#what do you MEAN she's boring

[duskandcobalt]

me when someone says they don't like elain because she's "boring" and "doesn't do anything"

[turtleblogatlast]

Something I really like is that April’s constant stream of odd jobs she goes through is somewhat reflected in the boys as well. Like, you have April working at random pizza places or getting a crane license or being fully willing to apply for a job at a place clearly made out of cardboard. Then you have the boys as well who do anything from working as a basketball mascot, building a massive dog park, being waiters, getting a whole band gig at a theme park, etc, etc-

Main difference is that April actively applies for these jobs (and is hopefully paid for the short time she’s in them) whereas for the bros the jobs usually find them (and they practically never get paid.) It doesn’t even stop at jobs either, they just seem to casually amass skills in general.

I don’t know, I like how both April and the turtles are just so ready and willing to do things. Sure, they’re not always good at these things, but they do them readily! In a way, being heroes is just another job (well, more like volunteer work/vigilantism/another fun activity) that they initially took on because of their general sense of “why not?”

They’re very willing and open to trying out new things despite their tendency to revert back to what they enjoy (and how commonly trying new things ends up going wrong), and I think that adaptational interest of theirs really helps them be well rounded in multiple regards.

[sergle]

people being dramatic about "american cheese" (in quotes bc americans didn't make it) is one of my favorite topics because it's funny to see people talk about it like it's a biohazardous waste when it's literally just Cheddar That Has Been Watered Down With Milk, And Then Emulsified

[aroanthy]

i love how fraught and complicated discourse around various utena characters ‘dying’ is when anthy is literally stabbed to death eternally by a million swords imbued with human hatred. and then utena gets stabbed to death by them also. like. ‘death’ is incredibly interesting in rgu because most of the time it’s this ambiguous figurative thing that has interesting implications re: ohtori as a closed-off world one can escape. we are all trapped in our coffins. mamiya is the only named character with a grave. nemuro memorial hall functions as one all the same. ruka is implied to have died in the hospital— was he dead all along? who was the boy we saw for these two episodes? is this dead boy the same boy, or is this just another coincidence from the shadow girls, cutting like a knife? it’s heavily implied that akio and anthy murder kanae by poisoning her, adding to the previous implication that they were poisoning mr ohtori too, but there are no perceptible consequences of this. kanae’s absence is not felt. she’s fed an apple slice. what happens to the bodies? we know what happened to the 100 boys, but what about everyone else? and so on and so forth. ‘death’ is a tricky thing in utena, i think it’s constantly functioning on figurative and literal levels in very different ways for very different purposes. dios died. dios was dying. dios didn’t die. he grew up. etc etc

[hopeswriting]

imagine you're luce, and you're born the heir to a mafia family. you're mafia-born, and so of course also mafia-raised, and then also a donna-to-be. you're raised to be able to take on the role, to be good and capable at it, are taught to make one of your core beliefs about how the many must come before the few, because the family must always come first. you're going to be the donna, of course you must always prioritize the family above all else, it's your foremost and most important duty.

if caring about the few too comes at the price of the many, comes at the price of the family, is it even worth it? if the happiness gained from it comes at the price of a greater suffering for others, is there even any meaning to it, even if it's your happiness we're talking about? you understand, don't you?

you're not sure if you do, but you care about your family, love it, want to do right by it once you become their donna, so you nod, listen and learn.

(you don't have to be taught the pain and loss and guilt and anger and bitterness is a fair price to pay for the pain you decide has to be inflicted and the sacrifices you decide must be made, including by yourself. it's the least you could do, even.)

imagine you're luce, and the gift of foresight runs through your blood.

you would not call it a gift. you did not ask for it either. and you'll never come to see it as something wanted by you.

you can see the future, and it happened exactly as you saw it would, so of course it's exactly the way you wanted it to go. you can see the future, and it happened exactly as you saw it would, so of course you didn't care to try hard enough to change it. you saw the future before the shape of it had yet to be breathed into existence, and who's to say it didn't come into existence only because you saw it happen? you saw the future, and it happened worse than it had to for it.

you can see the future, but you still can't make it anything else than what it was always going to be. you can even make the visions happen at your will, but you still have no say on what you see or how much you see. you still can only be the witness of it before anyone else can.

it does mean double and longer the happiness sometimes, means relief and gratefulness and hope beyond words, and it'd be cruel of you to voice out loud your feelings for others to hear the many more times it means something else.

you can see the future, and it doesn't make it any kinder on you than on anyone else, does not give you any more power or control over it than anyone else, but at least you can see the future. you're given the time to make peace with it, to brace yourself for it, to bargain with it, to plead and beg and fight against it however desperately and hopelessly, even if in the end it still happens exactly as you saw it would.

