven and back away from them

Hatakes have fangs and have habits like touching and calling their close ones pack and mate and pup if considered pack 

Yes all of his students are his pups and Tenzo is affectionately called a sapling once he realizes that is a THING for Senju’s to say to their young

Tenzo secretly loves it

But before he never said it out loud since, you know, trauma

Hatakes are territorial of their pack so if anyone messes with their pack when they can’t handle it you are going to wake up with your throat being ripped apart from Hatake teeth

Having a Hatake and Uchiha couple might be a pair made in shinobi heaven if I think in that sense

Fear them

Kakashi gives head pats like it is free candy

Everyone decided to have the Hatake clan symbol on them to place a barrier between them and other warring clans because no one likes to mess with Hatakes (only dumb people do, aka, the political greedy people)

Oh wait I found my plot!

Sakura is still considered a civilian during this time, with no family name or any of that sort since, back then, a civilian was too poor to have a last name, so she, alongside Sai, are now Hatake. 

Since Hatake’s have a pack mentality they do have the occasion of adopting outside their clan and giving their last name, however, there have been very few cases in which a clan outsider is adopted into the Hatake. Usually, this is issued to the clan head of that clan and things will get sorted out. But, because Sasuke, Naruto, and Tenzo are time travelers, no one knows of them nor are they official in the clan registry they don’t do that. 

 Bastard children if you will, and while it's possible for both Naruto and Tenzo that is going to be difficult to tell with Sasuke and Obito

So they decided not to use their last names in such situations unless officially asked if they were of [instert clan here] and just said they are by blood

After all, last names are a claim so they are careful to say they are a Uchiha, Uzumaki, or Senju

Do they claim them?

I mean no?????

Let's say no

They are blood-related but do not claim name, claim blood, not name. If named they are shipped to the clan’s compound and goodbye pack member. 

NOT ON KAKASHI’S WATCH

Ok so, timeline!

I’m gonna make it about maybe a year or more before the death of Inzuma

Just because I can and because tension is still there

But not THE tension if you know what I mean

I want Tobirama to feel like something is wrong with the Chakra signatures floating around but I want Hashirama to know first what the actual problem is with the forest warning him about a pack he should not cross

Why the forest?

Because they feel another person with the forest within them

Aka Tenzo

Case and point

They find Sasuke first by accident

It was a patrol of Senju who found him and immediately didn’t know what to do but they had to capture the thing because obviously it was a Uchiha

They corner him and they are about to catch him when the trees start to move

At first, they think it's their clan head who came to trap him 

But no

The branches are capturing THEM and leaving the Uchiha alone

So now they are confused

Confused they see a man with short chestnut hair come out from nowhere, take the Uchiha into his arms, and warns them that they shouldn't mess with a Hatake cub

And

Disappears

They promptly freak the fuck out

I'll add more later and edit more of my other two ideas cus I can. Nice to do a break on the dcxdp fandom not gonna lie.

[tyrantisterror]

What's the worst legacy sequel you've ever seen? What, in your opinion, separates a good legacy sequel from a bad legacy sequel and what's the worst thing you think a legacy sequel can do?

The worst that I've seen is probably Rise of Skywalker. It's close competition, though - both Jurassic World: Fallen Kingdom and Jurassic World: Dominion have moments that are significantly more stupid than anything in Rise of Sky Walker, but I also think both have a bit more creative effort put into them - Fallen Kingdom has that third act where it basically becomes a Resident Evil adaptation except with a murder-saurus in place of the Tyrant, and Dominion has the whole locust plotline which, while terrible, is at least an unexpected direction for a Jurassic Park sequel to go into that tries to figure out something ELSE you could do with the genetic engineering premise of the franchise beyond just making dinosaurs. Like, all three Jurassic World movies have big problems and they get progressively dumber with each installment, but they're also all ambitious to some degree that I still feel respect for, even if they never really actually reach those lofty aspirations.

Rise of Skywalker, on the other hand, has no ambitions at all. It has nothing it wants to say, no unique twists to pull, no real identity of its own. It's a potroast made of leftovers from better movies, a resuscitated corpse of something much more interesting, patched together like a Frankenstein's monster and abandoned to a cruel world just as callously.

It has no desire to do anything new, merely a checklist of Things You've Seen Before That the Focus Groups Say You'd Probably Like to See Again. Any character that can be slipped into an arc that was done in a previous Star Wars film is slipped into one no matter how little sense it makes for them, and any character who can't is either forced to tread water with nothing to do (hi Finn!) or just quietly shoved off to the side early on and forgotten about (hi Rose!).

