#like it is a very good plotline but like he is treated like shit pre death n I feel like it was just intended to be a ‘race blind’ story but

[macbethz]

“Doctor who monsters are too scary for kids!” season 9 is about clara trying to kill herself

#and it’s so good for no reason #like if we’re gonna complain. LETS LOOK AT THIS. #I tbink doctor who is also a family show btw she contains multitudes she is everything #unrelated but like man. as much as I love s9 with all my heart Danny got chewed up and spit out by the narrative for that to happen #like it is a very good plotline but like he is treated like shit pre death n I feel like it was just intended to be a ‘race blind’ story but #with his casting and the specific terms used and dws history it feels racial. #like he has to die tragically for s9 to exist. but it. hm #not a great look! #warlock wartalks

[scintillyyy]

was finally able to watch some more firefighter show

listen this whole "balace the ledger" thing the captain has going on continues to be deeply unhealthy. he should not be in this profession. at all.

oh god i forgot they made him a dude whose blood has high anti-d antibodies, so he can donate to help make rhogam. thanks for your service, captain needs to quit. as someone who has gotten like. 4 doses of rhogam i appreciate your service. and he's bitching about it. actually dude, i don't want your anti-d. please keep it. (i know i'm supposed to feel bad for him, but i don't. i really don't.) (all respect to james harrison, though, the man from australia whose plasma donations have saved more than 2.4 million babies (including one of his grandchildren!)

okay. i hate to say it, especially as someone who hates trophy hunting. but they would still very much kill the tiger no matter what public sentiment said, sorry. i highly doubt that they would have done anything but shoot on sight.

okay. okay. back to the dumb blood plotline. so. i am a little confused here. like. 1) from the get go. why. why. why are these stranger bitches being let into the nicu (? i'm assuming that's where they're at). that shit is so locked down it's not even funny. they don't just. let people in to see the babies. not on l&d, not in the regular mother-baby unit, and especially not the nicu. even pre-covid, my cousin had a baby in the nicu and it was very. one person could go at a time and you had to be specially let in. 2) okay so maybe the dad did let them in because captain's blood saved their baby's life or something. like it is a blood donation, not an organ donation. you don't know whose blood it is, it's all pooled together. and even if he had special rhogam blood that specially went to this baby....that's not really how this works re: rhesus disease???? i have some questions.

(side note the absolute hilarity of that scale for that baby saying 2.268 lbs....i know you can't have uber premature babies on tv but that's a full 10 lb baby on there. also, that is such an arbitrarily low number, but if it was real, that baby would not just be getting blood. i cannot emphasize how much that baby would be hooked up to, including, most importantly. oxygen. and would likely be in an incubator. there's just so much wrong here.)

anyways back to rhesus disease, let's talk about rhesus disease. so rhesus disease nowadays is incredibly rare, because of rhogam. rhesus disease occurs when a mother becomes isoimmunized to her baby due to the mother having a negative blood type and the baby a positive one and her blood cells start to destroy the baby's blood cells in utero causing anemia and jaundice, in worst case scenarios stillbirth. prevention is key and we are very good at preventing it. the key is to give the mother anti-d, and tricking her body into thinking it's already produced anti-d so then the mother won't produce her own anti-d if and when her blood comes into contact with the rh positive blood of her baby. so with prenatal care you generally get blood typed at your first visit so they know if you're positive or negative. if your blood type is unknown, they treat you as negative because it doesn't hurt to get anti-d. you get anti-d with any potential chance you may have come into contact with your baby's blood. any bleeding in early pregnancy, you get it (you have to get in like 72 hours after bleeding). you also get it standard at about 28 weeks (because the anti-d lasts in the blood for about 12-14 weeks and should cover through the baby's birth). when you have the baby, the baby gets blood typed and if the baby has positive blood for sure, you get it again. this will almost always successfully prevent the mother from becoming isoimmunized for future pregnancies and protecting her next children from the potential for rhesus disease.

because firstborn children (like the one captain gave his blood to) don't generally get rhesus disease, because a mother doesn't generally become isoimmunized until after she's given birth to her first child and come into contact with the baby's blood for the first time (because that's most likely happen during childbirth). even if the first time mom got exposed during the pregnancy without getting rhogam, she generally won't have produced enough anti-d to meaningfully attack the baby's blood cells by the end of the prengnacy, but she will by subsequent pregnancies. so the firstborn isn't generally at risk for getting rhesus disease. another thing you get tested for in pregnancy is whether or not you are isoimmunized and if so, how badly. if it comes back positive for anti-d, your prengancy is monitored very, very carefully. they monitor how bad it is, and they can do in-utero blood tranfusions if necessary should the fetal anemia be really bad.

so yea. i am not only shocked by this firstborn baby's rhesus disease (because that would assume the mother was already isoimmunized for some reason, which i suppose is technically possible if she had a previous miscarriage, but we're getting into highly unlikely territory here because if it was an early enough miscarriage the embryo wouldn't have been producing it's own blood type yet and if it was late enough she would have been known to be rh negative and received rhogam-) i am also raising my eyebrows at the fact that captain's lifesaving blood got sent directly over to this baby with rhesus disease ~to save her~ because saving babies from rhesus disease has nothing to do with transfusing special anti-d blood to babies (which probably does nothing special for them) and everything to do with preventing rhesus disease from even developing by giving the mother rhogam. mr. james harrison's blood plasma hasn't gone to babies--it's gone to mothers. because giving a rh positive baby anti-d doesn't do anything special for them--it's the mother who needs it so her blood doesn't attack the baby! (what i'm saying is that they probably essentially wasted captain's blood by transfusing it to the baby--that baby can probably just get regular blood without special anti-d antibodies transfused to help with anemia, along with phototherapy for jaundice and ivig as needed). so what is happening here. why. (i mean, i know why it's so chim can show captain in person how his blood will ~save the lives of babies~ and it's not near as exciting as going to an ob appointment to watch a woman get a 5 second shot with a sourpuss on her face cause it burns like a mofo but what they did instead is really, really not how it works-).

also, let's talk about james harrison's blood. he um. he wasn't born that way y'know...his blood produces a vast amount of anti-d antibodies because when he was 14 he underwent a chest surgery and received 13 units of blood. my guess is he is rh negative and received some rh positive blood at this time and as a result became incredibly isoimmunized (so how is captain's blood a match for him, hmmmmm?), which mycauses him to produce a lot of anti-d and would produce even more following donation. also. he didn't donate blood. for the anti-d it was far more efficient to donate his plasma (in fact, rhogam is made from donated plasma, not blood), which he did. an average of once every three weeks from the time they found out about his blood until 2018 for a total of 1173 donations, when he became ineligible to donate more at the age of 81. captain, you will never be on his level.

