#this show is good. please give me a second season netflix

[welcometogrouchland]

Thinking abt how in lazy in space bee was raised on video games that taught her how to spell, defend herself, etc and how the cooking game we saw deckard play congratulates him even after he burns the cake, and how much that might play into why bee is the way she is

[weirdly-specific-but-ok]

dead boy detectives but i've never watched it (read: 0% plot 100% gay summary)

[HI MAGGOTS IT'S 11:16 PM ON 6TH MAY HERE AND I'M ONLY NINETEEN FOR A LITTLE WHILE LONGER AND I'M GONNA DO MY BEST TO SAVE THIS AMAZING SHOW BECAUSE SO MANY OF YOU LOVE IT. BECAUSE OF THE HORRORS™ IN MY BRAIN (aka depresso) I HAVEN'T WATCHED IT AS SOON AS IT CAME OUT, BUT THAT MEANS I CAN MAKE THIS POST]

BUT ANYWAY, THANKS @anthropomorphique FOR THE IDEA, HERE'S WHAT I'VE FIGURED OUT, ABOUT DEAD BOY DETECTIVES:

There is dead gay repressed Edwardian twink named Edwin.

He has that autism rizz.

A cat king god (a cat who is a god? a god who is sometimes a cat? a god of cats? a god of kings? a king of cats? the cat of a king? the king of cat gods? the god of cat kings? WHAT IS HE IDK BUT HE'S A GAY LIL SLUT) wants to do the ol' hanky panky with him.

A lot of people want to do the ol' hanky panky with him. He be pullin' bitches.

Except for the bitch he's in love with, his best friend and soul partner, Charles.

Charles is full of Charm and Whimsy and Making Friends.

He has trauma.

(The previous point was obvious to me after learning point 6 but then I realised maybe I should be clear)

There's a... some kind of creature named Niko and she reads a lot of explicit gay manga.

She tries to use it to help Edwin out of his repression I think. I don't know if it works. Edwardian bitches do be repressed like that.

She has... a deadly parasite? That's a lesbian relationship?

Are lesbians deadly parasites? I do not know. I am too much in awe of lesbians to ask them.

The Cat King gives Edwin white lilies. Like I said, Edwin got that 'tism rizzm.

Niko and Edwin are weird besties.

CAITLIN REILLY IS IN THIS IDK WHO SHE PLAYS BUT SHE IS SUCH A GOOD ACTRESS I'VE BEEN A FAN OF HER FOR YEARS FROM YOUTUBE CAITLIN REILLY IS IN THIS *SCREAMS*

THIS IS PART OF THE SANDMAN UNIVERSE!! So @neil-gaiman is not the show's creator, but it is his universe and a bunch of his characters and he wrote a few scenes I think?? IDK SANDMAN FANS COME HELP ME.

Edwin goes to hell and Charles saves him? I think?

Death is very lovely.

OH THEY SOLVE MYSTERIES OF GHOSTS SO THEY CAN BE DEAD I FORGOT TO MENTION THE PREMISE OF THE SHOW HELP I'M SORRY I WAS SO FOCUSED ON THE GAY

EDWIN AND CHARLES LOVE EACH OTHER VERY MUCH

AND THEY HAVE... THE REST OF FOREVER TO FIGURE IT OUT?

UM THERE'S A PLOT I SWEAR I JUST DON'T KNOW WHAT IT IS I'VE JUST SEEN MAGGOTS SCREAMING ABOUT THE GAY

...GAY.

Okay so so so this show needs a second season but apparently Netflix's thinking of cancelling it because not enough people are streaming it (IT'S BARELY BEEN OUT A WEEK OR SOMETHING WTF??) so PLEASE GO WATCH IT EVERYONE WHO'S SEEN IT LOVES IT AND I CAN'T WAIT TO WATCH IT RAGH ANYWAY I LOVE YOU EITHER WAY HAVE THE LOVELIEST OF DAYS <3

[dead-enby-detective]

This scene is so funny to me.

First upper management lady who may or may not be Niko (or somehow otherwise connected to her) just blimps out while the Night Nurse later dramatically walks out and slams the door.

Which means she did it on purpose to fully show her displeasure with the situation lol.

Additionally, I feel like every other scene with the Night Nurse, she’s been imposing and almost looming over the others despite being shorter than them, and then all of a sudden, bam, that one shot of her and the boys and y’all…

Edwin (and Charles but especially Edwin) is so much taller than the Night Nurse.

And as someone who is short and use to other being taller, it wouldn’t stand out to me except, as I said, I think every other instance of perspective has been shot where she’s framed dramatically which makes her seem more physically towering.

The sudden shift to Edwin towering over her legit took me out.

The cinematic shift in perspective from her being foe to forced ally from that one scene is ✨Chief Kiss✨.

Also Edwin holding his hand out the entire time she’s ranting at them and even after she’s turned away from them? Wonderful decision.

Also love the call back to the first episode with Crystal calling their agency name stupid is great.

If we get a second season I hope we one) get her reaction to the Night Nurse joining the agency and two) the two of them making digs at the name and Edwin having to bite his tongue because he will not give either of them the satisfaction of responding.

I so so so hope we get to see the dynamic of the four of them (five hopefully with Niko!). It’d be so good. Please Netflix decision maker people, give us this 🙏🏻🙏🏻🙏🏻.

[rayplacement]

Rayman / Fakeman selective rp. est 2024, April 27th. Portrayed by @rayix

This blog is a selective literate, semi-literate rp blog of the character Rayman from the Netflix series Captain Laserhawk: A Blood Dragon Remix. I will be leaning on CLH Rayman (real version) for some of my take on Fake’s personality and will also heavily lean on HC based interpretations of my own until we see more of him in a hopeful season 2.

I will be writing literate or semi-literate when interacting, but I prefer literate. You can interact however you like to, but just know I will reply in some length and all I ask is please give me something to work with. (If you do " unserious " roleplays, go for it. I can work with that too.)

Bio, portrayal, connections, etc. under cut.

𝐂𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫 𝐛𝐢𝐨

Being let go from his job after an incident, Rayman was left feeling hurt and betrayed. He knew deep down in his own mind that they wouldn't...no, COULDN'T continue the Rayman Show and news without his likeliness. I mean, how could they? He was the host, the face, the main man of the broadcast which was shown throughout all of EDEN. The main show was named after him after all. Unfortunately, upon viewing the channel to see how they could have continued without him; there it was. A fully cloned lookalike of himself was seen talking directly towards the crowd from the screen of his TV.

Rayman, nicknamed Fakeman, Rayplacement, and sometimes FakeRay by the fan base, is Rayman's cloned counterpart who was evidently made to replace the actual Rayman. He is shown to be acting like the former; and shown as happy-go-lucky, sassy, and civic.

𝐇𝐂𝐬 & 𝐇𝐂 𝐩𝐞𝐫𝐬𝐨𝐧𝐚𝐥𝐢𝐭𝐲 𝐚𝐝𝐝 𝐨𝐧𝐬

Rayman is more snarky, classy, flirtatious, and more dramatic than the previous Rayman.

Despite having a friendly face and friendly demeanor, he is shown to be more short tempered when not being broadcasted live. This Rayman also adores attention and having eyes on him. He practically lives off it.

When talking to someone, he often looks ahead of him and speaks out loud as if he has a crowd cheering him on from being used to the routine.

He tends to bow often and even clap after something good happens or something pleases him.

𝐂𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫 𝐜𝐨𝐧𝐧𝐞𝐜𝐭𝐢𝐨𝐧𝐬

When interacting, feel free to choose a starting connection from below. Keep in mind this is OPTIONAL. It just helps me understand if you want him to act a certain way towards your character first.

𝐅𝐀𝐍𝐒 -

You are a fan of " Rayman." He sees you pop up at times, giving you autographs when asked and gives you one sided yet friendly gestures. He isn't your friend of course, just fulfilling a simple cater to a fan.

𝐅𝐑𝐈𝐄𝐍𝐃𝐒 -

He confides in you. He will tell you how his day of work was without sprinkling non hardships. He finds you entertaining and good to be around.

𝐂𝐋𝐎𝐒𝐄 𝐅𝐑𝐈𝐄𝐍𝐃𝐒 -

What started off as a simple friendship now is closer. He confides in you and tells you many things. He trusts you and you trust him. He tells you about how his days are or really anything without sprinkling in sugar.

𝐄𝐍𝐄𝐌𝐈𝐄𝐒 -

Fake will poke fun of, make snarky remarks, and get all hot headed when he is around you. What a brat. He cannot stand the utter thought of being with someone like you for more than five seconds.

𝐍𝐄𝐔𝐓𝐑𝐀𝐋 -

He sees you at diners, clubs, and sometimes at the corner of a shop. He occasionally gives you a smile and sometimes even a wave. You two sometimes talk to one another when you so happen to run into each other. However despite this, nothing special comes to fruition. But that can change.

𝐋𝐨𝐯𝐞 𝐢𝐧𝐭𝐞𝐫𝐞𝐬𝐭 ~

What a strange feeling. You two have been together for awhile and somehow you're here. He calls you by nicknames such as darling, my beloved, and dearest. He can be a bit of a jerk and perhaps once will put you on display for all to see, but at the end of the day he means well enough. You are his prize possession. Please note that he is bisexual. I am fine with shipping BUT they have to have known each other for awhiiile and should not be forced upon.

Feel free to send in your muses with writing in my inbox for a response or dm me for interactions. I don't mind short responses too! (Just keep in mind again; I like to be a bit lengthy sometimes as I like to write the characters emotions, actions, etc) I will work with anything :) This blog is also cross over friendly so I don't mind other characters interacting, I highly encourage it to be frank. I also do not mind others portraying the same character. I do NOT DO MAINS. I interact freely 💜.

Sorry for the long pinned post, I think I had to get some info out, especially the character.

Penned by - your mom.

Clh / Rayman rp wakey wakey wakey wakey are you awake now?

[zbeez-outlet]

This is my (unasked for) review and critique of Netflix’s live-action adaptation of Avatar: The Last Airbender. I’m not expecting much of a response, I just have so much to say and no one to talk about it with. I’m putting it here so it doesn’t fester in my brain and it’s my blog, I can talk about whatever I want.

I am going to divide it into two major sections, the first being a review of the show as a stand alone, the second being a comparison to the source material. Each section will have smaller headers so I can stay on topic and organized, I’m going to try really hard not to obnoxiously rant or flood my review with unsupported opinions. I have a lot to say, but I want to make sure I articulate myself well and don’t fall into venting without reason. If you see me doing that, please let me know.

I want it to be made clear now that these are my thoughts on the show, I’m not forcing anyone to think the same as I do or insulting anyone for having different views than me. I also want people to know that this is an extensive detailed review, I’m going to be covering a lot of very broad and very narrow topics. I’m not trying to nitpick inconsequential details, this review is supposed to focus on important and fundemental aspects of the show. I will be harsh, but I’m going to try not to be unreasonable.

This is going to be extremely long. If you’re not interested in reading it all, I completely understand and I’m going to include my initial rating and a summary of why I gave it that rating here.

