#the series is actually very straight

[rocksalt-and-pie]

shout-out to the makers of NBC Hannibal for (clearly) reading all four books about Hannibal Lecter by Thomas Harris and going "hmm. actually we will make the gayest possible version of this" going on to COMPLETELY disregard the other main character and (canon) ?love interest? of the series and never even MENTION Clarice Starling. Like it's so funny to me that she never even appears on the show when book!Will Graham literally fucks off after The Red Dragon and wants nothing to do with any of this anymore and book!Hannibal is obsessed with Clarice in the same way that tv!Hannibal is obsessed with tv!Will. like they really took a whole book franchise, picked out the cherries, and made it their own personal little gay AU. that's so refreshing and should be a leading example in television adaptations. in this essay i will

[whogirl42]

My very straight mum, completely unprompted, after watching the first episode of Loki S2:

“They're starting to give off an Ineffable Husbands feel.”

[fuckspn]

wrote a whole long post about dean’s relationship to his queerness and then deleted it because i couldn’t put it better than: there is a word i know. but i can’t say it. i can’t think it. i’ll just keep drawing horses

[halfricanloveyou]

ok ok ok like i thought “the chosen” would suck cause “blah another series about the life and times of jesus” like we GET it it’s been around for CENTURIES you guys make the same damn movie all the time

but it’s actually legit really good? lots of pretty good representation! not everyone in the movie is white. actual portrayals of jewish culture instead of just ignoring that part. disabled people. matthew being autistic. characters that aren’t just two dimensional. the people in it feel like real people. there’s actual jokes, jesus cracks a few and they’re really funny?? so far nothing hateful, no gay or transgender bashing. it calls out the church for being judgemental and hateful in a way that’s very tasteful

it’s not perfect tho. jesus is…still white for some reason? despite mary not being white? and no one else around him being white? no gay people in it which is kind of a bad and a good thing…but it’s a portrayal of jesus and the people around him as human. as real life people who felt things and made jokes and rolled their eyes and stuff. also the guy they cast as jesus is pretty hot as are all the disciples. which isn’t the point or whatever but i can’t say i’m complaining. it’s free online and i think it’s worth a watch!

[obsob]

Reading questions!: how many books have you read this year? worst book and best book? what are you reading now? <3

hello !!

-currently i have read 49 books this year tho quite a few of those were novellas . but some of them were like 800 pages so. balances!

-best books tied between: in memoriam / alice winn - the cloud roads / martha wells and fools errand / robin hobb -worst books: in the lives of puppets / tj klune (i fucking HATE tj klunes writing. and i also hate purposely written '''cosy'' fiction and forced found family stuff. why do i keep reading his books) and the cruel prince / holly black (girl none of these characters are likeable)

rn i am reading fools quest by robin hobb which is .....okay......ngl im not liking the fitz and the fool trilogy much rn i rlly didnt like fools assassin which honestly shouldve just been 'fitz makes questionable parenting decisions and struggles to run a household'. im not like getting the vibes. i might pause reading it or read smth else as well along side im undecided

[idkwhathatmeans]

why is the take-home message from the Bones JFK episode like,,,, "yes there was a second shooter. BUT. more importantly. its okay to be susceptible to propaganda <3 booth is wrong and intentionally hiding from the truth and that’s valid somehow <3". idek what to make of that !

[findingcrow]

Halt: I can’t tell which I’m more surprised by- the fact that you didn’t realize you have intense trauma, or that you thought you were straight.

Will: Okay now that’s not fair

[cowboyviolence]

I agree with the general sentiment on this website that you should utilize your local library but what they don't tell you I sometimes your local library sucks ass

[13eyond13]

.

[rotisseries]

have very mixed feelings about will with powers like sometimes it's !!!!!! and sometimes it's. hmm. nah

[aroacehanzawa]

WHAT R UR THOUGHTS ON BUDDY DADDIES EPISODE 8 🙏

I THINK IT WAS OUTSTANDING

First off, from the very first scene with Miri asking Rei where he's going and then saying but his home is here, and he says "THAT'S TRUE". AS TRUE AS HOW MUCH I CRIED UPON HEARING THAT

I think this episode was a great continuation from last episode's Kazuki-focused perspective, where Kazuki accepted to move on and essentially to live in the present from now on, the present that includes Miri and Rei. And now we got to follow Rei trying to find his place and accepting that his heart belongs with the little Kazuki & Miri family that he has little by little become more a part of than he realises.