not much else to say about the end of season 1 tbh except good old romancing the uniform.com. you know i do think it's realistic to have a first responder dating site. farmers only is a thing after all. and women love first responders, or as my aunt put it when she found out i was dating a firefighter - "you have to be careful, scintilly, because women, they see these pensions and these good benefits and they just throw themselves at firefighters and will try to steal them" (she had a bad experience with this happening to my cousin. i still joke with my husband about all the women who throw themselves at him. they're tumbleweeds.)

and finally goodbye and godspeed abby. get out of this mess. i mean, you were also very much a part of this mess. but still. can't wait for you to probably become the bad guy for moving on because your actress didn't continue with the show when i'm sure they could instead do a "we drifted apart naturally" as a way of writing out your actress.

anyways currently starting the first episode of season 2, and lol at buck talking like a 45 year old old guy about "respect". that's the energy of the drunk guy who would ramble on about nothing during my husband's virtual union meetings during the height of covid. eddie being former military is very realistic, there's a lot of preference to get former military on public jobs.

#some firefighter bullshit

[thevindicativevordan]

Why isn't Nightwing a bigger deal? He has all of Batman's skills and Superman's faith in humanity and is arguably the most beloved hero in the DCU, but most people seem to know him either as the leader of the N̶o̶t̶ ̶J̶L̶ Teen Ttians or just Robin.

Thank you for asking me about Nightwing, I've been wanting to write a piece about him for a while now. The short version is that everyone who claims Dick becoming Nightwing was him "moving out of Batman's shadow and becoming his own man" is completely wrong.

Dick Grayson is a fantastic character, someone who saved Bruce Wayne in-universe both by forcing Batman to grow up a bit, and the countless times he saved Batman's life as his partner whether as Robin or Nightwing. Dick saved Batman in the real world as well, hard to believe but Batman was actually in danger of being cancelled due to poor sales early on. Enter Robin, a young daredevil audience stand in the creators hoped would get kids interested in reading Batman. And it worked! Sales on Batman doubled once Robin showed up which is crazy to think about, but Dick Grayson has always been a popular character. Cartoons like Teen Titans, Batman: The Animated Series, and The Batman only helped grow his audience.

Character-wise, Dick Grayson really does fill a number of crucial roles in the DCU. For Batman, Dick is proof that Batman is a positive force. Meeting Batman helped change Dick for the better, helped him heal after his parents died. With Dick, Batman can take comfort in knowing that yes, he has made a difference in the world for at least one orphan boy, which is all he wanted when he lost his parents himself. To the wider DCU, Dick is a friendly face who convinces others that Batman is competent and not a complete asshole. He took this kid in, trained him to be one of the best heroes the DCU has seen, and did it all out of the kindness of his heart. That someone like Dick can confront the evils of Gotham and not break means there's still hope for that city. As Robin, Dick has led the Titans and is an icon in his own right as The Sidekick, the original, the one every other Robin is built around copying or contrasting. The one all other superhero sidekicks are drawing on as a basis. As Robin Dick Grayson is very much on Batman's level.

Just not as Nightwing. As Nightwing, Dick has been a second rate Daredevil which means he's a third rate Batman (fully prepared to get hate for this but I've read and enjoyed the Miller and Bendis DD runs so I feel entitled to my opinion). A typical Nightwing run tends to go like this: Moving to Bludhaven (which is Gotham... but WORSE!), Dick Grayson usually enrolls in a pointless job we don't care about in order to provide some meaningless soap opera drama that doesn't go anywhere. Patrolling the city as Nightwing, he fights a variety of bad guys who are usually rather lame and unthreatening, with his big bad being a Kingpin knockoff called Blockbuster. Villains are fought, long running plotlines are set up, then everything is abandoned because it's Batfamily event time, and Dick has to run back to Gotham in order to play sidekick again. Usually his involvement is completely superfluous and it would've been better if the writer had gotten to opt out. By the time we finally get back to Nightwing's solo plotlines, the audience has usually ceased to care and the run gets cut short.

That's how Nightwing has been since the New 52 at least. Anyone who thinks that's "becoming their own man" is out of their mind. Dick is so thoroughly in Batman's shadow that he got shot in the head and spent a longer time as "Ric" which everyone fucking hated and sold like shit, than he did as Agent Grayson which was extremely well-received. Reiterating: Ric went on longer than Grayson because of a fucking Batman plotpoint Tom King wanted where Bruce was sad and cut off from the Batfamily because of Dick getting shot. Not just calling out King either, how many times was Kyle Higgins Nightwing run derailed because of Scott Snyder's crossovers? Or how about that entire run getting dumped to the side because Johns wanted to out Dick during Forever Evil, a Justice League/Lex Luthor story? DC has repeatedly made their contempt for Nightwing clear, he's Batman's sidekick still in their eyes, and he serves whatever story role the Batman writer wants.

Hell his best stories tend to have been the ones where he's not Nightwing. He was Robin in a good chunk of the Wolfman/Perez New Teen Titans run. Morrison really showcased his depth as a character when they wrote him as Batman, their time with Dick under the cowl was actually one of the first Batman runs I ever read, and no Nightwing run has ever matched it in terms of quality in my humble opinion. Scott Snyder's work with DickBats also was a high point for the character, showing Dick as competent and examining his relationship with Gotham and the Gordons. King and Seeley gave him one of the best comic runs with Grayson, a series where he wasn't even a "superhero" technically! When it comes to actual pre-New 52 Nightwing runs that are highly recommended where he *is* Nightwing, there's Chuck Dixon and uhhhhhhh... Tomasi's brief run before Dick became Batman? It's not exactly an overwhelming list.

Look there has been good work done with Nightwing, I'm not claiming there hasn't been. Tim Seeley wrote a great run with Nightwing Rebirth. Seeley fleshed out Dick's Rogues Gallery with cool new ones like Raptor, he brought back old foes like Dr. Hurt (why oh why couldn't you have brought back Flamingo too?), he gave Dick's world some character it solely needed. Bludhaven under Seeley is pretty much the only time I've really felt like it lived up to being Dick's city.