My overall rating of the show: 4/10

Review Summary: While the visual effects and environments were for the most part really great, the quality of writing fell behind drastically in comparison. There were major issues with characterization, consistency, and plot development that will pose a challenge in future seasons. The dialogue was often dry and overly expository, it allowed no room for nuance, subtlety, or complexity because they’re constantly telling us what everyone is doing, thinking, and feeling. The acting was mostly subpar, but I think that was because the writing suffered so greatly rather than through major lack of talent or skill from the actors. The pacing was abysmal, 8 episodes was never going to be enough time to tell this story. For me, it has a very surface level amount of entertainment but as soon as you try to look a little closer, try to answer questions or search for any depth, the quality drops entirely.

Extensive in depth review below. Because I’m not watching the show as I’m writing this, please let me know if I’m misremembering any major details so that I can correct myself if/when needed.

Sorry in advance for how obnoxiously long this is, I tried to give clear headers so you can bounce around any specific topics that interest you.

NETFLIX ATLA as a Stand Alone Show

In this section, I will not be making any comparisons or references to previous Avatar content. I will do my best to strictly speak on what Netflix gave us and its quality in different categories.

Costumes/Makeup

Overall, I thought the design of the costumes and styling was really solid. They felt really unique and representative of the different cultures, which is always appreciated. There was an issue for me though that took me out of the show sometimes. Nothing looked lived in. There was no dirt, stains, wrinkles, or wear and tear of any kind and the colors were so bright. The actors sometimes looked like they were doing a theater play or dressing up for Halloween, not living in a struggling world at war. Overall, costuming and makeup was really good, just throw some dirt on there!

Yue’s wig was terrible, I think we can all agree.

I do have a gripe with Zuko’s design though. His scar looks like a bruise or an eye infection, not a gruesome burn scar. I know I’m not the first person to say this, and I’ll keep saying it until they listen. It needs texture, it needs to be larger, and for the love of god shave his eyebrow.

Environments and Locations

I thought the locations looked great, especially the artful cgi on the wide shots of places like the Southern Air Temple, the Fire Nation and their ships, and Omashu. Good cinematography and just really well done work as a whole. There’s a few times when the backgrounds during scenes looked more like stage sets than lived in cities or villages, but it was rarely anything so drastic it harmed the show for me. I really liked the amount of background clutter and knickknacks that helped with realism and there was always a lot of people that helped these places feel populated. Zuko’s room on his ship especially was so cool, it told so much of his story without ever needing explanation. Having a collection of avatar artifacts and plastering his walls with drawings, research, theories, maps, and plans was genius. I loved that they included animals, once again it helps with immersion and realism, and it would be really easy to just not include them for simplicity sake. Especially the funky animal hybrids, I hope to see more going forward! The use of ice, wood, furs, and bone for the Southern Water Tribe was so good. The massive rib cage for the community hut in the tribe was fantastic. I could go on for a long time. For me, the settings were probably the best part of the season.

Bending Graphics

The strongest elements of bending visually were air and fire. They really captured the movements of each, the fluidity and speed of air bending, and the aggression and passion of fire bending. Earth bending looked okay, the actors did a pretty good job of making it look heavy, but overall it felt like it was moving too slowly to me. I think the scene at the beginning of the first episode was the best example of earth bending. The fight with Bumi was very underwhelming for me.

Water bending looked terrible almost the whole time. The way the water physically looked was pretty good, but there was absolutely no weight behind it. Every time Katara hit someone with water, it splashed with the force of a Nerf water gun. The movements were slow, clunky, and so nonthreatening I probably wouldn’t have tried to dodge a single one of her attacks. Her battle with Pakku was one of the most boring battles I’ve ever seen. There was no haste or desperation in either participant. I’m hoping they’ll figure out how to do this better in the future. The ice was decent though.

As a whole, the fight choreography looked pretty good. Certainly moves I could never do. There were times when characters were completely cgi to account for difficult or impossible moves and it was really obvious. Aang in particular looked very wonky when he was fully cgi during his Avatar State moments or when he was flying around like his introduction scene. So passable but definitely room for improvement, I think the artists who work on these aspects of shows and films are very impressive.

Dialogue

The dialogue is 80% exposition, 19% repetitive conversations about responsibility and duty, and 1% misplaced poorly written humor. It’s unnatural, it’s dry, it doesn’t allow for any nuance, and there’s no room for character growth or connection when they have to waste all their words on making sure the plot is on track.

When the introduction of your main character is him looking directly into the camera and telling us the kind of person he is, there’s a dialogue problem. When so much happens off screen that you have to have characters talk to fill in plot holes because there’s just not enough time to tell the story, there’s a dialogue problem. When you put intentional pauses around bad jokes for people to laugh, there’s a dialogue problem. When characters have to say over and over that they’re family but they don’t feel like family in the slightest, there’s a dialogue and characterization problem. I’m not going to script the bad examples, I don’t have the time or patience for that, but I was very unimpressed. It felt like the first draft of a script to me.

And I dare anyone, of legal drinking age of course, to take a shot every time a character says the words responsibility or duty. I swear the floor and ceiling will switch before you reach episode 3. If characters have to keep shoving their responsibilities down our throats without actually doing anything to solve them, there’s a dialogue, characterization, and plot problem.

Also one of my biggest pet peeves with a series is when the first episode or movie ends with a line like “It’s only the beginning” and then plays crazily dramatic music. But that’s a personal preference, not an actual issue.

Acting

First and foremost, I have nothing against any of these actors. I’m sure they’re perfectly wonderful people and they deserve opportunities to prove themselves. My goal here is not to shame or insult or belittle any actor on this show. That being said, none of their performances were perfect and I do have critiques. This is not meant to be a personal attack on any of them or on anyone who enjoyed their performances.

I think the dialogue and overall writing really worked against the potential these actors had. I don’t know how involved the director was in the filming process or helping them with their performances, but there were definitely some failures here.

The strongest performances to me were Sokka, Iroh, Lieutenant Jee, and the Earth bender that threatened Iroh when he was captured (I couldn’t find his name, but he had an unprecedentedly good performance). By far the best was Jee, I felt his emotion more than any other character on the show and would love to see a lot more of him. Sokka balanced well enough with what he was given, but he also had the most character opportunity (which I’ll get into in the next section). Iroh I think filled the mentor roll pretty well, the writing for him leaned a little to close to fortune cookie, but he did feel wise and powerful when he needed to be, mostly. For a comedian though, his humor fell really flat to me, I wish they had given Paul Sun-Hyung Lee some freedom to improv, I think he would’ve done a good job if he could play with the character.

Katara and Azula were awful (so was Mai, but she didn’t get a lot of screen time so I’m not going to focus on her). Katara was so dull and emotionless for the majority of her role, her delivery felt so unnatural. Again, I think the writing was an obstacle, but I felt no connection from Katara at all. And certainly not between her and any of the other characters, which is a major problem for one of the main cast. Her and Sokka felt like strangers half the time, like they were getting to know each other as much as we were getting to know them. I swear Azula’s actress was reading off a teleprompter the entire time, she was somehow robotic and overacted at the same time (I’m sorry, I know that’s harsh, but she just isn’t a good actress, at least not in this).

Zuko had some really solid moments, his scenes with Iroh in particular were great, but overall I didn’t love him. A lot of people seem to be upset at his “tantrums” but honestly I think they fit the character well, though there was one or two too many. He’s an extremely troubled teenager estranged from his family and home, tantrums make sense. Again, I think the dialogue really got in the way of his potential and I don’t think he pushed his acting range enough. Almost every actor needed to show more emotion in one way or another.

Aang has some of the best moments and some of the worst. I have a lot of respect for young child actors, especially ones taking on the challenge of such a massive beloved character or franchise. It’s a lot of pressure for someone still growing up and learning how to be his own person. He handled the few childlike moments Aang was given so so well, he has the brightest little smile and playful attitude. The disconnect came with his more serious moments, he’d get these long monologues and, like Azula, sometimes seemed like he was reading off a teleprompter. I do think it’s a character he’ll grow into really nicely though as long as the writing lends itself to that.

It’s very important to remember that the director signs off on everything. Every performance, every scene, every script (that is also signed off by the lead writer). If something is off, it is not strictly the actors’ faults and should never be treated as such. Do the actors need more experience? Sure, but they more importantly need better direction, scripts, and support from the crew than what they’ve gotten. I’ve seen interviews with the main cast and they all seem wonderful with a lot of potential, particularly the actor for Aang, so clearly the director and lead writer are the ones that are slacking.

Characterization (of the main cast)

Aang

He goes through no change or character development from the beginning to the end of this season.

His water bending training hasn’t even started and he has no further control of the avatar state, so power wise he’s remained completely stagnant.

He constantly says how important Sokka and Katara are, because they’re his “friends”, but there’s been no bonding or development of their relationships. If they didn’t tell us so often, I wouldn’t even think they knew each other beyond first day of school ice breakers.

His most profound moment was his conversation with Gyatso in the spirit world, which I actually really liked. I think he really needed support from someone who knew him before. The home being deserted when Aang goes back to see him definitely hurt.

It feels like this show really really wants us to hate this 12 year old boy. Every adult or authority figure is constantly yelling or berating Aang for something he didn’t even do, it was an accident he didn’t come home and got frozen in ice. Especially from the avatar spirits who should know for a fact he didn’t purposefully run from his responsibilities. The tone is all off and I’m not sure the writers understand what they wrote.

Aang’s biggest mental hurdle will continue to be his guilt for disappearing, which he didn’t even do on purpose so the guilt is unjustified, at least the amount others are thrusting on him.

He looks confident at the end of the season, but I don’t buy it because he hasn’t earned it, there was nothing that he did or said that showed why he would feel so confident when he hasn’t learned anything and he hasn’t proven himself capable beyond getting possessed by the right spirits.

His reaction and aftermath to the death of his entire culture was very underwhelming. His grief sent him into the Avatar state and then he mutters a bland apology and the others are mad at him for falling apart when he’s literally lost everything and everyone he’s ever known. It’s something that needs to be handled far more delicately and it’s not.

As the titular character, it kinda sucks how sidelined his character development has been.

Sokka

If I had no knowledge of this series going into it, I might assume Sokka is the main character because he has the most developmental moments in the season and is easily the most well written character.

Physically handing over the protection of his tribe, while small, was a profound moment for him because he was not only going against his father’s orders, it was the first step to realizing he could be something more than a fishing boy from the south. Which is pretty much his whole emotional arc.

With Suki, he was able to prove himself as someone willing to learn and better himself as a warrior. He learned too fast considering it felt like they were only there for a day maybe, but they were on a time crunch with pacing.

In Omashu, Sokka found that his hobby for invention shows he has a talent for engineering and being a tactician. These are pretty important traits that make him a well rounded character.

By the end of the season, he’s gone through pretty profound loss and change to become the beginnings of a leader.

He was kind of supposed to be comic relief as well, but honestly to me it was done as a sloppy afterthought and almost none of the humor landed. Not just with him, but with most comedic moments.

Katara

I’m sorry, I’m about to rip this poor girl to shreds, the writing for her was awful.

She has absolutely no personality beyond the thousand yard stare she gets every time her mom comes up. Every emotion she has is weak and downplayed by exposition, she’s mostly passive and has almost no effect on the characters around her (besides Jet sort of? And I guess Pokku during the most boring fight of the show).