(you can see the future, and it still doesn't hurt you any less than anyone else when it happens, but you don't expect anymore for anyone to hold you any less responsible for it anyway. it would be nice for someone to do it one day, but you understand.)

you can see the future, and you decide it's a kindness to both yourself and others to keep it for yourself as much as possible whenever you can.

imagine you're luce, and your family has this set of rings they've looked after and protected for as long as your family has existed. they're one set of three of the most important artifacts in the world, ones that help in safeguarding its existence and balance. they're duty, the very first one and the most important one your family was created for.

the pacifier around your mother's neck is duty too, and the most important and powerful artifact among twenty-one in safeguarding the world and its balance. it's been passed down in your family too, from mother to daughter. it's duty, but less tied to your family and much more to the blood running through your veins. it's a curse, in fact, as it demands heavy sacrifices the rings don't, and one that can only be tied to the blood running through your veins.

(your mother looks at you as if expecting some kind of reaction from you, and you can only wonder at which point you weren't supposed to see it as a given. duty and sacrifices have been one and the same for you for a long time now. is it even duty if it doesn't require any sacrifices from you?)

imagine you're luce, and your mother dies for duty. she's the donna, and so she dies for your family. she's the sky arcobaleno, and so she dies for the world. she's your mother, but she dies anyway, doesn't fight it either, even knowing she will leave you behind, even knowing she won't ever get to see what you look like all grown-up.

everywhere you look, duty stares back at you, from your mother and the pacifier around her neck, her love for your family and the life she gives up for it, her love for you and how she dies anyway while you're still only a child. duty, from your family members and how they die for you and kill for you, how they do both at your command, how their lives are in the palms of your hands and how they weigh only as much as you allow them to at a time. duty, from the knowledge your foresight gives you and the shackles tied to the blood running through your veins.

your mother's only duty while she lives too. she loves you, but she'd have had to give birth to you anyway even if she didn't. she loves you, but she still gave birth to you even knowing the kind of life you'd have to live, the kind of hands you'd inevitably end up with, the burdens she'd have to lay on your shoulders, passing them down from her own. because she loves you, she finds the resolve to raise you to be able to face all of it head-on and come out on top, but she'd have had to raise you much the same way anyway even if she didn't.

(she doesn't die for you, doesn't fight to be able to keep living with you, and this, too, is your mother surrendering to duty one last time.)

(you're so sick of it, so angry at it, so hateful and resentful against it. you're so stifled by it to the point you've stopped being able to breathe for a long time now. or you would have been if they had taught you how to face duty in this way too.

it's for the better they didn't. a silver lining, sparing you pain that isn't necessary for you to go through. everyone you turn to only teaches you how to keep holding your breath longer, and you listen and learn, obedient and dutiful as you've ever been.

you're grateful for it too. really, you are.)

everywhere you look, there's no room for you to so much as question any of it, let alone anything more. duty is commendable, something you ought to look up to and strive towards, strive to achieve. duty is the right thing to do. of course it is.

(you exhale a breath of relief that shakes you down to your very core.

thank god, it's at least the right thing to do.

you're grateful for it beyond words. really, you are.)

imagine you're luce, and before it even happens, you know the choice you'll make when climbing that mountain, when standing on top of it, when waiting for a bright light to shine down on you from above. you know the choice you'll make then, even when pregnant with your daughter.

it doesn't matter since how long you knew, be it years, months, days, hours or minutes before. all that matters is that before you can even contemplate the idea of making another choice and all its implications and possible consequences, before the thought can even come alive in your mind, you already know the choice you'll make.