Any story beats that weren't in the original films are simply grabbed from a box that reads "time tested cliches to keep your script moving with minimal effort." Make the plot a treasure hunt so we can just race from scene to scene with the flimsiest justification possible and try and trick the audience into thinking something is actually happening! What's that, audience interest is flagging? Quick, throw in a cameo of someone from an older movie! What's that, they're bored again? Pretend to kill one of the old characters, but make sure to reveal they actually lived in no more than two scenes down the line, or else we might piss off the fanboys! Hey, let's look at the Cinema Sins videos for the original movies and see if there's some gripes we can "fix" with this one for added fan cred! Can't disappoint our audience!

It's the story-telling equivalent of smothering something in salt to cover up the funky taste of the close-to-the-expiration-date ingredients.

As for what makes a good vs. a bad legacy sequel... ok, so, let's define legacy sequel first. A legacy sequel is a film or TV show that is a sequel to a popular film or TV series that ended a good many years ago, which brings back some of the old cast of characters (generally played by the same, and thus much older, actors that played them in the past) along with adding a new cast of characters played by younger actors. It tries to replicate the tone of the original series despite being made in a different era and probably by different writers and directors, and generally aims to give you that Ratatouille style moment of nostalgia.

I think most Legacy sequels are kind of doomed to be mediocre at best on the outset because the goal of them from the moment of conception is so mercenary - they're not created to Tell A Good Story, they're created to Keep Consumers Invested in a Lucrative Content Franchise. They have the artistic aspirations of a McDonald's Hamburger - "This tastes exactly like what you had as a kid, and doesn't that make you crave more of it?"

I don't think that art made for mercenary reasons is doomed to be bad, mind you - I mean, almost ALL movies and television were made to make money first and foremost. Even the classic High Art movies I love like Seven Samurai and The Third Man were made for mercenary reasons at the end of the line - it didn't stop the people who were working on them from having artistic goals, but it's a fact nonetheless.

But Legacy Sequels just have an uphill battle in the "artistic aspirations" department, because most people with artistic aspirations don't want to recreate the feeling someone else inspired with their art - they want to put their own stamp on it, their own spin, their own voice. And that will often mean something VERY different will be made, something that might piss of the fans - something that doesn't taste like the McDonald's hamburger you had as a kid, even though it came in the same wrapper.

The worst parts of Legacy Sequels are the only parts that Rise of Skywalker is made of - the parts where the story is clearly only trying to show you things you know, only trying to reheat the leftovers so they taste like your memories, only trying to trick the nostalgia center of your brain that you're four years old again eating at McDonald's. "Here's the thing you know! Here's the running gag you liked, repeated five more times by actors with far less enthusiasm! Here's the same basic premise as the first film, but the stakes have been inflated to make it feel like a progression! Cameos! Catch phrases! Eat your hamburger, you consumer pig!"

The rare good legacy sequels don't really TRY to be legacy sequels. They're just... sequels. Another story in the same world as the first, bringing back the characters who actually have interesting arcs left in them, creating new characters with their own shit going on who have good chemistry with the pre-established characters and setting, expanding on themes from the original and exploring parts of the setting that hadn't been explored yet, and all in all telling their own story that's related to the first one's but still manages to be its own distinct thing.

There are not many good legacy sequels, because a good legacy sequel is different than the McDonald's hamburger you ate when you were four, and might make less money than desired because of it.

[solar-sunnyside-up]

Hey, I’m sorry to dump this on ya but your blog gives me a lotta hope and I just wondered if you had anything to say to my current ails- I am but a very anxious teen and I am so scared. I see so many people talking of how the world “Will end in 2040” or how “damn the past was so much better because it was simpler” and I am lowkey starting to believe that. I’ve got a problem with romanticizing a past I wasn’t even a part of and I really don’t want to live in some awful dystopian future and I fear I’ve missed out on so much because of when I was born :( and how come no one can afford basic shit anymore? I don’t wanna have no money at all! I really would like to be happy in the future but with all the bullshit caused by social media and the lack of money it seems bleak. I’m sorry that this is such a negative ask but I am not doing so hot and was hoping you’d have an insight ? Don’t respond if you don’t wanna

Hey ya there sprout 🌱 it can be really tough out there!

Your feelings are valid, so valid in fact that those exact feelings are why Solarpunk as it currently exists is around! We've all been there!