The problem with fictional cities is you have to put in the work to give them the character of real cities. You have to make the cities feel like characters in their own right. Gotham is the best example of this, it's a character all it's own, one that tells you a lot about Batman and his cast. In contrast Bludhaven is usually one of the worst. Any place that wants to claim to be worse than the city that is built over the gate to hell and gets wrecked every other month by the Arkham freaks has to really put in the work to compete. Simply put, Bludhaven typically fails utterly. There's nothing about it that makes you really buy it's worse than Gotham, I mean does anyone really think Nightwing's Rogues wouldn't get their lunches eaten by Batman's? No, no one genuinely buys that. When Bludhaven claims to be worse, it just comes across as tryhard, an attribute that does end up telling you about Nightwing in unintentional ways.

So Seeley didn't do that. Instead he created a city built for a hero like Dick Grayson. Someone who is bright and flashy, but does have an element of darkness to him. Someone who loves the spotlight, but often uses it to obscure. Seeley turned Bludhaven into Las Vegas, and that was the fucking best concept for Bludhaven I have ever seen, it makes so much sense. Las Vegas is the "Entertainment Capital of the World" and isn't that the perfect city for a hero who got their start working in the circus? Isn't the aesthetics of the gleaming casinos, the glamorous sex appeal of the performers, and the spectacle of the shows, all being used to cover up the seediness of mob bosses meeting backstage perfect for Nightwing? It's so utterly unlike New York City, yet Las Vegas is still dangerous, it's got a crime culture all it's own. Seeley used it to great effect, as did Humphries during his brief run, and I will always be pissed that DC didn't continue to use it. That should have stuck around and been the definitive look for Bludhaven.

How Seeley's take on Bludhaven was treated feels like a small scale version of how Nightwing in general gets treated. Whenever creators pitched ideas for him, if editorial thought there was potential to break big, they asked for those ideas to be repurposed for Batman instead. Anything big or good gets repurposed for Batman or tossed to the side so Nightwing can go back to his default: having irrelevant adventures in a city that is supposedly worse than Gotham but can't live up to it. Just like how Nightwing is supposedly better than Batman but never gets to show it. Goddamn it's so frustrating seeing his potential get wasted like that.

The Nightwing book should be one of DC's most ambitious books in terms of storytelling. You can go from traditional superhero stories, to romantic soap opera, to spy stories, to crime noir, to horror, to cosmic adventures, and ALL of them would fit because Nightwing is someone who has a foot in both Gotham and Metropolis. He's got friends everywhere on every team, and has been a hero longer than most Leaguers have at this point. No reason DC should still be afraid to let him loose and insisting on hewing close to what Dixon established almost over 30 years ago is only holding him back. At the very least get him some better Rogues, why the hell didn't he get to keep Professor Pyg? That's Dick's villain not Bruce's! Bullshit that they didn't let Dick keep him. Hopefully Flamingo comes back, with a slight revamp I think he'd make a great reoccurring Nightwing Rogue.

Luckily it does look somewhat like Nightwing fans have reason to be optimistic. While Taylor isn't to my taste, DC clearly views him as a "big" writer, and that they put him on Nightwing says a lot. Taylor has been selling well so far, so hopefully he gets to tell his story, hilarious that even he lampshaded having to write Dick running over to Gotham for another tie-in after Taylor's big opening arc was all about Dick committing himself and his money to Bludhaven. Scott Snyder is apparently working on a Black Label Nightwing book which will explore how he's a different detective than Bruce. The Gotham Knights video game has him as one of the main stars, and while Titans is... controversial, it's one of the most popular streaming shows and Dick is the main character. There's a lot of content coming that features him in the starring role, and that will only help his star rise further.

For the first time in, well, ever it feels like DC may be serious about elevating him. Time will tell if it pays off, but I for one choose to be optimistic that the 2020s will be a turning point for Dick Grayson where Nightwing becomes hugely popular in his own right. Not just as Batman's sidekick.

#nightwing #dick grayson #batman #gotham knights #titans #dc comics

[sunlitmcgee]

Okay. I slept on it. And I think I’ve fully figured out why exactly it is that aside from obvious “comfort relationship turned sour and 2/3 comfort characters are nasty little two-faced brats) reasons, there’s a very simple explanation for why c!Beeduo’s mistreatment of c!Tommy post revival has hit so damn hard in the worse way possible. This is half analysis half ramble so heads up ahead of time

So, chommy, yes? Baby? Baby boy? Baby boy child son? Little scrunky doodle child whom we here at dsmplr adore with many notable but unimportant exceptions? He’s great, yes? Good kid? Real good kid whose been through some real bad shit and deserves to be supported and loved and cared for so he can slowly heal from it and recover in full in order to live a full happy life?

Here’s the things about c!Tommy: In all of his relationships across the server’s plotlines, c!Tommy has almost always, as a rule of thumb, been either a follower, a wingman, a second in command, or a straight up tool/toy to further another, usually older, person’s goals. He’s always the second in command. He’s always the one who does what the other person says and doesn’t get much of a say in anything without having it used against him. With Wilbur he was a follower turned victim then little brother figure. With Philza he’s the troubled kid who needs to be taught manners and lessons. With Sam he’s a kid he wants to help but so rarely does so in a way that Tommy can appreciate without suffering negative consequences(Ranboo’s murder comes to mind). And with Dream it’s obvious, because toys don’t get a say in anything they get to do :)

He’s always an afterthought in someone else’s story. And part of what made me love c!Benchtrio so much was that...they were just friends. They were all friends and all kids and all traumatized and all just hanging out and having fun. There was no power imbalance. No one bigger than c!Tommy or older than him. No one who could take advantage of him being so young and so helpless and so vulnerable as a way to use him or hurt him in some way, intentionally or not, doesn’t matter. There wasn’t anything like that with c!Benchtrio post revival pre outpost. It was clear that they were all on equal footing with each other, that they loved, cared, respected and were willing to take turns calling the shots to help each other heal.

It was nice.

It was so damn nice to see ctommy just...get to play with his friends. Get to have fun and be a kid. To see him be allowed to take charge when it came to all his little projects, to lead them around for exposure therapy, to see cbeeduo let him do what he needed to while offering support and space and anything he needed. it was so nice! It was so fucking nice!

But then the outpost arc happened.

And then c!Beeduo, for reasons we still don’t know, somehow decided to go behind ctommy’s back and decided he wasn’t worth it. That he wasn’t good enough. That he wasn’t worth the time or effort it took to be friends, and that he should just learn to deal with a cold shoulder that he’s not allowed to lean on and not be told why exactly he’s being left behind again. C!Beeduo took the one bit of power they had over ctommy, that being his unending loyalty to those he loves and refusal to give up on them no matter how many times they hurt him, and saw fit to use it as a way to disregard his feelings, his emotions, his needs for company and support, and even his humanity so that they could get away guilt-free with leaving him behind and dumping him into the dirt.