(you can see the future, but just because you already saw it, it doesn't mean it's now set in stone.

you can see the future, but just because you're given the chance to fight to change it, it doesn't mean it still won't happen every bit like you saw it.

it doesn't mean it can't still happen even worse than how you first saw it happen because you fought to change it, no matter how already dreadful it originally was.)

imagine you're luce, and before it even happens, you know they'll be others with you standing on top of that mountain. you're the only one who'll know it before it happens.

(because you can see the future.

and oh, you did not ask for it.)

they're strangers, people you don't owe anything to. adults who choose to show up at the first meeting, and to show up to every following mission after that. the chosen seven, whose ambitions and prides lead them to walk the path of the seven strongest too once laid down in front of them.

you don't force their hands in making any of those choices for them. you're not responsible for any of them.

you become coworkers then, accomplices, your hands stained in blood to various extent, but now dipping in the same pool of blood as you strive towards the same goal together. you have each other's backs, learn each other's strengths and weaknesses, learn each other's personalities, likes and dislikes. you keep having to spend more time together as the missions keep coming your way.

inevitably, you come to care about them. even more damning, they come to care about you in return. enough so they'll look after your daughter even after what'll happen on top of that mountain. enough so they'll look after your granddaughter too, warmly and fondly enough she'll call one of them uncle.

you're still the only one who knows they'll stand together with you on top of that mountain, not knowing what'll happen on it like you do.

and you do care about them, you swear you do. really, you do.

(you care about them the same way your mother cared about you, and how she still raised you to have steel in you and be made of sharp edges you know how to use. you care about them the same way you care about your family, and how you still send them to their deaths as needed so the rest of your family you care about just the same can keep on living longer and safely. this is the only way you've had the chance to learn how to care and love.

duty and sacrifices have been one and the same for you for as long as you can remember. it doesn't matter at which point sacrifices came to mean love to you too.

and most of all, you love your daughter more than anything else in the world.)

imagine you're luce, and this is who you are. this is who you've been raised to be, the only way you've been given room to grow up to be. this is the life you've lived and the kind of life that has shaped you as the person you are now. this is what you've been taught and told is the best version of yourself you could have grown up to be. this is who you ended up being by what you've been taught and told are all the right choices to make.

you're still the only one who knows what is about to happen on top of that mountain. it hasn't happened yet. the fate of the world hangs on what'll happen on top of that mountain, the same world you'll have to give birth to your daughter in. the same daughter you're currently pregnant with.

now imagine you're luce, look me in the eye and tell me you'd know how to even form the thought of the possibility of there being any other choice to make. look me in the eye and tell me you wouldn't look at the only choice in front of you, and know deep in your bones it's the only right choice to make. that it is right of you to make it. because it simply has to be.

(imagine you're luce, and you're not doomed by the narrative. of course, you're not.

why would you need to be when the narrative has painstakingly shaped you all your life to become its perfect, faithful and dutiful sacrificial lamb?

and then, imagine you're luce, and you're even grateful for it, so, so very grateful it held up its end of the bargain too.

truly, you are.)

[dootznbootz]

I think some folks MAY have gotten the wrong idea about how I feel about Circe with some of my posts. So, to clear the air...

Homies, I love that fucked up sorceress.

I love how we're never given a reason why she turns people into animals. That's so funny and so awful. And another potion-making magic gal?!?! I love that she's just basically vibing on an island doing whatever she wants. I even love the fact that she scares Odysseus shitless! She's morally gray and that's why she's FUN.

I just sincerely hate when people try to girlboss her or have her be a victim of SA when she never was Looking at you, Miller. Especially when she was actually the one who coerced Odysseus in exchange for his men being transformed back into humans. And even then, while he was clearly afraid of her, (it's in the language of the Odyssey) she likely meant him no harm after a certain point. He just didn't know that.