I think the episode did a great job portraying how conflicted Rei is as he stands in-between having to continue his family business and having found a new home, which he might not necessarily feel like he belongs to (yet), but which he wants to belong to. And it's the way he did not outright say this, but what he does say is that there is something he also wants to protect, in direct parallel to his former mentor who was fighting to protect his significant other!!!

I also love how Rei's journey in this episode didn't end on some super optimistic final note (which last episode kind of did with Kazuki, the sun breaking out when he comes to his realisation and the colourful flowers and everything) but rather showing how Rei has simply taken the first small steps towards the future he wants, and sometimes that's enough.

Like, he's brooding and contemplating his identity and place in the world when Kazuki calls and he just lets it ring, but he picks it up in the end. Kazuki comes and he doesn't want to get in the car, but he does. We get to see their first meetings and how Kazuki took care of him, and even back then it was just a small step Rei took - he let Kazuki help. Rei asks if they can really change, and Kazuki doesn't know - but he took the step to ask, and Kazuki answered honestly. And that's already a change, this decision of theirs to step by step try to do the right thing so that they can live their lives the way they want, together with Miri. And in this episode it culminated in Rei smiling at sleepy Miri and the birthday table prepared by Kazuki, and that's enough for now.

Idk idk just think this series does such a wonderful job in showing the character's personal journeys and the difficulties of not just their jobs and lifestyles but also, very obviously, of two men raising a child together, and it does this in such a magnificent way with the perfect balance between optimistic and realistic. This episode was just another part of the wonderful whole, and it stands out so well on its own while still being such an important turning point in our main characters' story as a whole!

Also that ending scene?????? i won't survive the angst of the next episodes

[schistcity]

i've been replaying the great ace attorney chronicles again and in light of the apollo justice trilogy being loosed on home console today i am once again asking everyone to play the great ace attorney chronicles instead

[death-rebirth-senshi]

KH3 was so funny for being like "actually Xehanort had noble intentions this whole time" when the dude couldn't stop chortling and cackling because he was having so much fun ruining the lives of teenagers

[threewaysdivided]

awwww 😭😭😭😭

Did you write a review on the legendary teen Titans series? (Aka what young Justice could have become if they weren't overly ambitious)

What's your opinion on Paul Dini as a writer?

(Follow up to these two previous asks)

Sorry nonnie! 😅

It seems that we both tripped down a rabbit hole of doughnuts.

I assume you’re talking about the Teen Titans 2003 Animated TV Series?  In that case, you might be thinking of another user – I haven’t personally written any reviews for it.  I do have a lot of fond feelings towards the show, though; it was my first real introduction to DC Comics alongside the Justice League/ JLU animated series.  My Tumblr has a Teen Titans tag where I share art, meta etc. and I do have some thoughts about specific plots or narrative elements – you might also see me make occasional reference to it as an example on some posts in the writing advice tag.

Just for the sake of expectation management, I should explain that my Tumblr isn’t really a traditional “review blog”.  And yes, I know that probably sounds a bit crazy considering the frankly unhinged amount of YJ analysis I’ve written, especially since I’ve been blogging less about other stories in the last year. Burnout, what can you do? 

Really I’m more of a writing/ story-analysis blog.  Sometimes I might write a semi-review style post where I try to break down and articulate a particular technique/ element/ execution/ implication of a narrative in order to understand what it’s doing well or why something isn’t working.  As I said in the very first Frustrations with YJ essay, I think storytelling is fundamentally about communication and understanding.  I got into fandom as a fan-reader turned fan-writer (AO3 wink wink), and before that I worked as a casual English tutor.  I want to learn from the ways different narratives succeeded or failed at communicating their stories within the restrictions of their medium(s) so that I can better find, discuss and even tell stories myself. 

Because of that, I’m also a big proponent of the Death of the Author approach to media analysis.  Let me copy the definition over from that first essay real quick:

DEATH OF THE AUTHOR This theory posits that, because commercial art is created to be consumed, not just created, the audience’s interpretations of a work should be considered as just valid as the creator’s.  The work must stand on its own and creators cannot micro-manage their audience’s response to it. 1.  A creator’s intentions and biographical facts (political stances, religion, etc) should hold no special weight in determining the validity of an interpretation. 2.  Save for re-releases/reboots or new entries, the creator cannot and should not attempt to retroactively insert information or interpretations that were not present in the original text.