Between the wages of the top 10% of ppl vs everyone else being greater then during the French revolution, the average citizen globally being worse off then when the great depression was happening, climate crisis after crisis, all while consuming endless bits of info both horrifying (ex Politics) and hopeful (ex Social Media activism) it's waaaay too much for anyone to bare alone! Much less constantly! That burden shouldn't be on any of us!! But since it is, I'm here to help at least lighten the load even if temporary.

The best thing to do when we feel like this is to stop. Find 5 minutes to be still. We are fight/flight/fawn creatures and we will only loop in our solutions without actual clear choices if we don't Chill Out. We're mammals our natural state is Chilling Out and Play.

Next, think about how cool the planet is and particularly how cool humans are?

How there's finger flutes on ceilings thousands of years old, smaller then average indicating that parents held their children up to draw on the ceilings.

Think about the invention of looms and spinning fibers! What other creature could do that? Think about the kids that could build Snowmans without aching fingers because of lovingly knit mittens.

We sing like whales do, like birds do, like wolves do, and we do it to share stories and ideas over food! It is the first things babies mimic! We have songs so old we no longer know their origin just that they came from love! We even have songs to herd cattle meaning music transcends just us but bleeds into our relationships with the planet!

That we have play behavior! Just like wolves and foxes and whales and octopus it is so built into our DNA to play its generally how we learn things! This ranges from agriculture (children tossing seeds around, blowing on dandelions!) To chores (parachute games > folding laundry, playing pretend > usually chores/job based) to hunting (tag! Hide and seek!)

Think about our interconnectiveness with the planet too, how we are guided by Honey guides to find abandoned hives to share in the spoils of bread and honey. How Sweetgrass needs us to flourish, how berries and nuts need us to spread across the land, how we fix other animals broken bones and beaks and help them return home when otherwise they wouldn't ever get home.

Now that you can remember we deserve to be here, that you deserve to be here. We can look at the current situation and bare it.

And we do that by doing small things. Jam out and listen to music while picking up litter on your block, go to a library and just hang out or research something you love, make seed Bombs and toss them I to abandoned lots, make silly cartoons. Whatever it is, it will be enough.

The weight of the world isn't ment for the individual no matter how much Capitalism and Elites will try and guilt you over their failures. That weight is ment for collective groups, but your job as a Person is to be happy where you can and to be kind so others can be happy. The last thing that I always keep in my heart is a quote from my fave author Ursula Le Guin:

Hang in there, a brighter tomorrow is gunna happen. I promise 🌻

[nashvillethotchicken]

Thinking about Lestat seeing Louis’s eating patterns as a waste of his gift/himself while Armand gives Louis food that he literally can not enjoy or digest just so he has something on his stomach

[bistaxx]

... Will you guys please let me talk about hgduo/gossipduo/mockingjays/ whatever they are called a little more pleaseeeeeeeeee, they make me unwell and I want to get my thoughts about them out of my head- or more specifically about them from Bad's point of view!

There's a familial air to it, but it's just not true to define it like that- and that doesn't make what they DO have any less powerful or significant- They have a unique bond and that continues to be true, even during painful times like this.

Cellbit WAS Bad's responsibility at one point, and that time came and went- he got him through the war and into adulthood ( aka 18 years old or close to it.) They meet again as old friends and generally respect each other as such... but even so Bad can't deny he still feels some duty to watch over the man once he starts crumbling- much like how Cellbit as well can't help but reach out to Bad during this time.

but there's limits.

like- Bad for years had and still wants to protect Cellbit, he's had an influence on him, he taught him how to survive, he himself acknowledges he has some responsibility over Cellbit, looking at Cellbit right now feels like looking in a mirror, he doesn't like having to give up on him, but if it's between him and the kids he's choosing the kids every time... and he knows there is no simple way to save someone who refuses to let themself be saved.

And it hurts! It hurts seeing Cellbit like this! It hurts having to let him burn! It hurts watching someone he cares for falling down the same path he is! It hurts knowing he's hurting others the way it did for him seeing Cellbit like this! It hurts having to choose his kids over his protege/ student/ former responsibility/ the kid he watched over years ago/ old friend/ his 'something'!

Like, cc!Bad brought up this internal mental tier list that q!Bad has- I still deeply believe that q!Cellbit is quite high up there even if he'll never be at the level his kids are at- like he loves Cellbit enough that he ACTUALLY CONSIDERED putting parts of his months long plan at risk to save him- even if it was just during the stress of that moment that still means a LOT from Bad- but he was always going to choose his kids in the end!