She adds almost nothing to the team besides being a water bender. It’s literally her only characteristic beyond dead mother.

Speaking of water bending, she did absolutely nothing to earn the title of master and no one can convince me otherwise.

She learned six moves from a scroll, trained off screen so we have to take her word for it, made one move that she copied from another bender, and never once had a single second of instruction from an actual master. Getting that title when she’s done nothing to earn it is crazy.

Teaching herself with no support or guidance is not empowering like the writers seem to think it is. It’s just lazy and so unrealistic it’s laughable. She doesn’t have any of the training necessary to be considered a master.

Also I just really dislike how every obstacle for her to be a better water bender is a mental one, first with Aang and then with Jet. Like yes, clearly emotional state matters, but it’s still a physical discipline that requires technique and training of which she’s had none of besides pictures in the scroll.

The fact she was so dismissive and disrespectful of healing bothers me too when it’s a very valuable practice. She didn’t stay for that training either, so how is she going to use the oasis water in the future? Oh wait, Katara’s “a natural” which is just so infuriating because she’s barely struggled to learn a thing the whole season. As soon as she’s in a good mood, her bending works just fine. That’s not how learning or mastering a discipline should work.

Sorry, I know I’m getting into ranting, I’m backing off. It’s just such poor character work for someone so important to the story.

Zuko

Episode 6, “Masks”, was by far the best episode and largely because of Zuko’s character work. Outside of that episode, he’s pretty consistently narrow minded and angry which doesn’t offer him a lot of depth. But it’s all packed into “Masks”.

I loved that the 41st division was his crew as it was physical proof of his sacrifice and compassion for life. Obviously his scar is also proof, but seeing the people he saved alive hits different. And the fact that he didn’t try to take any credit is very modest and honorable for him.

However, I wish he had chosen to make the 41st his crew rather than it being forced on him as an additional punishment to his banishment. I think if he had made that choice, it would have showed even stronger resolve.

His moment with Aang in the shed after rescuing him as the Blue Spirit was very well done and showed how hard it’s going to be for him to overcome his father’s influence.

Lu Ten’s funeral was a wonderful moment meant to build on Zuko’s relationship with Uncle Iroh, it was quite beautiful.

Unfortunately, outside of the moments I mentioned, there wasn’t much other opportunity for character growth because it had to be so exposition heavy.

Although he did choose to go after his Uncle instead of the Avatar in Omashu and that’s an important value in family that Zuko has.

I do appreciate that they cemented his ideals around honest and honorable glory, but it did get a little preachy and repetitive.

I think overall he has a lot of potential for growth in future seasons.

Pacing

Whoever thought 8 episodes was enough to tell this story is extremely delusional. Having more minutes does not equal having more time, 8 episodes offers no wiggle room for such an expansive story no matter how long they are. I’m so sick of production companies thinking it’s okay to so heavily compress storytelling, let your characters breathe and give them some time to develop. It’s one thing when it’s something like Queen’s Gambit (which is fantastic, if you haven’t watched it you should!) that only focuses on one person vs Avatar which is balancing four or five main characters, extensive world building, and complicated plots. It’s something that needs time, but is instead rushed so drastically there’s barely any time to comprehend one conflict or character before another one is expositing in your face. Netflix is one of the biggest offenders of this, but HBO does the same. The Last of Us could have used an extra episode or two for Joel and Ellie’s relationship to solidify more (I’m not going to get into TLOU though, so please don’t come for me for this opinion, it’s not the focus and if you want a more extensive review of that, let me know). It feels like writers think characterization and development just happens and they don’t have to take the time to actually write it in.

With 2-4 more episodes, they could have had the time to really explore the things they needed to without overloading on exposition. Ask yourself how much time did you feel like passed between episode one and eight? Did it feel like the few months it was supposed to be? To me it felt like maybe two-three weeks, and that’s not the fault of watching it so quickly. There’s never any indication of how much time passes, which is its own issue, but also ultimately confuses audiences if they have to guess.

Every interaction and conflict is rushed, why are these writers so scared to take their time? If Netflix isn’t offering more episodes, then you need to adjust your writing to compensate, not condense everything like a sardine can and then act surprised when it’s a structural problem. It’s a fundamental issue that affected the entire potential of the show.

Plot

Aang should have, at the very least, started mastering water bending. It’s stated several times in the season that he needs to in order to fully become the avatar and be powerful enough to end the war. That is the overarching plot that is integral to the story. And yet he doesn’t bend a single drop of water the entire show until he’s forced to after being possessed by the vengeful ocean spirit (and when Kyoshi also possesses him, but again that wasn’t him, that was the avatar state). Because of the time skips that’ll have to happen between seasons, he’ll probably do most, if not all, of his water bending training off screen. Which is, say it with me, bad writing!

They kept hinting at the comet but never outright said what it would do or when it would arrive. Not giving any kind of timeline for the biggest conflict of the show is really worrisome for their future plans. I understand they have to allow a certain amount of time flexibility to account for the younger actors aging, especially Aang, which I completely understand and respect. That’s why time skips will happen. But to not give any kind of timeline shows really poor planning.

Also, please tell me if I’m misremembering or if I somehow missed it during my watch through, but I’m pretty sure Team Avatar still doesn’t even know about the comet, what it means, or when it’s coming. That’s a pretty big thing to overlook when it’s the catalyst for the Fire Nation’s power.

The fact that the show kicked off with the genocide of the Airbenders, who are all conveniently in the same spot, and Aang just happened to escape it because he essentially went for a walk to clear his head and got caught in a storm that came out of no where is way too coincidental for believable circumstances. It’s, louder for those in the back, bad writing!

They had four years to plan this all out, I don’t understand why it all seems so unfinished and thrown together with pieces from different jigsaw puzzles!

Comparisons to Source Material

In this section, I will be comparing the Netflix adaptation of ATLA to the original animated series. This will be about things that stuck out most to me as consistencies, changes, and valuable moments in each rendition of the story.

Consistencies

Writing-wise, obviously they got a lot of the big plot points down, and I’m not going to list them all. If you’ve watched both, you know what they are. Pretty much the essentials…sort of. The great divide even got a shoutout which I thought was funny.

I mentioned above how “Masks” was by far the best episode of the Netflix season, well it’s not a coincidence that it also has the most parallels and consistencies with the episodes it was based on (“Storm” and “Blue Spirit” which are also arguably the best episodes of Book One). I was going to be so mad if they took away the Blue Spirit part of Zuko’s character, but clearly it’s a fan favorite and for the most part I think they did it justice.

I loved that they kept in a lot of the hybrid animals, at least in dialogue if we didn’t actually get to see them. It would have been a really easy thing to just get rid of for simplicity sake. I hope we get to see some more CGI versions of these animals because the ostrich horse looked really good. Momo and Appa for the most part looked good, sometimes a little wonky but nothing crazy, I just wish they had more screen time. They don’t feel like characters yet, just a pet and a vehicle (essentially).

I was really pleasantly surprised to see Hei Bai, I was honestly expecting them to scrap him. He looked really cool too. I do wish we could have seen him turn back into a panda when Aang helped him, but overall I’m just glad we got him at all.

I didn’t love what they used him for, but Kho was visually amazing and everything I hoped for. Absolutely terrifying, will haunt my nightmares again.

June was also a pleasant surprise, I hadn’t looked too deep into the cast list and wasn’t sure if she’d be included. I did think it was a little weird she was flirting with Iroh vs the other way around (like what was the point of that? just take out the flirting entirely if you’re going to be weird about it) but overall she’s pretty much one to one the same and I still liked her a lot. Nala should have been a little more anteater/mole-like instead of wolfish but overall not bad at all.

We got the Cabbage Man. They teased him a little a first, but we got him.

My Favorite Moments from the Netflix Version that Change or Expand on the Original

I sang its praises above, but again Lu Ten’s funeral scene was just so beautiful and really built on Iroh’s fatherly affection for Zuko. I know it’s mostly a replacement for the leaves from the vine scene in “Tales of Ba Sing Se” because they’re never going to be able to fit in that episode. So it’s nice that they deemed it a moment worth capturing in a different way.

I’m not going to reiterate exactly what I said above so go see Zuko’s characterization again if you need to, but making the 41st division his crew members was a constructive choice that I liked a lot.

I don’t know why but just the idea of Gyatso sticking around in the spirit world to be able to speak to Aang one last time hit me so hard. I absolutely loved it as an addition to building their relationship. Aang always deserved a goodbye, and even though this wasn’t exactly that, it was what Aang needed to cope with his immense loss and the pressure he was under.

When Iroh was arrested by the guards of Omashu and being taken to the pit, he had a really intense but moving interaction with one of the earth bending soldiers. I think it was such a good way to portray war and perspectives from both sides. The soldier rightfully and angrily blamed Iroh for his brother who died at the siege of Ba Sing Se, which Iroh was responsible for. He accused Iroh of being evil, of having never gone through loss, which we as viewers know isn’t true, but he doesn’t say anything. Doesn’t defend himself. Doesn’t reveal his own loss to get even. He takes the abuse and the blame and just utters that enough people have been hurt. Great performances all around, really solid writing. I wish more of the show had followed this example.

That lady hitting Zuko with a brush to stop him from attacking Aang, a child, in Omashu’s marketplace. That was one of the funniest scenes in the whole show. Bring her back!

“Everything I need is on this boat.” - ‘nuff said.

Major Character Differences (I’ll try to keep this concise)

Aang

He lost the majority of his lightheartedness which made him so lovable in the first place. He does a lot of monologues and speeches to intense music now. He’s still 12 guys, let him swim with giant elephant koi and dress up as Pippinpaddleopsicopolis the Third to get into Omashu!

I really don’t like that they changed him actively running from his title and responsibilities to just going for a jaunt with Appa to clear his head. That removes so much depth, guilt, and fear that he should have. In the original, it was his choice to run away with the intention of hiding and never coming back, in the Netflix version, it was an accident he never came home. That’s a massive character change.

People called him a coward, but he literally isn’t when it was a very coincidental accident that forced him into the ice in the first place rather than his choice to actively run from his destiny. He’s yelled at and screamed at and insulted constantly, even by people who are meant to help him, when he didn’t even do what they’re accusing him of. He didn’t deliberately run away, he accidentally got caught in a storm. And he just takes all of that guilt and blame and anger from everyone when he genuinely did nothing wrong.

Getting rid of his crush on Katara is a problem, but I’ll get into that more later.

I don’t care why they think they did it, but making Aang agree with Pakku in any respect about not letting Katara train or fight was so extremely disrespectful to both characters.

His reaction to losing his people was way underdeveloped, they gave him no time to grieve. And the fact that Katara doesn’t help him out of his initial Avatar State spiral is so damaging to the friendship they’re supposed to have. Their friendship always came first, let them interact and build that relationship!

Sokka

His small sexism arc that everyone is up in arms about. Do I think it should have been included? Yes. Is it the end all be all of his character? No, like I mentioned above, he got the most character moments in the show. But it was really important in its own way. I saw someone say, “Sokka may not be misogynistic, but Netflix’s ATLA adaptation certainly is.” And they’re right.