Why does she need a reason to do awful things? Why can't she just be a goddess who does whatever she wants? That's the reason why I love her!!! She's fucked up!!! :D

I hate what the Telegony did to her as well! >:( You're telling me, this sorceress goddess, who makes potions (!!!) wouldn't have magic contraceptives??? Would WANT CHILDREN?!?! WITH THE PATHETIC WIFEMAN?! No. Fuck no. Eugammon of Cyrene, I have beef with you 🤬

Anyways!!! Understand all the "#anti circe" I have is simply Anti "Girlboss Circe" or the book. I genuinely think she's neat af as her morally gray, fucked up sorceress self and just get frustrated with...everything :'D

[samarecharm]

I should add poledancing to the list of odd talents that Akira has but has no business having due to growing up in a small suburban town. I only had access to it bc i had a YMCA that had a MASSIVE gym (in a criminally underfunded part of the city); there were poles put up alongside some other structures to allow counselors to make up some shit for us to do lmao

Hes got a flair about him; speaking from experience, it is FUN to do gymnastic shit like that, and its really really REALLY good for ur core. Other things on the list are basic gymnastics (he hates that shit tho, the classes he took sucked ass), Parkour (loves this; less about running and more about utilizing ur core and bracing for falls), and Knife Flipping/Spinning. Theyre all odd things that coincidentally ended up being VERY good experience for the metaverse :) YEAH the metaverse makes it easier to pull off tricks, but he already knew how to do all those things; you cant get Ryuji or Yusuke to spin kick off a pole wo having them fall and bust their ass- Its ALL skill babey

[pandoratheprocrasticreator]

yakou furio's character is so tragic to me. i wanna meme about how they used the fridged wife trope but other than that it's like. he lost his family and later all of his coworkers and just. existed alone for years.

looking at the state the submarine and especially his bedroom was in, with everything being a mess and all the cigarette butts in his bed, yakou was clearly depressed. he wouldn't even take on any interesting cases to fulfill his passion as a detective because he was so afraid of the peacekeepers. instead he just kept his head down. surviving but not actually living.

and then he finally gets some new detectives to work at his agency and the first thing he can do is fail to save most of them from dying horribly. but the five that yakou did manage to save latch onto him and he starts getting into a leader role! even if his new coworkers are all rowdy and get into trouble they still respect him as a leader and look up to him.

the detectives keep picking fights with the peacekeepers that yakou has been trying so hard to dodge. and usually the resolution is kind of messed up because the victims die but the detectives prove themselves capable of handling the peacekeepers! they're helping people! for the first time in a while, yakou comes toe to toe with peacekeepers willingly, to help his new friends. he realizes that he is able to stand up against amaterasu corp, with the help of the others.

but by the time he realizes this, the stage has already been set. the letter from yomi turned his grief into anger and a thirst for vengeance. although yomi gave him the information and opportunity, yakou was ultimately the one who chose to murder the man who murdered his wife.

yakou has already rebuilt his life after his wife's death. the detectives at his agency look up to him and he would do anything for them. it would never be the same as the life he had with his wife but yakou had the chance to turn over a new leaf with a new found family who cares about him.

but instead, yakou plans a murder. he needs to die, over and over, in order to access the man he wants to kill and he accepts it. he needs to trick two kids, who look up to him and who he cares for, into becoming his accomplices to the murder and he accepts it. in the wake of forcing his detectives to witness his murder, he needs leave them in a lab filled with peacekeepers who want to kill them and he accepts it.

and it's not that he doesn't care about his detectives. yuma and halara disobeyed his orders and assaulted several peacekeepers, and he was willing to be arrested himself before throwing his employees under the bus. yuma and fubuki were implicated in terrorism and yakou and the others solve the case for them, then prepare to fight an army of peacekeepers to protect yuma.

for his murder plan, yakou only needs desuhiko and fubuki's powers. but he brings halara and vivia along as well because they would be able to protect the two younger detectives and fight their way out of the lab after yakou dies. he enacts his plan on a day that yuma wasn't around because he won't be able to help fight peacekeepers, so it's better to just keep him out of this mess. he covers up his murder-suicide to protect his detective's feelings, but also because they would be implicated as his accomplices if his plan was revealed.

and yakou probably expected that the other detectives would be fine. if they'd left him behind to die, the other detectives probably would have been able to either fight their way out or hide out in the lab a bit longer and figured out a good plan to escape. if yakou had his way, he would have gotten his revenge and his detectives would have gone home grief-stricken, but unharmed and forever unaware of their roles in his death.