Based on what I know of q!Bad (which is admitably not a lot lol) there is next to nothing that'd convince him to give up on his kids- with Cellbit he's able to see that he can't help him because Cellbit sadly does not want to be saved- and for Bad that means he simply has to accept it even if he really doesn't like it- the emotions from that night have processed and he's looking at the situation from a more logical and resolute perspective. If it means him and Cellbit may one day clash, then with a heavy sigh so be it....

but if it was Dapper or Pomme... I just don't feel certain in saying he'd be able to come to that conclusion, especially not after one night. Even if it would be the 'smart' thing to do. It's one of the key differences between the dynamic he has with them vs Cellbit...

But, in a perfect situation, he would've done everything to save them both.

Anyway thanks for reading, posting this at hell hours so my beloved mutuals won't see my hgduo ramblings but tagging this anyway for other people to see LMAO-

[angelsdean]

ruthlessly deleting old 2021/2022 posts (not by me) from my dean studies tag like *click* un-incorporating that from my beliefs system! also the way SO many posts have me like ok uh-huh good aaand then say one completely wrong thing that loses me. it's so many posts.

[silverwhittlingknife]

i have a special place in my heart for "show don't tell" storytelling, especially in comic books. comics are a visual medium!

[camgoloud]

one small detail that stood out to me about this latest episode that i haven’t seen anyone else talking about yet is that when the commentators are calling colin “inspiring” and the “man of the match,” they are celebrating him not for actually scoring the goals himself, but for providing the crucial assists to make both of them happen. and i really love that because for me it’s the absolute perfect wrap to his character arc across all three seasons!

like, we know that colin’s job on this team has never been to score goals. in fact i’m pretty sure we’ve never heard about a single goal that he has scored. colin is and always has been a team player, not a star—and we’ve seen that crop up over and over. notably, we’ve seen the fact that he’s not entirely at peace with that crop up over and over: see the way he was affected by nate’s entire holidy-inn-painting monologue, being benched to make room for zava, etc.—like, this is the thing he’s sensitive about! this is where all of his insecurities come from!

but at the SAME TIME it’s also tied very intimately with all his struggles re: hiding his sexuality— “colin’s a chameleon,” etc. it’s fascinating because there’s SO much tension there between colin 1. feeling bad about the fact that he never stands out on the pitch the way some of his teammates do, because of who he is on the team, and 2. feeling like he CAN’T stand out, ever, because of Who He Is As A Person. etc. it’s like. he’s filling this role in the background. he’s afraid he’s not doing it well enough. he’s afraid that what and who he is isn’t good enough and isn’t worthy of recognition. he wishes he were someone different. trying to be someone different in the locker room is clearly making him so unhappy and stressed out. it is All Connected and my thoughts have been doing laps around it at an ever-increasing rate since i watched episode 2.07 ‘headspace’ if not before!

and all of this is why it’s so incredible to me that in the end, colin’s big moment comes from making assists and not goals! because on the one hand i understand the fandom desire for the colin post-coming out glowup that we all knew was coming—to see him, like, ~prove everybody wrong about him~ and inspire people by suddenly becoming a standout player and scoring goals left and right, even though that never used to be his role on the team before. and don’t get me wrong, i was 100% on board that train, and would have loved it for him if that was how it went down in the end, also. i think he should get to score here and there! as a treat! especially now that richmond are playing total football and there’s been so much emphasis placed on how it’s not just jamie/dani/occasionally sam who are making all the goals anymore!

but i don’t know! especially after the events of the last few episodes, there’s something very special to me about getting to see a colin who, rather than becoming someone entirely new in the moments right after coming out, just feels free to become, and be at peace with, the best version of the same self he’s always been. he’s still a team player first and foremost, but now that he’s not as weighed down by the need to chameleon/hide/pretend to be someone he’s not, he’s so much better at it. and everyone sees this! he gets to be celebrated for his contributions within the role he’s always played! he (and everybody else!) finally recognizes the value that he adds to the team just by being himself—fully himself! it resolves all the tension and insecurity that we’ve seen him struggling with this whole time, on every level. and so this moment was genuinely the perfect ending for his journey in my opinion—i’m so so happy that we were tall enough to join him on the ride here, and so excited to see what he does going forward these last few episodes now that some of that pressure is off him <3

[liquidstar]

a friend who'd wait :)

[good-beanswrites]

hii hiii is it alright if I request something with kotoko and haruka?(platonic ofc) their character foils drive me insane with all the weak stuff authngghn icant be normal about them

Oooh thank you so much for the request! I realized that these two actually have one of the smallest windows to talk easily, given Haruka's nervousness and Kotoko's T2 changes. They have such interesting approaches to strength/weakness, and I hope I could capture it a bit here! This takes place immediately following Kotoko's bday timeline after Harrow's release:

“I’ll accept those birthday wishes…” Kotoko gave him a wave over her shoulder as she returned to making her bed.  