What I really didn’t like was what they did with his relationship with his father and ice dodging. Sokka had a great relationship with Hakoda built on trust, mutual admiration, similar tactical mindsets, and strength of character. He passed his ice dodging test with Bato with flying colors. There’s no reason to completely flip those dynamics, there’s already enough other conflicts to explore without giving Sokka daddy issues he didn’t have in the first place. Whoever made that choice was projecting hard.

Hakoda eventually trusts Sokka to lead the invasion in Book 3, but none of that exists here and it doesn’t feel like there’s a path yet to lead to that. (I have a lot to say about the invasion later)

They have Sokka take over a very paternal role with Katara instead of her being maternal, and he is constantly very overbearing, patronizing, and talking down to her as if she has no (or does not deserve a) mind or agency of her own. They (as in the writers) are acting like the age difference between them is 10 years instead of 1-2 years.

Also taking out the very important moment when Sokka was the one who saved an entire Fire Nation village from Jet was just wrong. Not only was it an important stepping stone towards leadership and diplomacy for Sokka, but it also showed that even on the “bad side” of the war, there are innocent people who deserve protecting.

Sokka wasn’t nearly as funny as he should have been.

Katara

Everything about her was wrong, scrap it and try again.

She had none of the passion she should have had. Katara gets mad, she yells and insults and waves her arms around to make her point. She gets jealous and petty. But she’s also so unbelievably kind and caring, she’s the only reason any of them take proper care of themselves. She’s lighthearted and fun when she can be, she plays and laughs and cares so incredibly deeply.

Katara inspires people in a way none of the other characters can, although Aang does learn a lot from her in that regard. She’s incredibly hardworking, loyal, and dedicated to those she loves. And yes, she feels immense pain and sadness for her mother, but that’s not all she is.

LA Katara felt like a hollow shell 90% of the time used for exposition, 5% mom trauma, and 5% sort of emotional. The writing just didn’t lend itself to complexity, flaws, or character depth.

She’s one of the first well written and well rounded female characters a lot of us encountered as kids and they stripped her of everything that made her who she is. Someone for young girls to look up to. It’s shameful.

For some reason they made her explicitly and directly responsible for her mother’s death, which is a very strange and damaging change to make that I don’t think they totally understand the difference of from the original.

They took away all of her maternal behavior, which just tells us what they think of maternal behavior, that it’s a weak trait for a leading character and not worth exploring in a person that had to take that role in her family and village as a whole at such a young age. It’s like the writers thought that Katara being motherly was problematic and sexist, which is a mindset that is itself problematic and sexist.

They’ve essentially turned bending into a magic that relies solely on emotional and mental stability instead of a martial arts form requiring discipline and training. I don’t even think the writers realize they’ve done this, which in and of itself is a massive issue.

Although I will say the water whip on the flaming arrow was a good use of water bending, it just didn’t feel earned to me.

For as much as they focused on her mom, they never once brought up Katara’s necklace?? They took out Pokku’s connection to Gran Gran and never mentioned anything about betrothal necklaces. There’s just so many changes they made, large and small, that feel pointless or contradictory to the source material for no reason.

Zuko

Frankly, so early into Zuko’s character arc, there isn’t a lot of difference here. Most of his development starts in Book 2. I do like the animated version a lot better, though. I am biased, but I also think that even though they hit on almost all the same points, the original just handled it with far more nuance, care, and time. With the Netflix version being so rushed, any payoffs we had just didn’t feel totally earned.

I do think it was a big shame that they had Iroh kill Zhao instead of allowing Zuko’s attempt to save him from the ocean spirit. It’s a pretty important character moment that shows how Zuko wants to help people, save people, if he can regardless of how they’ve treated him. They can make this point again if they do “Zuko Alone”, but I’m honestly really scared they’ll cut it.

Having Zuko fight back during the Agni Kai against his father in the flash back was way out of character and takes away from the severity of the punishment and the trauma of the abuse. He was a 13 year old child terrified of not just disappointing his father, but of suffering harm from the one person he should trust most. And Ozai convinces him he deserves it, so there’s no world where he would have fought back in that scene. And it changes the meaning from a father violently burning a child that has surrendered and begs for forgiveness to a soldier winning a one-on-one battle against another soldier and branding his victory, no matter how dishonorable it is.

Also, at this point, Zuko is an amateur fire bender with barely any experience or progress in his training. Him getting the high ground over Ozai for even a second is ridiculous and diminishes Ozai’s skill level. It could be argued Ozai did it on purpose to give Zuko an opportunity to prove himself as ruthless as Ozai wants him to be, but that completely goes against the precedent set by Ozai that he hates being questioned or otherwise made to look weak in front of anyone. I think I understand what they were going for, but honestly it came off as an opportunity to show off the actor’s fighting skills rather than holding the weight it should for the story.

I DO like that Zuko has a war journal (*diary*) about the avatar, history, and essentially a map of his journey. I DON’T like that Team Avatar uses it as an expository tool and excuse to not properly explore the world and learn things for themselves or through other people.

I don’t think Zuko said the word “honor” once, but please correct me if I’m wrong.

Iroh

Similar to Zuko, they hit a lot of the same surface level points with a few misses here and there.

They didn’t show us Iroh’s connection to the spirit world, they just told us right before the battle at the North Pole and we’re supposed to believe it, which we do because we’ve seen the original, but that was kind of lame. (Not including Roku’s dragon was also lame, but I digress).

They expanded on his past in a few different ways which I did like a lot and mentioned above.

The Netflix version comes off more preachy and gimmicky to me than wise, which is disappointing. I think the actor could have done amazingly with the right script.

They didn’t show him redirecting lightning, which is arguably one of the most valuable skills in the entire show and extremely important for the finale for both Aang and Zuko.

And just like Sokka, he was not nearly funny enough.

Bumi

His characterization was all backwards and wrong and I hated it.

Visually, his makeup and design was pretty good, but that’s the extent of any positives with the Netflix version.

Bumi would absolutely never ever ever have made a joke about the genocide that took Aang’s entire people. That was disgusting and disrespectful to Bumi and Aang.

He was never mad at Aang for disappearing, he was actually extremely understanding and only hoping to teach Aang further about his duties as the avatar. He quite literally welcomed him back with open arms.

The way he treated others, especially his servants, was appalling and borderline cruel.

He never stepped down from protecting his people or became complacent in a way that put them in danger, Omashu was thriving beautifully under his care. When he surrendered to the Fire Nation in Book 2, it was the best way to protect his people without bloodshed and he knew he’d eventually get their home back. He was literally waiting for the Solar Eclipse to do it (which I’ll touch more on later).

This also means that by having Bumi actively fight and lose, instead of surrendering with neutral jing, he won’t be able to realistically give Aang the advice that is supposed to lead him to Toph. Wait and Listen.

I did appreciate the lesson he was trying to convey to Aang about the difficult choices that wartime forces on us, especially leadership (like who gets what food or medicine), but they did it all wrong.

Shame on the writers for what they did to Bumi’s character, I could write an entire essay on everything they screwed up just with Bumi.

Suki

They made her into a lovesick day dreamer instead of the strong warrior and leader she was meant to be. She’s going to go off to war, don’t diminish her strength. Her being a fighter should be the forefront of her character, not a lonely girl pining for a boy and dreaming about the big world.

Her and Sokka’s relationship should have been built up over time, their kiss was so misplaced. When not much time passes before Sokka falls for Yue, it makes him seem like a player.

And that moment Suki’s staring at him shirtless is cringy and yucky, they’re teenagers. Don’t do that.

We’ll see how she is when she shows up again…I actually liked the actress quite a bit, but her writing wasn’t good. That seems to be a theme here though.

I do wish her hair was still auburn instead of black, that’s personal preference though.

Gyatso

They did him so dirty with his death, it was anticlimactic with none of the power or savagery that was implied in the original. His skeleton was literally surrounded by dead Fire Nation soldiers, I wanted to see that dangerous potential on screen and am very disappointed not to get it given how explicitly they wanted to show the genocide of the airbenders.

Jet

Jet’s vendetta is specifically against the Fire Nation. On some level I do believe he would resort to violence against a traitor giving the Fire Nation information, but I don’t think he ever would have put Tao or other innocent (non-Fire Nation) bystanders at such great risk. Maybe that’s splitting hairs though since in the original he was prepared to drown an entire village, of Fire Nation people specifically, as a whole he felt pretty consistent.

I just don’t like Netflix smashing so many plots and characters together, they deserve room to breathe in their own stories.

I hate that he was the catalyst for Katara’s bending training though, instead of her own hard work and practice or training with actual masters. Jet knows nothing about bending or how it works. It’s another instance of stripping Katara of her skill and work ethic.

Yue

As a personal preference, I hate that they made Yue a water bender. She has part of the spirit of the moon in her, so logically I understand where they’re coming from giving her those abilities. But she’s not a water bender! The spirit was working to keep her alive, not to give her powers she shouldn’t have had in the first place.

She’s a princess dedicated to her people and wanting to learn how to lead but also buckling under the pressure of expectations, particularly around her arranged marriage. I saw none of that in the Netflix adaptation, except that she likes to make desserts when she’s stressed, so there’s that I guess. It’s just still missing the depth, but again they don’t have time to really explore these topics.

They make a point with Pokku about the role of women in the Northern Water Tribe and yet somehow Yue is allowed to just call off her arranged marriage. That’s a pretty distinct cultural contradiction. It just shows me the writers don’t know how to portray misogyny as a narrative tool or how to do consistent world building.

Her wig looked awful.

They should have used what happened to Momo (which ouch, that wasn’t necessary) as an opportunity for Katara to prove that she knows how to heal, because she hasn’t done it yet and she’s supposed to bring Aang back from the dead in Book 2.

Azula

I appreciated her introduction scene where she exposes a coup against her father while undercover. It was a little cheesy with her reveal, but it does establish her character decently well early on. And the cover she chose, dead brother and mother, is really interesting narratively.

The writers for Netflix went off about how they didn’t want to portray sexism, through Sokka specifically, but then they stripped the main female leads of most of their agency (Katara, Suki, and Azula all fit this category, I’m worried what they’ll do to Toph).

Azula has almost none of the arrogance that she should have, certainly none of the calm calculated intensity that made her so fearsome and intimidating. Azula should be scary, and she’s definitely not here. She just came off as such a brat with a twitchy face and prone to tantrums.

Her fire isn’t blue, that bothers me a lot. Blue fire is hotter than red fire, it’s supposed to be an indication of not only her fire bending strength but also her temperament. Plus it’s supposed to help us differentiate between their powers when she’s fighting Zuko.

Lightning bending requires so much skill, precision, power, and focus. I don’t believe for a second Netflix’s Azula should actually be able to do it. She was only able to do it because she was mad, and that’s not how it’s supposed to work.

She definitely didn’t earn being able to overpower Bumi and takeover Omashu. Although granted it feels like they nerfed a lot of Bumi’s power, he certainly doesn’t feel like one of the most powerful earth benders in the world.