And we have no reason as to why.

I have theories.

All of them revolve around the same idea of c!Tubbo being so spoiled by the marriage that he’s forgotten how to view people as people and treats everything as a part of the perfect dollhouse of a life illusion he’s cast up around himself in order to stay sane. Most involve him deeming c tommy as too “messy” to fit into his perfect life. Most involve c ranboo being too dumb and too whipped to argue and just enabling his hubby because he doesn’t have a spine.

It’d explain them leaving c !Tommy to die.

It’d explain them abandoning him to deal with c!Wilbur.

It’d explain c!Tubbo cackling at c!Tommy’s grave while he got in good and cushy with the pig that ruined their lives a hundred times over. It’d explain him not caring about cdream being free. it’d explain him never visiting in exile or all the other ways he failed and failed and left and let tommy be tortured just to spare himself the trouble.

It sickens me, just how easily people in ctommy’s life get away with abandoning him or using him. I thought c!Beeduo were different. I thought they’d be the 1 relationship he’d have where he wasn’t the toy or the tool or the child to be led down whatever path an adult had to choose. I thought they’d all play and hang out and heal and love each other, but apparently that was a lie, and apparently there’s truly no such thing as a relationship in which c!Tommy is fully equal. Apparently he is doomed to be in service to others. And apparently I was so damn stupid for daring to think otherwise.

It’s just sad.

It’s just sick.

#dream smp #dream smp analysis #meta #c!beeduo critical #c!tubbo critical #c!ranboo critical #c!tommy #c!tommy apologist #tw abuse mention #tw abandonment

[autisticandroids]

Oh patron saint of mpreg, tell us, what is the absolute gold standard canon divergent mpreg scenario with Cas and Dean?

so for me the gold standard is for cas to get pregnant due to some kind of magical or metaphysical situation that dean at least does not perceive as sex. bonus points is cas is hesitant about it but refuses to explain why (because he doesn't know how dean will deal with the concept of himself being able to potentially get cas pregnant), so dean is like "we're doing it anyway" and then they do it and then cas doesn't tell anyone that he is pregnant until circumstances force the information out of him. and then dean has to deal with the fact that 1) cas can get pregnant, 2) cas is pregnant, 3) it's his, and he does so pretty poorly.

the rest is under a cut because this post is over 2.5k words long.

my favorite times for this to happen are at the end of season nine, just before dean dies and gets demonized in do you believe in miracles, and at the start of season twelve, just before sam and dean go to jail, because the pining in both those scenarios is delicious but it is so much more powerful if cas is also pregnant, and never even told dean. double points if the truth somehow comes out while they're separated so when dean comes back it's like. yeah cas is pregnant. it's yours. welcome home dean now you have to coddle cas' emotions because he thought he would have to raise your baby alone.

the season twelve scenario is particularly delicious because 1) we can have lucifer slut shaming cas in front of crowley in rock never dies, so crowley knows before dean, and 2) much more importantly, mary is there, and i am obsessed with like. okay. several things.

- the idea of mary getting all baby fever because she misses her boys and this is like. a baby she can take care of because she never got to take care of sam

- the idea of dean working through some of his parentification trauma by coparenting a child with the parent whose place he felt he had to take

- the idea of mary coming in and projecting her insane 1980s gender roles all over cas, suddenly treating him like a woman, stripping him of agency, etc. and like. dean would also do this even though he's not from the eighties, but mary would do it double strength, and they would reinforce each other, it would be a nightmare

- also mary trying to relate to cas on the Travails Of Motherhood etc. and cas being like ?????????? like i cannot stress enough that the weird gender roles she projects onto cas are also standards that she held herself to back when she was a Wife And Mother. while cas is like mary i am not a human woman and also i don't see what "having to look pretty for my man when i'm all baby bloaty" has to do with anything. that's not something i feel like i have to do

oh and 3) could you imagine lily sunder has some regrets if cas was pregnant? unfathomable episode. like ishim and mirabel's reaction but ALSO lily's. and it would fix the number one issue i have with lily sunder, which is that the resolution of the moral dilemma is "well AKSHUALLY the kid was human and not a nephilim so killing it was bad" rather than "it was bad to kill lily's baby, full stop." like ishim's cover up and using the machinery of power to manipulate the truth is very compelling, but the fact that it results in the moral essentially being "it would have been okay if the kid had been a nephilim" suuuuuucks.

basically, there's a reason i have two entire mpreg aus set in season twelve.

and then the delicious part in the season nine version is like. one, dean is away for much longer and he could be anywhere. also he's a demon and he's cheating on cas with crowley. and then even when cas gets him back he's still cursed with the mark, so we can get all weepy over that. you know. i'm the one who's going to have to watch you murder the world and i'm eight months pregnant. etc etc.

but the other thing that's juicy about this version is that cas is still semi-involved with the other angels at this point, like he's roadtripping around with hannah and they're trying to get heaven under control, so carrying a nephil is going to really affect those relationships. so he's going to be probably disliked by the other angels, and there are MANY opportunities for slut-shaming, but at the same time, the other "outcast" type angels might respect him for violating heaven's dictates.

and then of course there's his grace vampirism victorian wasting disease. in canon he's perfectly happy to let himself die, but if he were having dean's baby he would absolutely not do that, that's dean's baby he's endangering there. so of course there's the terrible guilt of having to kill other angels so he can live, plus potentially preparing to die shortly after childbirth so he doesn't have to keep killing. delicious.

and on top of all this cas can get slutshamed by metatron in, depending on when exactly he gets knocked up, meta fiction, stairway to heaven, and do you believe in miracles. plus stairway to heaven would be insane like all the angels would know that cas is pregnant. they would see it in his grace. like cas' angel army would just. know that he was pregnant with a nephil, and have to accept that because he's their leader. in love with humanity indeed.

i'm trying to think of other good times for this drama with cas getting secretly pregnant through a nonsexual interaction to take place. it would be great in season six. like: he's doing a blasphemy with his body but at the same time he's this big important rebel leader so they can't say shit about him, and also he's pregnant while fighting these big important battles (fun and sexy), AND this is like, hot on the heels of the realization that something about his feelings for dean is untoward, expands beyond the bounds of ordinary friendship and camaraderie. like he realizes that, and maybe even that he has sexual feelings for dean, and then he gets immediately knocked up. stunning.