She shook her head in awe. It was rather impressive how quickly the boy had changed after his verdict. The others had more subtle differences, but he was someone entirely new. She could rest easy, at least, knowing that her verdict wouldn’t change her much. For as long as she could remember, she’d been like this. She knew where she stood, and neither guilty nor innocent verdict would affect that. This verdict was really only an indicator on whether the warden could be trusted or not. 

Her body tensed up when she turned back around, startled by Haruka lingering silently in the doorway. She decided against chastising him for scaring her half to death. Still, she couldn’t keep the bite from her voice as she asked, “did you need something else?”

“Ah… I just…” He twisted his hands together. “I had a question.” 

He fell silent, but Kotoko could tell he was chewing on his next words. She waited.

“H-how do you do it? All the time? You’re older and stronger and braver and I-I just don’t know how.”

“Give yourself some credit. I’m not that much older, or stronger. I only have, what -- two, three years on you? And you did very well in the arm wrestling tournament the other day.” 

She wasn’t being patronizing. For someone so sheltered, Haruka could do some damage. He stood a few inches taller than her. The others had taken the arm wrestling as a little game, but Kotoko had used the event to measure up her fellow prisoners. After his close match with Mikoto, she had made a mental note to take him seriously. 

“No…” his expression twitched, getting frustrated with the misunderstanding. “Not muscles. I mean… you don’t have someone like Muu. You don’t need someone next to you all the time. But you still talk with everyone… and it looks easy. All the time. You always know what to say, and what to do. You never look scared. You never cry.”

Kotoko’s smile softened. She wasn’t the prideful type, but his words gave her a wave of accomplishment. She certainly was scared. She did cry. But she wasn’t about to show a single crack in her resolve in front of anyone here. Haruka had given her the greatest of compliments by confirming her success.

“Ah, you mean strength of spirit. Well, that doesn’t just appear out of nowhere. It comes with my purpose, with my virtues.”

“Virtues…?”

“I see the injustice around me, and want to protect the innocent. When I see how awful the world can be, when I see the monsters that are hurting those who are weak, I can’t help myself.” She clenched her fist. “The power to do so just comes to me.” 

“Oh…” Haruka looked down at his palms. 

Her heart sank, realizing he didn’t quite understand. It was a shame that not all of humanity could be as righteous as her. That heroic drive had always come so naturally to her; she wasn’t sure she could put it into words to explain to others.

Haruka’s open hands were trembling. “Um. Is there any other way?”

“Hm?”

“All my life… I only cause pain to everyone.” His worry gradually turned to desperation.” I hurt everyone who gets close to me. Especially things that are small and weak. My whole life, I’ve been nothing but a… a curse. So… is there another way? Please. I want to be better. I want to be strong! I want to be like you! Tell me!”

He stepped forward, pleading. Kotoko stepped back. 

His blue eyes widened at her sudden shift into defense. “Ah! I. I’m sorry. I’m-I’m sorry. It’s your birthday. You should be… Have a g-good day.”

“Wait.” Kotoko stopped him before he could flee. She was aware of the massive gap between them, the vastly different backgrounds they came from. Still, she offered the same advice that had helped her in her toughest of days. 

“Don’t worry so much about others’ strength. The quickest way to burn yourself out is getting overwhelmed with the power that’s all around you. Once you start putting all your focus toward honing your own skills and strengths, you’ll realize how much you’re truly capable of. You don’t need anyone else. You’ll realize that you are enough.”

“I… am enough…?”

She placed a hand firmly on his shoulder. 

“So, no need to get all worked up now, okay?” 

“O-okay. I’ll do my best.” He stiffened, trying to appear worthy of her words.

She let out a bitter laugh. “I told the others not to do anything for my birthday, but I don’t think they paid me any mind.” Kotoko still couldn’t fathom how they were so friendly with each other given the situation. “Let’s go see if there’s some cake or something.”

[pensivespacepirate]

AM I IN FUCKING ESKEW AGAIN