Ozai had originally sent her out to collect Zuko and Iroh, not to lead an army in a battle against one of the greatest (or what should be one of the greatest) strongholds in the Earth Kingdom. It’s unrealistic and silly. And it’s not like Bumi gave up like he did in the original, he literally said “We’ll be ready to fight” when he revealed that the Fire Nation was headed their way.

Ozai treating her like a nuisance is also way out of character. He’s supposed to feed into her ego and inflating all of her more dangerous traits because he sees them as powerful and necessary for the future leader he expects Azula to be. Zuko should be the disappointing son with no faith or support from Ozai, and Azula the gifted prodigy given every opportunity and surpassing Zuko in Ozai’s eyes. As Zuko said, “He used to say Azula was born lucky, I was lucky to be born.” Somehow that dynamic has almost completely switched and Azula suffered the most from it.

She’s very miscast, the actress was awful. I’m sorry, but not sorry enough not to say it.

Ozai

Ozai should despise Zuko, he’s far more terrifying that way. It’s way more compelling watching a son that’s been so manipulated by his traumas try to win the affections of his father that don’t even exist than the same daddy issues we see in almost every movie or show where the son is trying to live up to his father’s expectations unhappily. Ozai should have no expectations for Zuko, that’s the difference. He sent Zuko on a mission he wouldn’t come back from on purpose, to get rid of him.

That’s terrifying, how disconnected he can be from his son. Trying to make Ozai more human or sympathetic by making him care for Zuko takes away from the monster he’s supposed to be as a villain. They’re not making him more complex, they’re making him more generic.

I just kind of generally don’t like that they’ve revealed so much about him and Azula in Book 1 because part of the well written structure of avatar is that the “villains” escalate from season to season, going from Zuko to Azula to Ozai as the main antagonists. I’d rather they had kept that structure and given more time to better plot and character development.

Plus revealing him so early took away a lot of his intimidation factor for me. Mystery and intrigue is good you guys! You don’t always have to lay all your cards on the table right away.

And at the end when Ozai more or less says that the attack on the Northern Water Tribe was a distraction to take Omashu makes zero sense to me. Not only is it an arbitrary copy of what Sozin said in the beginning about attacking the Earth Kingdom as a distraction for killing all of the air benders (which is also stupid), but thematically and structurally it doesn’t make any sense. The timeline doesn’t add up at all, not that they gave us any indications of timeline. And at this point in the war, the different nations, tribes, and kingdoms are so segregated that the Water Tribe probably wouldn’t have gone to help Omashu in the first place, certainly not in time.

Also I refuse to ignore the blatant contradiction they put in Zuko’s scar story. Zuko is punished extremely severely for INDIRECTLY insulting Ozai, when he’d literally been asked what he thought of the war plans, but when Iroh DIRECTLY questioned Ozai in front of the entire court and spectators (interrupting the Agni Kai, a sacred type of battle in the Fire Nation), there’s no punishment at all. I really don’t understand what the writers are doing with the amount of contradictions.

Roku

Botched, I hated what they did to Roku.

Trying to make him funny? That, right away, ruined his character entirely. I won’t ever be able to take him seriously. He would never make jokes when Aang is desperately looking for guidance and understanding. He’s not a funny silly character, it’s like the writers forgot to add in some levity and chose literally the worst character to force humor onto.

Roku is one of the coolest and wisest characters in the series with some of the most badass scenes and they took away all of them. The future of his portrayal does not look bright.

Kyoshi

Now, I love Kyoshi as much as the next person, but she got way too much screen time.

Not only did they give Roku’s badass possession moment in the Fire Nation Temple to her for absolutely no reason on Kyoshi Island, but they made her the leading influence of Aang’s spiritual journey (he’s constantly trying to reconcile with the advice she gave him) which makes zero sense.

The hundred year war is the consequence of Roku’s legacy and mistakes, it has literally nothing to do with Kyoshi. Roku should be the one mentoring Aang spiritually and guiding him through the remnants of his choices as the Avatar.

Giving her weird future vision for the attack on the North Pole was really weird and made no sense to me, and completely shifted Aang’s motivations from learning water bending (which he never does even once) to warning the Northern Water Tribe, which they end up not even needing him to do because they’re already prepared to fight. Just a convoluted mess narratively.

She isn’t supposed to be that agro of a character, she’s pragmatic and diplomatic. They based her off the memes far more than her source material and it shows.

Making Kyoshi so much more prominent feels like such an insincere thing to do for the sake of “girl boss strong female characters hoorah” that ultimately hurts the writing.

Kuruk

I don’t really know why they decided to give Kuruk so much screen time when it should have been given to Roku or any other character for some development, but I would say it was a decent portrayal. Just an unnecessary one.

They actually used book material for him, which is surprising given the changes they made, but it was specifically for the “spirit killing knife” which was stupid and no one can convince me otherwise.

Having spiritual conversations with so many of the past Avatar’s this early on feels like they’re going to be removing, or at least drastically changing, the Lion Turtle scene in the finale which has me very concerned.

Egregious and Potentially Detrimental Changes from the Original

Removing Jeong Jeong and Aang’s First Experience with Fire Bending

Aang’s terror of fire after hurting Katara when he got too confident is vital for his development. It’s the main reason he eventually accepts Zuko as his fire bending teacher because they both struggle with having hurt people and wanting to fix their mistakes.

This was also supposed to be Katara’s first use of healing, which again I think is something really important for us to actually see she can do. Because all they’ve said is she’s “a natural” just like everything else and that’s such bad storytelling.

Jeong Jeong is a member of the White Lotus and a really important factor in Iroh’s endeavor to take back Ba Sing Se in the finale. Could they do it without him? I guess, but it’s really disrespectful to me to just not include him.

Taking him out will affect plots all the way in season 3.

Not only that, but Jeong Jeong is a valuable example of someone born on the wrong side of the war wanting to make a difference and change his ways. It’s realistic nuance for war!

What Seeing Wan Shi Tong in the Spirit World Means to Me, the Implications for the Library, and Consequences

Wan Shi Tong, similar to Tui and La (the moon and ocean spirits), came to the physical world with the express purpose of bettering humanity. He made the personal sacrifice of staying away from the spirit world so that the human race would have access to his vast and wonderful knowledge. He couldn’t go back and forth between the physical world and the spirit world because he had to be there to keep the Library standing in the physical world in the first place, it can’t stay there without him. The fact that he’s in the spirit world, to me, means that the library may not be in the physical world at all.

Other indications that his library isn’t in the physical world are that Zhao didn’t get his knowledge of Tui and La from the library, he got it from ancient Fire Nation scrolls and records instead (which doesn’t make a lot of sense), and the sun dial that Sokka would have used to discover the solar eclipse and begin the plan for the invasion is now located in the Fire Nation instead. How is Sokka going to learn about the Day of Black Sun now for the invasion? (There’s a lot of setup for the invasion that they’ve screwed up and I’ll talk about it more in a couple other sections).

So assuming we’re no longer going to have the library, there’s a lot of follow-up implications and consequences. This means that we won’t have Appa’s kidnapping which causes a few problems.

One, Appa’s kidnapping directly leads to Jet’s death, the only major on screen death (or injury that leads to death) in the entire show. I guess you could also count Combustion Man, but Jet’s was infinitely more emotional and important to the story.

Two, Appa’s kidnapping and subsequent rescue is vital for proving to the Earth King that Long Feng is a traitor and the Dai Lee has been compromised. This leads to the Earth King trusting Team Avatar’s word implicitly about the Kyoshi Warriors which allows Azula to infiltrate, learn about the invasion plans, capture Katara, and ultimately “kill” Aang at the end of Book 2. Can the writers work around this? Probably. Do I trust them to? No.

Three, protecting Appa is how the Kyoshi Warriors get overpowered by Azula in the first place and Azula is able to infiltrate the Earth Kingdom in disguise. It’s how Suki is captured and ends up at The Boiling Rock prison.

Four, Zuko being the one to let Appa go is a massive character moment as he struggles to let go of the burdens that Ozai pushed onto him to capture the avatar at all cost to others and himself. It leads to his “metamorphosis” as Iroh calls it, leads to him giving up the Blue Spirit identity, and is what makes his later betrayal so painful. Plus, Appa likes him now which is a stepping stone later for Aang to trust him when Zuko wants to switch sides.

And five, Appa’s brief stop with the guru as he’s trying to get back to Aang leads to how Aang gets any instruction on controlling the avatar state. Which also leads to his “death” at the end of Book 2 when he tries to reopen his chakras like he was taught during the fight with Azula. Again, do I think there’s a workaround here? Yeah, but I don’t think they’ll do it well.

Where’s Haru and What it Means for the Future

Removing the “Imprisoned” storyline takes away Katara’s first and one of her most important moments of being an inspirational leader, learning how to speak up for others, and how to make connections with people outside her culture. But they’ve already stripped Katara of so much of her depth, I’m not surprised they took it out.

The more important issue is that Haru, his father, and their people (all Earth Benders) that she helped rescue were very prominent foot soldiers for the invasion in Book 3. Where are they going to get alliances to build an army against the Fire Nation now? My bet is either they won’t, which is concerning for many reasons, or it’ll happen between seasons off screen which is a massive writing problem! Vital events and plot points happening off screen shows extremely poor planning.

Indications of Removing the Swamp and More Poor Planning for the Invasion (are they cutting it out?)

I’ve pretty much convinced myself that the writers are cutting the invasion out of the plot. I’ve listed many reasons above why I think that’s the direction they’re going, but the last straw was when Sokka and Katara were in the spirit world.

I’m almost 100% sure they’re getting rid of “the Swamp”.

When Sokka and Katara are in the spirit world, they are confronted by their worst memories and most difficult emotional obstacles the same way they had been in the original when they were in the swamp. It wouldn’t make any sense to do that again, so they’re probably getting rid of the swamp entirely.

Which means Team Avatar will never encounter the Swamp Water Benders, which then means they lose even more foot soldiers and allies for the invasion. That’s two major allies that just won’t be involved. Between the potential changes to the Library, the lack of allies, and the fact that Hakoda has no trust in Sokka as a warrior, I don’t see how they’re going to realistically be able to do the invasion. If they do, I’ll be shocked and skeptical of how they manage it.

And as another personal pet peeve, taking out the swamp also removes another facet of water bending, being able to control plants by the water in them (which additionally leads into blood bending).

Other Changes That Really Bothered Me

Exposing the Genocide of Aang’s People and the Comet in Episode One

While I did appreciate (to a degree) getting to see the attack on the air benders and how the fall of the Air Nomads happened, I really don’t like that it’s the first thing we see. Like I mentioned earlier, it’s okay and often more beneficial not to reveal everything right away! I much preferred getting bits and pieces as we went along to put together the whole puzzle and have the time to process each new facet of the war. Giving it to us all at once and as the first thing we see takes away so much intricate story telling.

I really didn’t like that all of the air nomads were in the same place for the attack, that’s so unrealistic that they had to create an arbitrary festival to make it happen.

Originally, the Fire Nation attacks all four Air Temples with the power of the comet to back them up for the initial attack. It shouldn’t take one night where they’re all conveniently in the same place (except Aang) and kill them all, it should take one night to deal them such a severe blow that finishing them off over the next few years is easy. Because of course some would get away and were hunted down, that’s how war realistically works.