but yakou doesn't account for the fact that the other detectives would try to save his life. yuma doesn't run after the hitman and escape the peacekeepers, he stays behind to beg yomi to help yakou. fubuki uses up all her energy to rewind time to try to prevent yakou's death instead of helping the others escape the lab. halara, vivia, and desuhiko not only have to fight off peacekeepers, but they also have to carry yakou to a hiding spot to give first aid. and instead of calmly planning their next move, everyone is desperate to solve the case so there would be any chance of getting yakou to a hospital as quickly as possible.

one major theme of rain code is that despite tragedies that may have happened in the past, people can work together with those they care about to live a better life in the future. and yakou could have had that. his wife's death should have stayed in the past, and he should have continued to mentor the other detectives, solving mysteries together and enjoying each other's companies.

but yakou couldn't let the past stay in the past. he had every chance to not go through with his murder. he has new people he loves, but he manipulates them and puts them in danger in order to get back at the person who killed the last person he loved. his victory was a pyrrhic one. he got his revenge but in return, he destroyed himself and his detectives' trust in him. he enjoyed his revenge momentarily before dying and leaving his new family, who he used their love and trust for him to his advantage, to pick up the pieces.

yakou furio had lost everything in the past. but in trying to pursue it he destroyed everything he had in the present. that's the tragedy of his character to me.

[quillkiller]

Petunia literally abused Harry bro 💀 and pointing that out doesn’t mean we’re downplaying her grief or bc she’s a woman

yall are gonna freak out when you realise that abusers are also human

[sonknuxadow]

something about how when a guy sonic character has nothing going for him in canon or is from a game people dont like people will flesh him out and write 500 page fanfictions about him detailing their au backstory for him anyway. if he does something really really bad whether it was a mistake or fully intentional people are willing to think about and understand why he did what he did. or theyll just ignore it entirely or blame it on bad writing. but when a girl sonic character does any of those same things shes treated like the spawn of satan

[thekingdomofdong]

love that i applied for a job back in may, dont interview for it till july, i think it went p well, told i wont hear back till near the end of august just to be told i didnt get it im so sick of job hunting and just want to blow my brain out and be done with it

[mysteriouslybluepirate]

Can't send asks from my sideblog, but this is @chewing-the-drywall

I feel like much of s2 fell into Frenchie's "we put it in the box and then lock it and don't open it again" in the sense that it set up A LOT that I was intrigued about how they would address it, but it either never was mentioned again or was handled poorly.

Examples range from light, like how I wish we saw more of the crew interacting with each other in ways that built on their characters from S1, where in S2 they didn't feel any more developed, or even regressed. (Example, Fang used the word Fingies 2-3 times through S2, and it felt like they were using it almost as a shorthand for his character, rather than making him feel more real and multidimensional as a character.)

100% @chewing-the-drywall. When I first heard that line I had I was so excited for the story to prove Frenchie wrong. Or show how important it can be to put aside problems to stay alive in the moment. But in the end, this one line summarized how the season handled everyone, besides Stede and Ed. Below, is an in depth discussion on where this season decided to spend it's limited amount of time. Instead of focusing on the characters and plotlines they'd already established.

This season had so MANY ideas it wanted to touch on.

Izzy trying to deal with his unrequited love and opening up to a new way of living. The traumatized 'Revenge' crew trying to adapt to a softer way of life again. The abandoned crew learning how to help their traumatized friends. Introducing new characters like Zheng, Auntie, and Archie into our main group. Setting up a conflict to resolve in season three. Along the way, referencing Pirates of history like Ned Low, Mary Reed, and Anne Bonny.

Notice, I've said all this and we're not even at our romantic leads.

Which is fine. Stories are fluid things. As long as the story knows how to flow from our leads to our side characters. Which leads us to how I feel this show took a lot of time away from establishing our central crew-

[Warning- this will be a controversial opinion- I want to know what y'all think about this] Zheng/Oluwande. This seasons habit of retreading old plotlines and referencing scenes from S1.