it would ALSO be extremely fun for it to be some kind of... i don't know, magical longer gestation times, whatever, but for cas to have gotten pregnant sometime in s5 and only realized during the Year Of Lisa. LOVE to watch a man rake leaves while both metaphorically carrying the taint of taboo sexual feelings for him and literally carrying his child.

but the thing about season six is, first of all, cas isn't really... envisioning a future with dean. not the way he does in the later seasons. like does he fantasize about a future with dean? yes. like. he really did watch that motherfucker rake leaves. but it's only fantasy. he expected to never speak to dean again after swan song until dean prayed to him in the third man. he's obsessed with dean, but it's distant. remote.

like, we talk about cas babytrapping dean in the later seasons with jack, and he absolutely does, and he would do it even more if dean got him literally pregnant, but that babytrap is about... how do i put this. it's about winning dean's affection. late seasons cas knows that he's going to die by dean's side. the difference that babytrapping dean makes is that maybe it will get dean to be nice to him in the mean time, instead of discarding him like so much toilet paper.

but season six cas doesn't think of it like that. if he were gonna babytrap dean, it would be in the more traditional sense of forcing dean to stay with him in order to raise their child together. and he would never do that. he wants dean to have a happy future, which in his mind does not include him. like, compare here "he's retired and he's to stay that way" in the man who would be king, where cas assumes that dean is happy without him and expects him to live out his days peacefully without ever seeing him again, to "i'm the one who's going to have to watch you murder the world" in the prisoner, where cas assumes that he will be by dean's side for centuries.

but anyway, the other, much more important problem with season six is that cas has a war to fight. like, in the later seasons, cas really has nothing. even when he's on tenuous good terms with the angels, he doesn't really have a home with them. the winchesters are his family, and he'd give up anything for them. he has nothing in his life. he's at rock bottom, and this becomes truer the further along you go. late seasons cas has nothing he would prioritize over serving the winchesters, and he would be happy dropping anything he was involved in to have and raise dean's baby. parenting would give him a purpose that he no longer has, because everything else has been stripped from him.

but in season six cas has a life outside of them. like yes, he has a war to fight, but he also has a place in heaven, with the other angels. he belongs somewhere, he has solid connections to the outside world. even if he didn't have a war to fight, i don't know how excited he would be to have and raise a baby (even dean's baby) because he simply has other things he could be doing. he's involved in the world beyond the winchesters.

like, the reason cas wants to be a parent is that he is totally alone and totally purposeless. having a child gives him both a reason for being and someone who will always love him and who he can care for. if he doesn't have that hole in his life he might not be so eager to fill it with a baby.

for all these reasons, this plotline really doesn't work in season six, because you simply cannot justify cas not getting an abortion, unless you do something nasty like make angel abortion impossible, which i don't love.

you COULD somehow put the impregnation just at the end of season six, maybe just before the man who would be king, such that cas doesn't realize he's pregnant until he's already godstiel. you guys are unfortunately very aware of how obsessed i am with pregnant godstiel.

actually, @jeanne-de-valois has a concept of like. a single, madness fueled midnight hookup immediately pre-tmwwbk (or maybe even during, but prior to the superman mistake), where cas is simultaneously so stressed from being stretched so thin from the war and the lying and the shady dealings, and so high on being The Big Man In Heaven, that he's bold and out of his mind enough to actually come onto dean, like he just appears one night in dean's bedroom and is like, fuck me, and dean is like 👁👄👁 okay. so they have one single adrenaline and madness fueled hookup, and then everything immediately goes to shit.

and i think that's a great place for cas to get pregnant, and then he doesn't realize until he's become god, or maybe he does and he's just like "i'll deal with it later," either way godstiel is like oh? i carry dean's heir inside me? i will have dean's baby. i will have dean's baby it is my right and also my boon to him and also a symbol of my great and magnanimous love for humanity. and also maybe i will put giant paintings of myself pregnant with his child up in churches. what about that. which would be fun. don't know when he would give birth though. actually it would be insane if he gave birth as emmanuel and was just like. raising dean's nephil when dean found him again. nuts. but it just doesn't really have the same flavor as late seasons mpreg. doesn't compel me nearly as much. like the symbolism of godstiel being pregnant with dean's child is fun and sexy but them actually raising the kid afterwards doesn't compel me nearly as much, so it's better to leave literal mpreg to the later seasons and let godstiel mpreg reside in symbolism and fantasy.

or maybe the fetus gets stolen by the leviathans when cas walks into the lake and dean has to battle his leviathanated nephil daughter as the main villain of s7. like she's dick roman's secret weapon. i think that would be fun, actually. kind of an emma situation but drawn out over the whole season. and he thinks cas is dead for most of it so she's all he's got left of cas and a mess cas left for him to clean up. big sexy.

and as a bonus, i will also tell you the best time, imo, for dean to get pregnant: near the end of season eight. possibly a single, tragic farewell fuck in sacrifice when cas is planning to lock himself away in heaven and they're never gonna see each other again. and this impregnates dean with cas' nephil.

but then cas is human. and he can't do anything about it. like generally if they managed to get dean pregnant somehow, cas would immediately talk him into an abortion (which wouldn't be too hard; dean's natural white midwestern man who doesn't vote aversion to abortion would be at war with the horror of being pregnant, and the horror would win), or might not even inform dean that he's pregnant, and just quietly end the pregnancy without dean's knowledge, because cas would never put dean through that. but if cas is human, he can't do that. and furthermore, that nephil is the last evidence of his angelic nature that persists. it's the last of what he used to be, the last of his grace. and there's something absolutely delectable about that.

then of course dean would have to leave the bunker if he was pregnant with a nephil, because angels would be after him, and he wouldn't want to lead them to gadreel, so i am imagining dean discovering that he's pregnant and then showing up in a panic at the gas n sip like "actually cas i'm also out of the bunker will you go on the run with me?" and then they go on the run and have to live in motels again and cas gets to live with take care of dean who is pregnant with his child which is essentially his dream, and he doesn't have to feel guilty because he's no longer capable of giving dean an abortion so he doesn't feel obligated to get him to have one. ideally cas gets re-angeled just in time to give dean an angelic c-section. or maybe they rely on a normal human c-section in a hospital and cas stays human and they are two humans raising their nephil, which is also fun to me.