Removing Aang’s Crush on Katara and What it Means

Oooooh this bothers me for so many reasons, but I’ll try not to be too crazy about it.

I don’t know why they got rid of it completely, unless they’re just waiting until Aang and the actor are a little older for it to be more appropriate. But with what they did with the “Cave of Two Lovers”, I think they’re scrapping the love between Aang and Katara entirely.

Which they haven’t done anything to help them bond at all as friends in the first place except like two moments of bending instructions from Aang and a lot of dialogue about how they’re family. Aang and Sokka have had way more bonding moments together, I can believe they’re friends at least.

One of the biggest issues will be, if they somehow manage to trick Netflix into letting them adapt Korra as well, Aang and Katara’s kids and grandkids are fundamental to the plot there. But that’s getting way ahead of ourselves, let’s just focus on ATLA.

Aang’s feelings for Katara are very important, particularly for being the sole reason he stops trying to master the avatar state, only to attempt it again later to protect her, and then he ends up “dead” for it. He admits to loving her out right in those episodes.

The thing about Avatar is almost every detail is valuable in some way and dominos into a larger plot point. Their love for each other isn’t a major focal point of the show but it does matter, I just really hope they’re not planning on changing love interests.

Moving Anything from Other Seasons into Season One

I’m not going to spend a lot of time on this, but bringing anything from other seasons into season one when you already have such limited time is really irritating because that time would have been better spent on actual character development or including more vital points from season one.

Changing Lore

Aang accidentally bringing both Sokka and Katara into the spirit world with him just because they were in close proximity is ridiculous. He shouldn’t be able to do that. It makes much more sense that they’d be stolen by Hei Bai than piggybacking off Aang when neither of them are spiritually inclined.

Making Avatar shrines the only way for Aang to access his previous avatar is so limiting and irritating, he gets better at it as he becomes more spiritually connected to the avatar state (like in the ocean during the first episode of Book 3 when Aang contacts Roku, or on the Lion Turtle when Aang contacts four past Avatars). Also they completely contradict this rule letter in the season when Aang sees Avatar Kuruk for a few seconds just outside in the Northern Water Tribe. Like they specifically said it, and then completely contradicts themselves, that’s a pretty big consistency error when it’s a change they made.

They removed any significances of the solstices. Once again, giving us no timeline or indication of time passing in the world.

The reason Roku is able to control Aang’s body and powers as much as he can in the Fire Nation Temple is because of the winter solstice when the veil between spirit and physical world is thinnest. But now any Avatar can do it as long as Aang connects with them at their shrine. Kyoshi should not have been to do that to him and it replaced Roku’s very profound moment at the temple.

I don’t like that they said Tui and La are only in physical form one night a year (I think that’s what Zhao said, or something about an ice moon, whatever), and then that night just happened to be near. I can’t think of a single reason why they would make that change. There’s just too many convenient coincidences happening in this version of the story. Tui and La specifically gave up their spiritual forms for vulnerable physical forms for a reason, learn the lore!

The special spirit killing knife was stupid. I don’t know if it’s in the novels and I missed it or if the writers (more likely) came up with it, but it’s seems like really convenient and silly lore that actively contradicts a lot of what was originally set up about the spirits. And added a lot of unnecessary exposition that didn’t even tell us how Zhao got it.

In another similar vein, the MacGuffin of the statue of the many faces goddess spirit that Aang took from Roku’s artifacts to save Katara and Sokka from Kho was just so weird to me. He just eats people now? What happened to him stealing faces if you show an emotion? That was what made him so terrifying, and it was just another moment they stole from Aang and showcasing his potential. It wasn’t his negotiation skills or his self control that saved his friends, but a very convenient object just sitting on a shelf waiting for him.

None of their lore changes made sense or had a purpose to me other than to arbitrarily be different from the source material.

Mature ≠ Graphic

The writers said repeatedly in interviews and articles that they wanted this live action adaptation to essentially be a more mature version. They even likened their vision to be something similar enough to appeal to Game of Thrones fans, which to me was a massive red flag going into the show. Please, do not mix up maturity and graphic violence.

The only thing more “mature” about the live action is that we actually see people being burned alive and killed throughout the season. The original has far more mature writing because of how delicately and intricately it handles very serious concepts. The Netflix writers either do not trust audiences to pick up on subtle and complex ideas, do not trust the actors to portray subtle and complex ideas, or they do not know how to write subtle and complex ideas. Or some combination of the three. Everything is exposition, which I’ve said so many times before, but I will keep saying it until they learn not shove plot right in our faces with no nuance.

The writers simply think they’ve created something more mature because it’s sometimes violent and not a cartoon, which isn’t how that works.

It’s not mature, it’s graphic. Know the difference and you’ll be a better writer for it!

Humor

Yes the humor in the original leans a little more childish, but you don’t solve that by stripping the humor entirely in the adaptation! Almost any attempt at humor, to me, felt like an after thought and was mostly misplaced in a scene (like with Roku, I’ll never get over that). Just overall lost a lot of the whimsy. I understand that animation lends itself to way more expressive, cartoonish, and childish humor, but there’s plenty of funny live-action films and shows. Why did it have to take such a back seat? Again, that’s not a sign of maturity, it’s a sign of a very surface level understanding of how writing works and of what the original ATLA had to offer.

What Was The Point and What Could They Have Done Instead (imo)?

Being brutally honest here, I really don’t think there was any point to making this live action adaptation, especially with the limitations they put on themselves. I think it was, overall, a waste of money and resources. In theory, it was really exciting to have the opportunity to see the world come to life. And in a lot of ways I think they accomplished that between the location designs, costumes, respectful and accurate casting, and environments. I just think that was their main focus, making it look right, that the writing took an unfortunate back seat that made the whole show suffer.

There are two directions I think they could have taken instead.

One, I think they should have planned for six seasons. Every book of the original has a roughly mid season event that could act as really solid season finales. They would be able to stretch out the story and not compress or rush their writing so much. It would be structured more like this:

Season 1 Finale - The Winter Solstice and Discovery of Sozin’s Comet

Season 2 Finale - The Siege of the North

Season 3 Finale - Getting to Ba Sing Se and The Drill

Season 4 Finale - Aang’s “Death”

Season 5 Finale - The Day of Black Sun Invasion

Season 6 Finale - Sozin’s Comet and Confronting the Fire Lord

I understand that doing this doubles the length, and subsequently the cost of the show, which is a big ask. But I also think if they don’t have the resources to do it right in the first place, then they shouldn’t have done it at all. Is it better than the 2010 version we got from Shyamalan? Of course, but please allow yourself to have higher standards than literally scraping by the bottom of the barrel of quality.

I don’t expect anyone to have as in depth opinions or critiques as me, and I don’t begrudge anyone for enjoying the show or even liking some of the changes! But I will say that we all, no matter how critical a viewer you are, deserve better than mediocre quality.

The second direction I think they could have taken, and I really think they should have, is to write something completely original within the world setting of Avatar. There are quite literally dozens of avatars that existed before Aang that have no story yet! They had an opportunity to write some original that actually fits into the 8 episode limit they had while also further expanding on the history and world we all love so much.

I just think the audience, that mostly consists of fans of the original, would have been far more accepting and open to an original story rather than a middling attempt at retelling a story that’s already so beloved.

If you made it this far, I am extremely impressed and also worried for your health! This was mostly me needing to get all of these thoughts and critiques out of my head without ranting to friends and family that have no idea what I’m talking about and would get annoyed.

Anyway, that is my very extensive review that nobody asked for! If you need clarification or further analysis on anything I said, or if there’s something I missed that’s a critique for you on the live action, or if there’s anything you disagree with that I’ve said, please let me know in the comments below! But be nice, I will block anyone being mean about people opinions or thoughts. This is an open friendly space, I won’t tolerate bullying.

Thank you for probably far too much of your time!

[genericpuff]

I think praising someone (Mongie) considering her incredibly racist comments and disrespectful behavior towards nonwhite fans, simply because she isn’t Rachel, is a bit gross

? I mean, yeah I agree with you, she's acted very immaturely and cruel towards her nonwhite fans. I'm assuming this has to do with my post talking about mongie's announcements at NYCC with her getting an anime? (if not please link me to the specific post for context). I don't really see any of that as 'praising her', more so just acknowledging the fact that she at least had the balls to step away from WT when she knew it wasn't working for her anymore, and the fact that she's managed to succeed separate from WT thus proving that it is, in fact, possible to succeed in this industry without relying on one single platform. The comparison to Rachel was more so just to prove a point that LO is in development hell lmao

I was more so just trying to praise the action in and of itself, not praising mongie for being a good person. I'm very aware of and have talked about her issues involving her racist opinions (the Vicky incident especially), I don't think her not being Rachel makes her a good person or good creator by default and that's not the point I was trying to get across. I'm not interested in continuing to read her work (like with LO I used to be a huge fan of Let's Play until it fell tf off in S3, then I found out about all the racism) but I can acknowledge the fact that she found a way to break out of the mould of Webtoons because I think that's something that should be talked about so that others can see it is possible to survive outside of Webtoons (not just for the aspiring creators, but also for the Originals creators who have spoken up about feeling 'stuck' with Webtoons because they don't feel like they can succeed without WT). It's just a shame it was, y'know, the person who has treated her fanbase like shit and acted out over very valid criticisms of her depictions of nonwhite characters. That's pretty much all I was trying to get across, it's not much more complicated than that lmao Weird analogy but it's like when you smell something cooking that smells really good and then you find out that it involves ingredients you can't stand LOL

But hey, you do raise a good point that highlighting the success of someone who's shitty towards their readers and how they write nonwhite characters is just giving them more press and recognition, so let's use this opportunity to highlight a not problematic creator who also found success in this industry while never once being an Originals creator - Alice Oseman! Heartstopper is wonderful and beautifully written especially in its characterizations and depictions of queer relationships and identities, the Netflix adaption is very warm and comforting to watch, and Alice herself seems like someone who I'd love to have coffee with if I ever had the chance. Go read/watch Heartstopper y'all , and remember to include non-Originals creators in your search for good comics to read <3 I'll probably make an actual post about Heartstopper sometime because I still need to watch the second season of the show and I'm sure I'll have plenty to gush about after I watch it just like I did with the first :' )

[alltimefail]

If you're a fan of DC Comics please take a second to sign our petition to save "Dead Boy Detectives" from cancellation!

We want a season 2, but more than that we are fighting to gain justice for nerdy, niche, queer, diverse media and all the creatives who work on it. Netflix is killing creativity and innovation!!

Thank you if you sign!!! Honestly I recommend checking out the show even though it isn't currently renewed by Netflix: it's campy, weird, whimsical, action-packed, poignant, emotional, visually stunning, and I really could go on all day!

If you need convincing, Dead Boy Detectives was ranked as the #1 Best DC Live Action Show available on Netflix by MovieWeb, and for good reason! The story is incredible, the actors are insanely talented... this story means more to me than I can even put into words. You just have to give it a shot - you seriously won't regret it!!!!