What S1 did so well was paralleling the side stories with what was going on with Ed/Stede. Usually, highlighting how well Stede/Ed worked by showing how much Ed/Izzy DIDN'T work. Or general hijinks that tied into the plot (Oluwande and Frenchie on the French ship).

Season 2 chose to parallel our main story with what was going on between Zheng/Oluwande as a budding romance and Izzy's slow recovery. The reason Zheng/Oluwande scenes felt like a waste for me in that the story was JUST a retelling the story we watched from S1.

A frustrated first mate(Auntie), and a legendary captain(Zheng) fighting over the captain falling in love with an idiot(Olu). In season 2, much like every callback for me, it felt like it slowed down the plot by pulling us out of the story. Like...yeah, you did the thing again, do you want me to applaud you for it?

I LIKE Zheng and Oluwande as a couple! I like that Oluwande was debating leaving Stede and taking Jim and Archie with him. But at the same time, I didn't care about Zheng until episode 7 when she beat up Stede, showing that yes. She's not just some all powerful woman taken down by a mix of love(the crew in ep3) and thinking that she was above it all (ep 7). She's fast on her feet, smart, and willing to stab someone who gets in her way. She's her own person. But.

Every other scene that established her was about her romance, felt like we could have put Rhys and Taika in there. It didn't feel...unique. It's as if the show only knows 1 way to write a romance between a badass and a bumbling idiot. Again. Oluwande in season 1 wasn't dumb in the same way everyone else was. He was protective of Jim, a bit nervous overall, but he was the person the crew chose to lead them. The season just dumbed everyone down a bit and called it a day.

This comes to the larger issue. When we only have eight episodes I don't want to rewatch the exact same plot beats with different characters. Time spent here ends up taking away from other stories we could have told about trauma and growing as a family and other forms of growing as a family. We didn't need another romance plot line. Imagine taking this time instead to show Lucius reaching out to Pete AND the crew for help. Or Frenchie finally feeling safe enough to play his lute. Or Roach helping Fang get over his thing with cakes-you get my point.

The fact we took all the found family stuff from season one, and pushed it onto only Izzy in S2 means when he dies, all the found family shit falls away. His death makes us realize we've been ignoring the central family we were supposed to care about. Because in so many words, their trauma was ignored.

[I even theorize if Izzy was alive and sailed away with them. Showing how he was taken in and loved by his crew, the ending wouldn't feel so hollow. This crew doesn't feel like a caring family. The person who protected them for months died, wasn't mourned, and then they threw a wedding the same day. Not even a full day to mourn. The 'New Revenge' feels like a heartless crew of characters we barely recognize because they aren't a family like they were at the end of S1. More like coworkers who sometimes fall in love with eachother.]

Trauma, Timelines, and Tonal issues when jumping from Episodes 1-3 to Episodes 4-5.

When the crews meet up, the story chooses to focus on the fun plot. Ed and Stede recovering their relationship, only dipping back into that serious tone when Izzy or Lucius come on screen to 'make things sad' again. I don't think the transition from 'serious' to 'comedy' was handled well.

I don't have an official timeline of the events of season two. But from what I remember, everything happens within 2 weeks.

In episode 4, Stede ignored the vote of his crew- to let the man who was torturing half his 'FAMILY' for at least 80 days- back aboard. This rubbed me the wrong way, as it showed Stede being a selfish prick in a way that could seriously harm his crew. That's when I started to see how not adding a *single* time-skip mid-season would hurt S2.

Imagine if we had a one-week off-screen time skip between episodes 4 and 5.

Maybe it's implied that they stay in that town for a bit. Izzy would a bit more time to learn to move on his new leg and start to open up to those he already trusts. Include a scene of Izzy WITH the crew, maybe laughing about something with the old traumatized crew, even if it's just a 30-second opener. Imply that the traumatized crew would have more time to settle in with the family they miss. Show that yeah, the traumatized crew needs more time to heal. Imply at the start of the 'Ed apology' that Ed and Stede have had more time to talk their issues out.

THEN have Ed apologize. You can even keep the bullshit corporate to show that Ed still has to work for this.