#spn #asks #anonymous #mpregpocalypse

[balillee]

my unpopular dsmp opinions, some of which genuinely should be popular

c!dream has crossed the moral event horizon and is irredeemable. once you cross that threshold, you're no longer a 'morally grey' character.

pre-recorded, heavily produced lore killed the lore. it was cool, sure, but you completely misunderstand the magic that the smp had when people watched it initially. the story is improv and that's how we like it. we can tell the cc's have lost interest in it, you can admit that to us, we'll understand, just stop lying to me.

c!dream's pov isn't necessary to understand his character or his motivations. if you've watched literally any c!primeboys stream he's basically spelled it out for you.

i don't understand how fans can dislike l'manberg or have claimed to be against it since the beginning. i honestly don't get it. what's so bad about wanting your own spot where you make your own rules and skirt accountability that has been used to technically oppress you before - and, before someone who never saw the earlier streams tries to disagree with this, the og l'manberg crew were imprisoned for shit that everyone else on the server was practically encouraged to do. also, what do you have against fun and happiness?

i think some of you forget that 'hybrids' aren't a thing, discounting c!ranboo. there's no piglin hybrids, c!techno is just a pig. there's no avian hybrids, c!phil is just a man with wings. there's no creeper hybrids, c!sam is just a creeper who's indecently exposed from the hips down. canonically there's no hybrids, and therefore no hybrid discrimination. people ran with that concept too much.

the loss and the fanon rewriting of the early lore up until pogtopia has ruined fandom perception of c!dream and the og l'manberg boys. c!tommy is more morally white than you think he is, and c!dream has always been a villain - he massacres and he kills and he destroys and he schemes and he always has broken his own rules. no wonder the boys wanted their own space after how they were treated.

i think ranboo oftentimes forgets his own lore. he brings stuff up that c!ranboo may have done, such as exploding the community house to frame c!tommy, holding onto Cat, and it goes absolutely nowhere. we've gotten all of these developments in his story but they have never been expanded on, and we're nowhere closer to figuring out his relationship to c!dream and what his other side is and honestly i see no hope that we'll be any closer to knowing even by the end of the year.

your characters don't all have to be morally grey for the story itself to be morally grey. this is fiction - some people can be nothing but evil and others can be nothing but good. being purely good or evil doesn't mean that you're one dimensional, either.

c!dream apologists have ruined c!dream for me. he's not a good person. how about you let me enjoy a villain for who he actually is, rather for than your percieved woobified ragdoll you pass off as c!dream.

the story was better when there was a central writer. it was brilliant back when wilbur wrote it to be that the environment drives the characters and the story, and it was really good in early s2 up until techno's execution day when it was more character driven. since then, the amount of autonomy people have over their characters without any central 'director', as it were, has been a detriment to the story overall. there needs to still be one overarching figure or director or writer.

not everyone is a main character. just because they have a pov, doesn't mean they're a main character. some characters have such little impact on the overall plot and describing everyone as a main character oversaturates the story and makes some characters seem more important than they are.

the egg lore had so much potential up until it didn't. all that built up threat that we were expecting and we still don't even know what the egg wants really other than just controlling people. does it hatch?

genuinely, if there's no major plot developments by the end of the year (and let's be honest, it's a very big possibility at this point), a few of the more prominent members of the server should do a podcast style stream talking about where the story would have gone, because at least then we would have gotten somewhat closer to a conclusion.

c!techno is a villain and an asshole and a bad person. he stops caring for people once their interests don't align with his or if they look at him funny. he makes meta-jokes about his own tyrannical and oppressive nature. stop taking that away from him. he's a bad person. cc!techno does a fabulous job portraying that in a comedic manner and the balancing of him being a deeply flawed person with deeply flawed morals and ideas with his comedically-portrayed stubbornness and lack of willingness to hear out opposing viewpoints is incredible. i want to like characters who are arseholes for the sake of being arseholes, and who refuse to take into account the hurt they've caused either out of self-righteousness or because they don't care, so let me. he's the anti-peacemaker, LET ME HIM ENJOY HIM FOR THAT!!!!

i think tommy and wilbur's way of doing lore is my favourite. relies heavily on improv, voice acting, sprite acting and facial expressions. really shows off the acting props and they pull off the emotional moments well for the insanity of the creative medium.

i'm not a fan of fan-music. i find songs about media i'm into difficult to listen to. coincidentally i'm also not a fan of shit like slam poetry or live music/musicals/pantomimes.

the death of l'manberg killed people's motivation to go on the server casually. i've talked about it more in depth before, but destroying what was a central, driving environment for the story killed momentum and motivation. imagine in an episode of she-ra, the princess alliance just nuke the freight zone and all of the members of the horde just have to deal with it. that would be shit.

until season 3 has some momentum, i'm counting the end of the smp as january 20th. that had a conclusion. season 3 has... whores, technoblade and tommyinnit. that's about it.

i wasn't a fan of the development of c!tubbo joining las nevadas. i preferred snowchester and the walled city conflict. give c!tubbo some backbone and some badassery. also tubbo where's the fucking nuke bro if you're shelving that plotline just tell us on like an alt stream what the plan was i beg

add like 2 or 3 new people to the server so that michael mcchill has someone to talk to and so that there's something always happening on the server. it gives the og's more motivation to return if things are happening in and out of canon and it'll help with momentum, and who knows? maybe they can write their own story/stories.

i really think that c!sam is an underrated character. he's multilayered, extremely interesting, and the dichotomy of his loyalty to his job and how far down the rabbithole that's taken him versus the genuine love he has for his friends that drives him to do what he does out of wanting to do right by them is brilliant. i don't talk about c!sam enough.

STOP HAVING FUCKING VILLAIN ARCS!!! I'M FUCKIN SICK OF IT!!!! i want to see more characters who see everyone else being absolute selfish, abhorrent cunts and go 'if nobody else is going to be a good person, i fucking will'. GIVE ME SOME MORAL WHITENESS!!! IT'S INTERESTING AND MORALLY GOOD CHARACTERS ARE FUN!!!

let tommyinnit build cobblestone towers. everyone bullied him too much for how ugly they were and the one he built outside of the prison looked genuinely really nice. it gives the boy something to do.

i'm a fan of the revive book and the canon lives system. don't ask me why, but i think it might just be the morbidity of it. it adds to c!dream's god complex persona, and i think the fragility of death itself is a really fun concept. not enough fan cc's have made connections with that and c!mumza, and it could make for cool fanfic.

ranboo your house is fucking ugly. it's an eyesore

c!niki, and to some extent now c!jack and c!fundy, are boring me and ruining my mood. i think c!jack is the closest to being an actually interesting sympathetic villain, mainly because nobody else seems to realise that c!niki is a villain. not a good one imo, but she's a villain. c!jack just has the problem of starting a new project over and over and over and over again and because of the slow in momentum for the primary cast, there hasn't been a lot of recent development for him.