I generally don’t look too deeply into or follow the specific people behind (non-fan) works.  This isn’t always the case – if I like a specific author’s style I might look up their body of work to read more; some stories are clearly rooted in their creators’ specific opinions or experiences, which makes for interesting context; and sometimes I like to learn about the behind-the-scenes methods/techniques/production woes of a bringing a specific story to life – but mostly I put the priority on what I can learn from the final product.

As I’ve said before, commercial storytelling is the result of more than just one person.  Under the right conditions I think a rank amateur or complete hack could produce something amazing and, if faced with enough production headaches, a usually-excellent creator could end up outputting utter drek although I expect that drek would at least be creatively interesting.

The questions that interest me more are: what was this narrative trying to communicate?  what techniques were used/ creative choices were made?  how well did it succeed?  could a different approach have been used? and, what restrictions/limitations/priorities could have led to the final creative decisions?  To me, information on a creator’s circumstances provide context for narrative analysis.  Since I generally don’t know them I try not to postulate their actual intent too much, only the potential intent suggested by the story.

SO WHAT THE HECK WAS I DOING WITH YJ, THEN? What happened with Young Justice is actually an outlier for me in both regards because of how baffling flawed the series ended up being.  Back in the pre-revival days I paid a lot of attention to the textual canon of Season 1 because I had started writing a fanfic based on it and wanted to do the story justice (heh).  The result was I went into the later seasons with a lot more awareness of the canonical details and storytelling techniques – and (like I said in the final Invasion case-study) I ended up being blindsided by how instinctively bored and annoyed I became just a short way into an attempted Season 2 rewatch, despite the fact that I was actively trying to study it. 

The reason I kept coming back with more and more posts is that I never felt like I had successfully grasped or articulated why I had such a strong and unexpected negative reaction.  I think it’s a similar impulse to what Dan Olson cited as making the Nostalgia Critic’s Parody of The Wall so weirdly compelling: there's a confusing contradiction between the level of work required to implement the sheer amount of stuff that Young Justice tries to include, and the absolute thoughtlessness of how sloppily that stuff was actually executed. A multi-season, multimedia story like Young Justice is a long-term project: there are too many layers of production involved for the end result to be made in a brief flash of impulse or accident. It needs some sort of sustained creative motivation to drive it… but I could never find a coherent creative intent that would satisfyingly explain the decisions on display.  Never before or since have I seen such a promising launch be followed by sequels so fatally flawed as to strip away every component of the original’s creative identity.  There’s a reason I subtitled that masterpost A Massive Failure of Narrative.

This is also why I went after lead-showrunner Greg Weisman a bit, despite not usually doing that.  The choice to exclude (or consciously excise) over 70% of the critical narrative substance and sequester it away in non-textual social-media /ask-blog retcons means that you cannot escape engaging with Weisman when trying to engage with the later seasons at any level of depth.  As a Death of the Author proponent this ticked me off just on-its-face, but it also meant that he and those seasons are inseparably intertwined.  Regardless of whether it was a conscious choice arising from his sense of creative entitlement, or simply a case of narrative incompetence self-selecting for a primary audience with a high tolerance for media-illiteracy Nigerian Prince Email Scam-style, the end-result is the same: Weisman gouged holes his narrative and left it to suffocate while he sucked up all the oxygen in the room.   Then, later, as I encountered people from other fandoms whose narratives had been similarly decimated by Weisman, it became impossible to ignore how inseparable his personal flaws are from those narrative failures.  As I alluded to in the last ask, you can separate the original seven Harry Potter texts from their author: Joanne Rowling and her politics could evaporate tomorrow and it wouldn’t change people’s ability to enjoy the story as a standalone work (in fact, the absence of her modern politics might make some of the more unpalatable flaws easier to accept as honest oversights rather than ominous foreshadowing).  Meanwhile, Young Justice is such a disaster because the later seasons stop being about the original story and increasingly become about Greg: his failures at basic storytelling, his disinterested misunderstanding of his own characters, his weird fixations, his patterns of reactionary prejudice, casual double-standards, deeply disturbing attitudes about consent and power, and a self-righteous entitlement that resents being held accountable.  Unlike Harry Potter, you can’t put Young Justice S2+ in a bubble. The problem at the root of every other problem with Young Justice is that it doesn’t have an actual narrative... and in the absence of a coherent central narrative, the text itself has become the story of Greg Weisman's terrible creative choices. His self-indulgent proclivities pervade every step of the later seasons' broken theming, bad pacing, warped characterisation, contradictory lore, intra-textual hypocrisies, over-stuffed cast and weird fanservice: baked-in at a level that cannot be ignored or rationalised away.