Healing takes time. Setting a series over the span of two weeks after half your cast was tortured by your lead love interest? After five of your main crew thought they would sail off into a storm and die after months of stress and life threatening battles? Why did that shit get shoved to the side so quickly?

Framing episode 5 as the START of Ed making amends with the crew, only to drop the plot by episode 7? Not a smart move. Because let's be honest, 'poison into positivity' in episode 6, referring to the fact that they sold all of Ed's loot to pay for the party, ignores the sacrifices the crew made to live that long. (The death of Ivan, and intense trauma they all need to work through). In a way, Ed throwing this party was him asking the crew to start putting everything away in that imaginary box.

It's Ed retroactively letting himself say 'hey, that time I spent torturing my captives was worth it because we got something good out of it' while still ignoring his own guilt. Ed needed to take accountability for his actions. No more 'I took 'a' mans leg' bullshit. The reason his arc feels so unsatisfying is that the plot easily forgives him. Fuck. I hate what they did for Ed's arc, but that's not the point.

Overall.

My issue with this season is not that it chose to do these topics, it's that it didn't think about the implications of what they were bringing up. It didn't dare to think 'maybe it's fucked if we quickly brush off a trauma like this'. Again. I know we have to blame MAX for cutting off two episodes. But I don't think 2 additional episodes would fix a tone problem seen going from episodes 3-4.

Fucking hell. Each member of the revenge had the potential for their own arc, so it's baffling to see them all reduced to 'well meaning idiot' when they all felt so fleshed out in S1.

When izzy gives his speech about belonging, there's a reason the only image in the show of the crew all together was from S1.

At the end of the day, Season 2 didn't let our surviving side characters grow. This is a mean spirited bit on how I feel the writers see the their own characters.

Stede and Ed are our leads. They won't die, not in this genera. Their shitty actions will be forgiven because it's a comedy, and as long as it's joked about, it holds no weight. They won't die. They won't get fatally hurt. Their trauma will be taken seriously, but it's a 50/50 on if they'll talk about it before breaking up again. They will eventually get a happy ending, their trauma looked at head on, because duh.

Jim, Olu, Lucius, Pete? Characters who used to have defined personalities in S1, but haven't been defined much beyond their relationships with their partners? Whose trauma might be mentioned, but will quickly be 'resolved' in one scene? Shame. Seems like they're only useful as set dressing, But we might make you useful as interchangeable side characters to riff against. Oh, and you're in love! Isn't that cool!

Izzy? I'll just quote Jenkins here. "To have him become a father figure to Blackbeard, and on some level to the rest of the crew, and to see him become the heart of why we’re giving pirates the chance to stand for being able to live how you choose. In reality, they’re thieves and criminals, but what our pirates stand for is a life of belonging to something larger than they are in the face of a crushing, slightly fascist normalcy." So...Is Izzy a pirate and accepted into the Revenge family? Or is he still an outsider? Jenkins gave us a romcom but still defines Izzy's character as that of one stuck in a drama/tragedy. Point and laugh, because tonally these two things clash HARD and will make an audience lose trust in it's writers unless well established. Leading us to the entire issue we've pointed out of not letting your characters actions hold in dramatic weight in your story.

Frenchie, Wee John, Roach, and Fang- Ah. No love interests again...shit. Well. Background actors it is... for now. We'll see. But we need 2 more scenes of the couple breaking up, so MAYBE you'll get some backstory hinted at in dialogue. You all have 1 thing your good at, so that's easy enough to put you where you belong.

Buttons and Swede? Well. They're still alive!! Don't be sad, fans :) The actors just couldn't show up anymore. We don't want our silly happy queer pirate rom com to not end on a happy ending! (Closes the lid of the trash can where they're keep Con O'Neill a bit tighter, thanking God Con was silenced by a strike this entire season from social media)

Do you agree, or disagree? Leave any lingering thoughts down below!

I'd love to chat down below.

[starrysharks]

zeno's ultimate pokemiku tierlist ⁉️(it's all his opinion and he loves them all regardless⁉️)

[seeinganewlight]

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[bam-monsterhospital]

my sister: doesn't pay much attention to critical role, pays less attention to exu

also my sister: ride or die for bolo

[good-beanswrites]

Can I request "this didnt turn out like I intended" with shidou, es, and amane?