[ilvero-love]

Save Lockwood & Co

Lockwood and Co has become my latest obsession😍 So much so that it has once again inspired me to turn to Tumblr to deal with my need to microanalyse every second of it. And why not? It’s certainly worth doing so.

I only found Lockwood and Co through the Netflix show and despite being wary of Netflix’s propensity to cancel seemingly everything after just one season, I was hooked before they reached the front door of the opening scene. And it only got better.

For those of you that followed my thoughts on Miss Fisher, please consider watching Lockwood and Co🙏 The chemistry between the two characters is on the same level as Phryne and Jack, and whilst you may assume it’s just a teen show, it so isn’t.

The original source material, Johnathan Stroud’s book series is a wonderful tale, but in the hands of Joe Cornish and Complete Fiction, it’s taken to another level👌 

Masterful.

The show/story is so beautifully put together and, like MFMM, it’s greater than the sum of its parts. The lighting, the cinematography, the storyline, the acting all come together in a pretty much perfect story. 

Yes, I stand by that description. The care that has been taken by Complete Fiction in bringing this story to the screen, the attention to detail, continually amazes me. It is just too good 🤗

So, for any MFMM fans who are open to a similar vibe💕 (with a touch more danger thrown in), please give it a try. Like me, I think you’ll be hooked early on. It was the opening exchange between Lockwood and Lucy that really got me invested.

And if you’re concerned about starting a show that, at this stage, has no follow up season, rest assured the story arc is neatly wrapped up. It’s only when you’re so hungry for more and you devour the books, that you realise this is a brilliant story that just has to find its way back to our screens. I have hope that we will see it eventuate as there is an intelligent and dedicated group of people working to make that happen 👏

So please 🙏 join us in the delight that is Lockwood and Co 🤗💕

You won’t be sorry ⚔👻⚔

[ariays]

An important message:

Hello fellow YA book lovers and YA/Teen TV shows enthusiasts,

I am here to recommend you a show and book series that is soooo good but is criminally underrated. 

It’s called Lockwood & Co.

They recently released the series on Netflix. So if you have any spare time and nothing to do during the weekend, I’d suggest you to give it a try. It’s a very binge-able and easy watch. Very entertaining for everyone from all walks of life. Unlike other teen shows out there that claims to target young adults, this one is very family-friendly. You can watch it with younger kids or with your parents without having to worry about any inappropriate scenes coming up.

You might think it’s cheesy or childish from your first impressions of the poster or trailer/teasers but let me assure you that it’s not. It’s a fun action/adventure story that has a lot of heart and the accompanying soundtrack is AWESOME. 

If this post manages to reach you or if the show did reach your radar but you are still hesitant about starting it, please do give it a try. This week is a crucial week as its the last week of tracking that would help determine on whether the show can be renewed for a second season. 

For those of you who like a little bit of romance in your shows, this one has a great subtle ‘blossoming relationship’/slow-burn romance between two characters. It’s very subtle so if you prefer no romance, it shouldn’t bother you. But if you like romance, those subtle scenes will make you crave for more. It also has a trope, which is personally my favourite, the found family trope. 

At the same time, I would also like to recommend the original book series which the show was adapted from. It is a five book series written by Jonathan Stroud. The first book was first published in 2013. It was actually during the heyday of BookTube but sadly, this series seemed to have slipped under BookTube’s radar. Even today, I don’t think I have ever seen any popular Booktubers talking about it. Which is so unfortunate. Because this book series deserves the same hype and love as Harry Potter and Percy Jackson.

So if you are a book reader and is looking for a new book series to read, I would highly recommend this series. It’s fun with great humor and just purely enjoyable. 

So please give it a try! Also binge the show by this weekend if you can! & let me know your thoughts!

[neo-zone]

Alright, I finally got my hands on this full ... presscon? cast reaction? Whatever.

I already shared some screenshots from this before (by some people on Twitter) and after finally watching the full version, I fell like I need to share the rest of the season 2 world building and character lores mentioned and discussed to you guys in here (and also major spoilers for season 3)

P.S. I could be wrong on some of the points here (either misinterpreting or not paying enough attention), so please correct me if I do in the reply section

Season 2

I'm still confused af on this line : "he killed his original body as well as his personality, eventually turning into the twisted monster that he is now". Like so, does it refer to Sang-won killing his original body in season 2 or is it about monster Sang-won killing the real Sang-won?

I still don't get this line too, so interpret it however you want : "The child covered in black?" "This is where what's remaining of Sang-won disappears, uncovering the child."

Chan-young was a baseball player. Ye-seul was one of the cheerleaders

Oh, apparently monsterization does still happened inside the stadium. That's why there's a regular daily checking. Anyone showing symptoms will be out in the isolation place (yeah that place where they put the sick mom in). Some lived, some died inside the isolation => might be why Chief Ji keeping her monster son secluded somewhere deep inside the stadium

Hyun-su cut Yi-kyung's daughter hair the same style as him, hence how they're being similar appearance wise

The live action crew is adapting Shotgun Boy into Netflix Sweet Home

Yi-kyung blames herself for how her child turned out to be with her monster-turning power

Yi-kyung's inability to give affection or even touched her child stems from the fact that monsters are created from human desires, so she didn't want her child to have desire (awfully familiar with a particular old man *side glance*)

Yep, you guessed it. These three (Hyun-su, Eun-yu, and Chan-young) are dense as fuck about their own feelings to each other (minus Hyun-su to Chan-young and vice versa ofc)

Yi-kyung's daughter views Hyun-su as her own family even more than her biological mother. Because they're similar and he's the only person she could hold hands with without her power reacting

Hyun-su uses red ribbons to mark the safe area for Eun-yu because color red stands out among the greenery of Seoul post time skip

The monster cocoons are shaped like a heart because monsterization manifests from human desires

The "real Jung Wui-myeong" is one of the scientists. Sang-won (or monster Sang-won depending how you interpret the earlier points) took his identity and used it as his own, probably to separate himself from his old human self

Lmao, not them calling Sang-won's family as family of evil and there's no good apple in it. That's so fucking foul

Sang-wook is still there somewhere (I already shared this one before)

Sang-won's original abilities include the Medusa touch he did to Hyun-su in episode 3

Oh wait, Yi-kyung survived?! I thought she died after her fight with Hyun-su (uh oh *nervous glance to every instance of me mentioning "her death" in replies*)

Monster Hyun-su act according to what Hyun-su thinks and desires (I had shared this one before)

Monster Hyun-su is more proactive and extrovert (is the extrovert part really necessary?")

Season 3 rough summary

Family drama : Nam Sang-won starts a bunch of trouble (this bitch) in order to create a world he dreams of. There are family reunions and conflicts between spouses. He also meets his child (uh oh). They fight for her custody. This custody case didn't need a court (fuck, oh come on 😂). Yi-kyung wouldn't just talk it out. She'd fight until one is dead

Sibling drama : Eun-yu will meet Eun-hyeok again, but I'm not sure it'll make her happy

Second male lead struggle : Chan-yeong faces even more hardships as the story progresses. But even then, he gives up a lot just to protect Eun-yu. He starts to understand the monsters more. There's a lot on his mind as the story goes on.

More monster Hyun-su : Hyun-su lets go of himself and lets out the monster. But the monster doesn't just do its thing. He reads Hyun-su's mind and acts as he wants.

Another Hyun-su and Yi-kyung interaction : And later on, he interacts with Yi-kyung as well. The emotion it brings also felt huge. In the narration, he tells Eun-yu how much pain Yi-kyung is in and that he has to stop it all himself. So I'm sure Hyun-su sparked a change in Yi-kyung's heart. That'll continue in Season 3.

[showmey0urfangs]

Do you think the majority of iwtv viewers are book fans or casual audience? I know people I follow on twitter are mostly book fans that keep updating about iwtv but I think we are a small fandom compared to other tv shows, so I guess most of the viewers are actually coming from casual audience. On twitter, our fandom is mostly filled by lestat & armand stans but looking at fyc emmy post by amc, jacob got more rt & likes on twitter (even on fb & ig too) compared to fyc for sam & bailey, so I guess there are more casual audience but I still hope our fandom could grow bigger next season

Hi Nonnie! I think the vast majority of the audience are casual viewers who saw the show on tv, or maybe even signed up for AMC+ but once the season ends, they don't actively engage in fandom.

Of the small minority who are actively involved in fandom, I find that the split between book vs non-book fans varies depending on the platform, but overall most of us were either not familiar with the books (more so the 1994 film) or we came to the books because of the show.

A lot of the Twitter folks, at least the ones with the largest following, seem to be book fans who were into the VC even before the show (hence why they like Armand and Lestat more because those are the two most popular characters in the books). But among the general public, Jacob/Louis is still infinitely more popular as evidenced by the numbers.

The most recurring comment you'll see on any IWTV posts that go viral is always: Is that grey worm. Because even people who have no idea what IWTV is still recognize Jacob. He played a major character on the biggest show in television history and has a fairly successful music career on the side while Bailey and Sam were relative unknowns prior to IWTV.

Like I said in the previous ask, Jacob is the main draw of the show, not Sam Reid—and that's merely a statement of fact and not me trying to piss off his stans so please don't come for me. 😂

To your second point, I could see the fandom growing if AMC actually puts in the effort to broadcast the show in other territories and to promote it properly. The network is obviously not as big as HBO or Netflix etc. but they've had massive success in the past with shows like TWD and Breaking Bad, so clearly they are capable of getting large-scale viewership when they put in the effort.

Hell, if they could give IWTV season 2 the amount of support they gave Mayfair Witches, we will already be off to a good start. IWTV is amazing and it deserves to be seen by more people.

[omophagic-beast]

TELL ME ABOUT THOSE PODCASTS!!! TELL ME WHY YOU LOVE IT AND WHY IT STUCK OUT!!!!!!!!! I LOVE PODCASTS!!!!!!!!

my friend, you have activated my trap card in such a major way, this is the special interest that has me writing a dissertation in one of my friends discords, they had to quarantine me in a thread because of how much I love Archive 81. I'll be quarantining myself below a read more so I dont clog up dashes.

Archive 81 is a podcast about ritual, stories, and sound. It's also a REALLY, REALLY BAD NETFLIX SHOW. DO NOT WATCH THE NETFLIX "ADAPTATION", PLEASE. (this is whats in the discord thread, by the way, a currently ongoing compare and contrast of the podcast and the show where im breaking down why the show is so truly fucking terrible)

There are currently three seasons to A81, and two miniseries that exist between the second and third season, and after the third season. All are equally important and I sincerely recommend listening to each season in order, and not skipping the miniseries. However, each season is very different from the last, so I will pretty much be focusing only on season one to avoid spoilers.

Archive 81 season one is about Daniel Powell, a capital G Guy who has just taken a job with the Housing Historical Committee of New York State to digitize some old tapes. If you've listened to The Magnus Archives, this premise may sound familiar to you, and I promise if you enjoyed that podcast you'll like A81 as well.

I think that the first episode of A81 is a masterclass in setup, and really I can talk about it forever but you should just go listen to it, it's only 16 minutes long and seriously sets everything up so, so well. But I'll go over the basic premise here, partially because I really do just like talking about it.