It makes me empathise a lot with how Hbomberguy said he felt on discovering the recent James Somerton stuff: it’s not fun to stumble down a rabbit hole of learning that a prominent figure in one of your communities is sucking up air via association with work from their less-credited colleagues, then using that air to present themselves as an ally, dominate the narrative and delegitimise valid criticism, all while spreading their own prejudiced agendas, refusing to change their behaviour and continuing to profit.  That’s why I felt the need to explicitly point out some of the clearer patterns of reactionary bigotry and hypocritical non-apologies in Weisman’s work – I wanted to make sure the evidence was at least available somewhere outside of Weisman’s carefully-filtered reputation-protecting PR statements.  People put pieces of their lives into communicating something that will hopefully be worth the pieces of life their audiences invest in return -  I find the idea of someone exploiting that trust for gain to be deeply disgusting.

Now, with that exceptionally-overlong context provided: Paul Dini. 

The disappointing but predictable answer is that I don’t really have an opinion on him as a writer.  Having looked up his credits, I recognise a lot of works that I personally enjoyed (including the cancelled-after-one-season Tower Prep).

I really like Batman: The Animated Series, both for the human element it brought to heroism and the tone it set for the following DCAU (colloquially Timm-verse) generation of animated series.  Justice League was one of my first introductions to the main DC roster, so that set a lot of my core understanding of their characters.  I find Harley Quinn, especially her early B:TAS/ DCAU story-iterations, to be compelling in a way that’s equal parts fun and tragic.  There are some parts of the DCAU that I find a bit silly (a couple of background ‘ships that make me go whaa?) but I think I was really lucky to grow up during a time when the DCAU and second-order series inspired by its tone and storytelling ethos (e.g. Teen Titans 2003) was the childhood DC experience for kids my age.

That said, I don’t know enough about the story behind the works in Dini’s credits to feel confident in speaking about him as a writer.  Just looking at his resume, he certainly seems like a passionate and prolific creator who did a lot of very influential work.  At the same time, however, I don’t know how much of that was Dini himself, how much was his frequent co-creator, Bruce Timm, and how much his works may have been adulterated by the influence of other, less-visible members of the production and editorial teams who worked alongside him.  It can be convenient to elevate one or two prominent members to Great Man status as an easy shorthand for discussing works they’ve been involved with, but that can come with the risk of crediting or platforming the wrong people through mis-attribution or just plain projection. 

I’ve learned my lesson on blind-lionisation after being thoroughly let down by all the Weisman nonsense, the same way others have learned from being let down by creators they previously idolised (Supergeekmike did a really good video covering this which also includes discussions of Death of the Author and Authorial Intent).  Without doing proper research into and comparisons of Dini’s work, I wouldn’t feel confident making an assertion about his personal skills as a creator.  I greatly enjoy many of the stories he’s been credited on, and can recognise the influence those stories had in shaping a generation of DC fans (and writers)… but while I’m happy to talk about the writing of those stories, it feels a little irresponsible of me to talk to the character or intent of a real person without knowing more about them.  I’m not making that mistake again.

In the meantime though, I do want to talk more about actual writing.  I’ve been taking it easier this year lockdown and job burnouts finally caught up to me and it suuucks, man but I'm hoping to pick back up in 2024.  I want to finally get back to working on my main fanfic so I can share the companion meta without spoiling people.  I have thoughts about some possible meta-textual metaphors in Across the Spider-verse.  I might do a case-study piece exploring why the years-long timeskip in Arcane Season 1 worked really well while others haven’t.  And there’s an ask about a canon-divergent-post-Season-1 Young Justice episode premise that’s been burning a hole in my inbox for at least 5 months now.

So yeah.  More writing breakdowns to come.  In the meantime, I previously wrote a Frustrations With analysis of how My Hero Academia’s story struggled following the Hideout Raid Arc if you’d like to check that one out.  There’s also this big compilation of links to my Young Justice and Danny Phantom meta (plus recommendations for fanfics and other stories), and you can check out the writing advice tag for general storytelling discussions.

Hopefully that makes up for the drought of Teen Titans content!

[reachexceedinggrasp]

[newspecies]

ROSE TYLER *SHAKING YOU*