Aw yeah!! Thank you so much for the request -- I ended up giving the line to Es but honestly all three of them could have said it, it was perfect 👀 I pictured this before the T2 interrogations, with Es being fairly quiet about their guilt towards everything that happened. Though Shidou appears a bit less, I hope I could convey that he and Es share a lot of thoughts, interestingly.

Es would never get accustomed to the screaming. 

They’d heard a few anguished cries from the prisoner’s videos. They’d gotten a few agitated shouts when the first trial verdicts were announced. But nothing could have prepared them for the way the prison halls echoed now. Whether the prisoners poured out their sorrows, anguish, or agony at recent injuries, Es didn’t think they needed Milgram’s power to hear the true sounds of their heart. 

Es wished they’d just stop already. They knew it was selfish to hope for. They knew it stemmed from their own guilt. That didn’t make them wish for it any less.

The current bout of cries was coming from Shidou’s cell. Es had paused just before passing, trying to bury a wince as they listened to Fuuta struggle with treatment.

Amane approached from the other side. She glared at the cell, though Es knew it wasn’t the screaming that was bothering her.

She opened her mouth to speak, but they said in a hushed voice, “hey, I don’t need you giving Shidou any trouble. I know you disapprove, but I stand by this. I’m the one who told Shidou to check on Fuuta and Mahiru. I’m going to make sure they’re cared for.”

Amane studied them with her bright, unsettling gaze. “Why?” Her voice came out as strangely even as always. She was one of the few Es hadn’t heard any kind of shout from. “If something is destined to happen, who are you to change its course? Do you really believe you are the same as God, having that much control over the lives of others?”

“Not at all.” Es didn’t fight her. They weren’t here to change her heart, only read it. Still, they wondered if they could convince her to soften a bit without denouncing her beliefs. “The thing is, I’m not affecting their fate.”

“Then what do you call this?”

“Putting things back the way they should be.”

Es had tried to stand by their actions. They’d put on a tough face in front of the injured prisoners. They could not show weakness. As their warden, they couldn’t show any uncertainty, whatsoever. After all, the only thing worse than nearly getting killed was finding out you nearly got killed because of a child’s mistake. So they would keep this act up. They would assure everyone that this was still going according to plan. 

The way Amane looked at them, she already knew it wasn’t.

So, they figured it wouldn’t hurt to speak a little more openly now. Maybe it would even help explain Amane’s verdict. That certainly hadn’t gone as planned, either. “I wrongfully changed their lives when I let them get hurt. I saw that Kotoko had the capability for something like this, and I ignored it in the name of forgiveness. Now I need to fix the harm I’ve caused.”

“You haven’t caused any harm.”

Fuuta howled from inside.

Amane turned her gaze away. “That was still an outside force. You had no control over Kotoko’s actions. You and Shidou have control now.”

“I did have control over Kotoko, though. I knew my choices would have consequences. This is my fault.”

It felt good to say it out loud. Maybe not 'good.' It was a relief.

“And if I may venture to speak for Shidou…” That man was a mystery, but Es had put a few pieces together, at least. “It seems… he also took some lives off of their intended course. This is his way of fixing that. Right now, this is all we can do to make up for our decisions of the past. Isn’t that acceptable?”

She went to answer, but some shuffling from the cell cut her off. Shidou emerged, his expression changing ever so slightly upon finding the two just outside. Fuuta scowled on his way out, but said nothing. 

As the pair stood face to face, Amane’s eyes lit with fiery fury. Shidou met her with a harsh coldness.

“I wasn’t expecting you two,” he said simply. He was one of the others Es had yet to hear with a raised voice. Their two quietest prisoners, locked in such an intense struggle. That had certainly been an unexpected turn. “Is everything alright?”

“Yes,” Es lied. “We just stopped to talk for a moment.”

“Oh? What about?” Shidou folded his hands together. His gloves were covered in blood, they noticed. 

“Just that… this…” they waved a gloved hand in a general gesture, “didn’t work out as I intended.”

Shidou offered them a smile. It was one without any warmth, but that didn’t make it any less genuine.

“Mmm. It never does.”