not really a dream smp opinion, but if philza went full geordie accent, i would love it. i want him to, in canon, say shit like 'me n ye' instead of 'me and you' and use geordie dialect. i want him to be physically unintelligible because it's funny.

i don't really know what's up with c!foolish but i think he's a dumbass. he had a while to think about c!q's proposal and then changed his mind about joining the guy to admitted to letting him die just because. moron

i wish there was more c!eret lore. i wish he was an actual king with an actual kingdom and actual subjects and royal advisors. c!eret is far too fucking cool to be the king of nothing and nobody. fatten up the kingdom and the castle with people who work with c!eret, and don't just make it tyrannical and dictator-y to prove the point of the server's 'anarchists'. make it a healthy working environment, please - if you want moral greyness, have 'anarchists' who claim to care about the welfare of the server oppose a kingdom of happy people under a fair and just ruler because their ideologies clash.

the server needs more characters who oppose anarchy in more peaceful ways, or passively wish for systems to be a part of. i think a chaos vs order conflict ending only in mutual understanding where everyone understands that they should just leave each other alone would slot nicely into the story that's been created so far.

you need to have watched all of the previous arcs to understand the story. i've seen people argue that they don't need to know about earlier lore to understand the prison, but that's the equivalent of only watching the final season of pretty little liars and expecting to understand the context of what's going on.

some characters aren't that morally grey. some characters, take c!tommy for example, are definitely on the whiter side for the morality scale, he's just an asshole. he's abrasive and rude and a dickhead but he also doesn't agree with terrorism, he's patriotic, he strives for a better world, he's apologetic, but he's also a fucking BITCH.

you can add onto this if you want, but not if you're a c!dream apologist. nobody likes your opinions

#dream smp #dsmp #esclaposhitpost

[hello-nichya-here]

Ted’s speech about love (to jenette when she had the locket) really bothered me. I wonder how many people actually think the show portrays love correctly in his obsessive, never getting over the person, way. Do you think ted is better than Barney, as he keeps saying to his face and the writers keep pushing with their plotlines?

You guys know me, I'm a total slut for codependency, extremely flawed characters, and doomed romances... but only when done right. And that's the main problem with Ted and Robin's "love story". Instead of accepting that they wrote a deeply dysfunctional pairing and having fun with the concept (like they did with Barney and Robin whenever these two were letting their worst traits show), they kept trying to pass it off as Ted being some kind hero, the perfect man that every woman wants, when in reality he was clingy, immature, selfish, entitled, and even cruel and creepy sometimes.

And no, he is not better than Barney. He is not even the same as Barney. He is not even close. He is much, much, much worse than Barney ever was. Barney could be an absolute dickhead, especially to the women he'd seduce and abandon. But he owned up to it. He knew he was scum. Ted meanwhile kept wanting to convince everyone that he was a saint and would use the most ridiculous excuses ever to avoid responsibility for his actions ("Nothing good happens after 2 a.m. That's why I cheated on my girlfriend and lied to Robin so I could fuck her. It just couldn't be helped. It was the universe"). Barney is the type of asshole that will bother you for a little while then disappear from your life forever. Ted is the asshole that pesters you, guilts you, goes from "you're the love of my life" to "You're just not the one" in a split second, fucks off and then comes back right the fuck out of nowhere to get on your nerves again because he's lonely.

They kept trying to "fix" that by having Barney do worse and worse shit, but they forgot that Ted, and the others, was in no way forced to be his friend. He saw the bad things Barney did, acted appalled, and then would either ignore it or do the same goddamn thing. Once again, Barney is a dick but he is honest and often a likeable bastard, while Ted is a dick AND a hypocrite with a "hollier than thou" complex. It also doesn't help that Barney was a charicature that was allowed to be funny in it's absurdity, while Ted was always doing the exact same, boring shit, and it was always treated with a completely unnecessary seriousness.

To add insult to injury, the writers would act like Barney was a jackass for doing completely harmless things. In the very beginning of season one we see Ted acting like Barney is the worst friend ever just because he was sick of going to the same damn bar every night and wanted them to try out something different. For fuck's sake, dude, I'm autistic, I HATE change and it can often make my brain straight up crash, but even I was like "Just fucking go to a different bar, you asshole, it's not the end of the world". And Marshall was excited to go too, so it wasn't like Barney was the only one who wanted it - Ted was just annoyed that he didn't get to call all the shots because everything just HAS to be about him.

They also didn't understand the difference between "Barney tricked yet another woman into sleeping with him" and "Barney has a lot of sex", and they punish him for BOTH, as if enjoying casual sex and not wanting a serious relationship is some kind of crime. Barney wanting to date a porn star, going to strip clubs and sleeping with prostitutes is "gross" (and obviously so are these women, because the show could be incredibly judgmental). Ted stalking women and teaching his pre-teen kids "how to turn a no into a yes" (something Barney said could not be done) is "romantic".

Honestly, the more I think about it, the more I'm convinced Barney was based on some guy who got A LOT of chicks, and creators were the type of "nice guys" who claimed to hate him, when in reality they were just bitter than they couldn't be him.

#asks #how i met your mother #himym #fuck ted mosby #barney deserved better #anti ted and robin

[fuckyeahisawthat]

Have you been asked yet to rank Trust eps? Cos I'm asking! But your the criteria for ranking I leave to you to decide.

Ahahahaha I’ll have you know I put way too much thought into this. :-D

Ok so first of all, there is no such thing as a bad episode of Trust. The whole thing is really tightly written, every character and plot thread has a purpose, and even the episodes that I haven’t watched over and over again are important to the overall story. And a lot of the impact of the show comes from things that are cumulative over multiple episodes.

That being said, I do have favorites. Since the definitive ranking of Primo’s outfits has already been taken care of, here is my ranking from least to most favorite based on some nebulous criteria of artistic/narrative effectiveness and emotional impact, my judgement of which is obviously highly subjective and also correct.

Under the cut because this got ummm unbelievably, ridiculously long.

10. The House of Getty (episode 1)

Sorry Danny Boyle and Simon Beaufoy, the pilot is my least favorite episode. Still think it was the wrong choice to open with a flashy (and, I can tell, expensive) sequence showcasing the death of a character we literally never see again. And, look, I’m an impatient viewer. If I don’t get someone to root for/emotionally identify with/otherwise catch my interest early on in a narrative, I’ll tune out. And Old Paul is not only unlikeable--far from a mortal sin in dramatic storytelling--he’s boring. I don’t care about any of his rich people problems, and I’m not the kind of viewer who can be kept engaged just by hating someone and watching them be terrible.