First episode Dan gets set up by his boss, a condescending man named Davenport, in his new temporary home: a concrete bunker in the middle of nowhere with no internet and limited cell service. Sounds super normal and not sketchy At All! Oh, also the stocked food consists of mainly canned peaches, there's no sheets on the bed, and the power goes out intermittently. Again, just ideal living conditions.

And there's one more thing! Dan has to be recorded, constantly. 24/7.

So he's set up and immediately set to work, Davenport leaves and Dan slots in the first tape.

This is where we meet Melody Pendras, a journalist working for the Urban Preservation and Development Department of New York State and god, don't these departments and committees just sound so official?

All of Melody's tapes take place in the mid-90s and contain a series of interviews that she conducted in the Visser Apartments in New York. See, the apartments are kinda... weird. To put it mildly. There's voices that disappear when you turn the corner, music that comes from nowhere, and a cult run by someone named Samuel.

See, this is where I have to geek out a bit about the first episode in particular. Its, *insert hand flaps here* its so good.

The first tape that Dan puts is Melody's first time going in to Visser. She introduces herself, the apartment, and gives us the beginning of her story. The second tape Dan puts in is Melody's last time going in to Visser. She's panicked, talking about Samuel and how hes evil and a boiler room and how shes got a plan and -

the tape cuts off, damaged, warped, something.

This is how the story hooks Dan, showing him it's beginning and almost-end. Leaving him to figure out it's middle and the mystery of what actually happened to Melody.

At the end of the first episode, we meet Mark. Mark informs us that what we just listened to was a tape sent to him by Dan, before Dan went missing. He's not sure what to do, but is hoping that, by putting these tapes out here, someone who knows something will come forward.

This is how the story hooks us, showing us it's beginning and almost-end. Leaving us to figure out it's middle and the mystery of what actually happened to Dan.

And that's the first season. We, the audience, parallel Dan the whole way through. Its just, so good, for reasons I, again, don't want to spoil. But this parallel becomes important in The Golden Age, the miniseries between the second and third season.

Speaking of the second season, this is why I think the switch was so jarring to a lot of listeners. The first season gets us to relate to Dan so closely because we are him in a way, and the second season breaks that parallel. Well, this and the uhh. cough. there's a community created content warning document for the show, and the second season required a breakdown of body horror into four different types. so. yeah. If you're not a fan of Bad Meat Noises, it... may not be for you, sadly (season 2 is my favorite season).

The third season I will talk a bit about because it again turns a 180 to the point where a brief summary is not much of a spoiler. This is partially because Dan is not our main character! Instead we get to meet Nicholas and Christine, half-siblings who are attempting to preform a ritual left by their horrible occultist father.

When I say season two is my favorite it is by the smallest margin. I adore this whole entire show so, so much. Including the miniseries. The third season is fucking excellent, and if you find yourself turned off by the second season then honestly go ahead and scooch up to the third, with a stop at The Golden Age on the way. You'll be a bit confused, but ok.

There are also transcripts of the show available (the lovely unofficial ones which are fantastic but not finished, and the official ones) if you don't want to listen to the Bad Meat Noises but don't mind reading them, however I really strongly recommend against this. Sound is a huge part of the show (rituals, stories, and sound, remember?) and the sound design is really good.

Again I can talk about A81 all day, and when I finish my lecture on the podcast versus the show (evil, terrible) I'll clean it up and post it on here, because I'm actually rather proud of it so far and I'm not even halfway through my talking points.

Hopefully this has convinced you to give A81 a try! Seriously, the whole first season is 10 15-18 minute episodes, you can chomp through the whole thing in an afternoon.

Thanks for giving me a space to talk about it :3 <3

[buckevantommy]

totally completely fine

ok. i'm not a fan of australian tv or movies bc they're always overdramatised or too darkly themed or comedic in a way i don't gel with bc i'd rather watch american comedies (not sitcoms, they need to die a firey death). plus i've never really liked the aussie accent, i've found it weirdly unsettling hearing characters speak with aussie voices and maybe that's bc being an aussie myself and wanting to use tv and movies as an escape so having that stark reminder of my own reality means it's harder to suspend and enjoy a different one for a spell. or maybe it's the fact that i, like a great deal of non-americans, have grown up watching american tv so now any non-american accent just sits weird in my brain. 

but that's why i need to express my love for this show. 

everything from the casting (diverse faces and bodies) and the actors chemistry to the setting and set design, cinematography and soundtrack, and of course the plot and characters themselves. It's so well done. It's a heartfelt dramedy that makes you care keeps you interested in wanting to know how things progress and ultimately turn out. the various relationship dynamics are full of ups and downs and it feels real in that messy way life is. 

the premise: vivian is a young mess of an adult who lost her parents in a car crash that she was also in when she was a kid. she's the youngest of 3 siblings who were raised by their grandfather who dies and leaves viv his cliffside beach house. the twist: the house backs onto a picturesque ocean cliff where people go to commit suicide. the grandfather used to try and stop them, and now it's up to viv to try and do the same. 

intense stuff so far. but this show is hopeful, it's not super dark even though it does deal with strained relationships and mental health and suicide attempts/ideation. the characters are distinct and the way their lives entwine don't distract from their individual journeys; viv is the main character but enough screentime is given to every supporting character that they all feel like main characters in their own right which is how it should be because that's how life is. 

more good news is it's short: only 6 episodes at just under an hour each (it doesn't mince screentime) so i binged it all yesterday when i wasn't feeling great and just. wow. i haven't found anything mentioning a second season but if they did more i'd watch it - but the thing is it ends with both closure and the potential for more exploration of the characters, so it feels like a realistic open ending and works as a single season story. 

i don't know if it's available overseas because it was created by and aired here by Stan (which is like our homemade Netflix) but i hope if you guys are interested you'll find a way to watch. 

bonus thing for me: seeing this story play out in my home (settings and details) was actually grounding in a way i didn't expect. like i mentioned above, most of us grow up on american tv and maybe some uk stuff and while that's good for an escape it can actually be jarring to get back into our real world. but (with good quality programming like this show) i realise aussie productions can make it a lot easier to connect with the physical world around me (not the digital world), to not feel so alone, and to know that it's worth finding productions from your homeland and they don't hinder the escape of fiction in fact they can aid in grounding it in a believable way. 

anyway. just one aussie who doesn't really like aussie-made stuff telling folks to give this show a go because i was pleasantly surprised. 

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(note: if anyone has any questions or concerns about triggering content please message me or reply to this post and i'll fill you in on stuff it does or doesn't feature)

[lol-jackles]

deadline /2023/01/greg-berlanti-new-overall-deal-warner-bros-television-1235211523/ Could you explain Berlanti's new deal, please? Because it sounds to me like he's still locked to an overall with a % of profits rather than the large upfront cash that he usually got in the past. A great deal, but still needs polishing for pr. Meanwhile, Goob seems to think Berlanti is Jensen's kingmaker puppet at WB and will help Chaos do abs whatever it wants, including a TW renewal on Max, post strike. HUH??!!

Link. This is just a puff piece. The better article is here. The jist is WB is not expecting immediate rating hits from Berlanti, instead WB is banking on long term gains from syndications and/or international & physical media sales. WB will pay Berlanti a commission based on the number of sales his shows make so they're still counting on his "spray and pray" producing M.O. In other words, the more things change, the more they stay the same. Note how the second article's veiled comment about selling licensing rights to 3rd parties, just like the good old days!

LoL that Goobie is still saying Berlanti and Jensen are attached at the hips when Jensen left WB while Berlanti is still at WB. By Goob's own logic, Jared and Jensen are still attached at the hip even though they are at different studios and networks.

I may be giving Goobster too much credit because I think he means SPN, not TW, that will be on Max. When SPN leaves Netflix in 2025, most people assumed it's going to Max and it would be about the right time for a SPN reboot via limited series or movie or full on nenewed series. By then Goobie will change course and yell and scream that Walker will run for five more seasons just to keep Jared away from SPN 2.0.

[maarigolds]

If I wanted to feel less worried about a renewal what facts are looking good for Lockwood and Co? Things in their favor?

Ok look I'm definitely the wrong person to ask this to because I'm usually a staunch pessimist but-

There are a few things that do give me hope*:

*and when I say a few I actually mean here's 1k word essay bc I'm slowly going crazy. You're welcome.

The numbers are not fantastic, but they're not bad either. I feel like we keep on saying that we need more views (and we do. we always do.) but the situation is really not that terrible. We're somewhere in the middle, actually. The show is not super popular online, so it feels like people didn't watch it, but they did, they're just not talking about online as much as I wish they would. Also, as we've already said many times, there are quite a few netflix shows that have a similar budget to l&co that have been renewed for a second season despite having lower views (locke&key, winx, warrior nun).

The show is British. I know that this might sound weird as a reason why it should be renewed, but hear me out: the show is definitely targeted towards brits and all the press they did was in the uk. That's the main audience netflix is interested in, and the show has done pretty damn good over there. The numbers are lower in other countries because netflix didn't fucking promote the show anywhere else- but that's a story for another day.

Joe Cornish is planning to only do 3 seasons. The story is already there, it fits neatly into a three seasons run, and netflix knows this. It's not like Joe is setting up a high budget show that, if people like, could take 7 seasons and 12 years to make (like sense8 was, for example). Plans have been made already to make three seasons, and that means that, when netflix greenlit the first season, they already knew how much the whole thing would cost. it's a much safer bet for them. It was the same thing for Locke&key, and they got the three seasons they wanted.

The pandemic is pretty much over (it's really not, but as far as netflix is concerned it is). Netflix has cancelled a shitload of stuff lately, we know this, much more than other streaming platforms did. However, one of the reasons why that happened, was the pandemic. All production was stopped and that meant that either shows couldn't physically be made, or that it took so long for them to come back that people had lost interest. Luckily that's not the case anymore, so maybe the number of cancelled shows will go down in the next year.

The production is shared with Joe Cornish's company, complete fiction. That always helps. Also its called complete fiction so fucKING COMPLETE THE SHOW YOU COWARDS

The reviews are good. Not that it matters all that much with netflix, but surely it's a positive.

I really really want it so bad. Please.

Ok I'm done cause I have to go to class in like 15 minutes so yeah

Keep streaming the show in the background. Tell everyone about it (but don't be obnoxious cause that never works). Make art and videos and gifs and fanfics and analysis and anything you feel like doing. Because every little thing helps 💙🖤🧡

[alltimefail]

Deadpool and Wolverine fans, can you please take a second to help the Dead Boy Detectives fandom?

Please sign our petition!

We want a season 2, but more than that we are fighting to gain justice for nerdy, niche, queer, diverse media and all the creatives who work on it. Netflix is killing creativity and innovation!!

Thank you if you sign!!! Honestly I recommend checking out the show even though it isn't currently renewed by Netflix: it's campy, weird, whimsical, action-packed, poignant, emotional, visually stunning, and I really could go on all day! If you love Deadpool, you wil LOVE Dead Boy Detectives!!

If you need convincing, Dead Boy Detectives was ranked as the #1 Best DC Live Action Show available on Netflix by MovieWeb, and for good reason! The story is incredible, the actors are insanely talented... this story means more to me than I can even put into words. You just have to give it a shot - you seriously won't regret it!!!!