Some of the secondary characters in the Getty household do have interesting plotlines, but we don’t get to learn very much about them in the first episode. And I do think things get interesting once Little Paul shows up (although I maintain that the whole episode is more interesting if we understand what the stakes are for Paul getting the money), but if I had started watching this show with no context I wouldn’t have made it past Old Paul’s pre-coital erotica listening routine.

If this had been anything other than the first episode I might not have ranked it last, but extra penalty points for leading with your least interesting characters.

9. Lone Star (episode 2)

This episode is, I think, saddled by the fact that it has to do a lot of heavy lifting in terms of exposition and setup. It mostly works because Chace is an entertaining narrator, and once we get to Italy with Gail I think things zip along at a pretty good pace. Opens with an attempted rape to show how Bad the Bad Guys are, which is...not my favorite trope.

Once again, I think a lot of the information in this episode would have worked better if episode 3 had been episode 1. (We’d already know who Berto was when Chace meets him; we’d already know about the box of guns in the apartment; we’d know when certain characters are lying.) This whole show runs on the suspense of the audience being the only party who knows what’s going on with all the characters at once; I think trading mystery for suspense here was the wrong move. I also can’t help thinking there was pressure to front-load the well-known American actors in the beginning of the show at the expense of the strongest narrative choices.

Imo the best thing about this episode is the sort of...multiple competing images of Paul that emerge. His mom sees him as an innocent victim who couldn’t possibly have planned any of this. Chace sees him as a spoiled rich kid trying to swindle his granddad. Neither one of them has the complete truth.

Next we get into some episodes that are certainly not bad, but their greatness is more on the level of some bangin’ individual scenes than a whole package.

8. John, Chapter 11 (episode 6)

Again, this isn’t a bad episode. The main reason I put it near the end of the list is that the first time through I got sort of impatient during the first half. We, the audience, by virtue of our extra-textual knowledge, know that Paul can’t be dead, and we spend about half the episode before we know what really happened to him, which felt a bit too long to me.

This episode does have some fantastic individual scenes including: Leo talking Primo down in the farmhouse, Leo and Paul’s conversation about Angelo’s death, Gail being an absolute badass, and the meeting between Salvatore and Old Paul. A lot of these scenes are essential on a thematic level, but I don’t think the episode as a whole is the most streamlined.

7. Consequences (episode 10)

I debated for a while where to put this episode because the overall feeling of 57 Chekov’s guns going off in the space of one episode is SO satisfying, and the resolutions of some of the individual plotlines are delicious. Ultimately I would have liked more space for Paul and Gail and less Old Paul being grumpy about his substitute child museum’s mediocrity (although the scene with the bad reviews is hilarious). Once again I feel like the show creators felt they had to pull the focus back to Old Paul to wrap things up and I just. don’t care.

That being said. The resolution of Primo’s storyline? SO SATISFYING. And tbh I don’t dislike the scenes that exist with Paul and Gail; even the happy scenes have this poignant tone to them. I think they were trying to deal with the fact that his irl story is just...incredibly fucking tragic, and you can see a bit of the strain showing.

6. Kodachrome (episode 7)

I know episode 7 is not one of your personal favorites, but it’s the one where I think jumping between multiple plotlines/sets of characters is used to the most satisfying dramatic effect. It has this sense of dramatic irony that feels like some Shakespearean family tragedy. The whole episode, we are hoping that Paul Jr. will finally do the thing we want him to do, which is stand up to his father. And he does it--but at the absolute worst, most selfish and destructive moment possible.

Paul Jr. may be the literal worst, but I do have compassion for him in the flashbacks, mostly because it seems painfully apparent that no matter what he does, he will never be able to please his father. But he doesn’t seem to realize this, and he keeps trying, even as it’s destroying him and his relationship with his family. Credit to Michael Esper for his performance for making me feel a smidgen of compassion for this bastard.

I think the other thing this episode shows is how both of Paul’s parents keep putting him, a child, into roles and circumstances that he shouldn’t really be in. He’s wandering around through what seem like very much adult environments with his dad and Talitha in Morocco. In the Trust version of events he’s there when Talitha ODs and is the one trying to revive her while his dad is having a breakdown in the corner. Gail seems like the more responsible parent but there’s something about her bringing Paul as her “date” on a night out, and the understanding that this is a thing that happens regularly...to me the disturbing part is not so much bringing a young kid to a party with adults but the unspoken expectation that Little Paul will fill the void of companionship that his father has left empty. (Gettys expecting Little Paul to step in to cover for the failings of his father is a repeated theme, and it even plays into the ear thing. His family has failed to pay the ransom, so this is now a problem he has to solve himself.) Combine this all with Leonardo going, um, excuse me but what the actual fuck is wrong with your family? and I think it makes a very effective episode. And the last couple minutes had me yelling NOOOOOOOO GODDAMMIT because you can see what’s going to happen and you’re just watching it unfolding like a car wreck. Also has one of my hands-down favorite scenes, of Paul and Primo in the car waiting for the ransom.

5. White Car in a Snowstorm (episode 9)

The ~ D R A M A !!! ~ This episode is an opera. I mean this whole show is dramatique but episode 9 really leans into the vivid imagery--that snowy highway in the mountains above the sea, the all-white ransom exchange, Paul clinging to the pole at the shuttered Getty gas station, some Very Serious Mobsters throwing the ransom money around like idiots in a moment where you’re encouraged to be happy along with them.

This is also one of my favorite episodes for Primo and for Primo and Paul’s weird sometimes-alliance. Primo walking away from Salvatore to go tell Paul “they always pay in the end”? Primo and Paul teaming up to argue with Salvatore about why Paul shouldn’t die? Primo being all threateny to the doctor treating Paul because somewhere deep down he is worried (that’s my take and you’ll never convince me otherwise)? Primo dressing up to fake-scab on a postal strike in order to find a misplaced severed ear? All gold.

Fun fact: the letter Gail writes to President Nixon did happen in real life, but as far as I can tell the phone call did not. The real details of who convinced Old Paul to finally pay (some) of the ransom are considerably less cinematic. They’re the same amount of sexist though!

Ok now we are getting to the top tier...

4. That’s All Folks! (episode 4)

This is definitely the episode that took me from “ok this is fun” to “oh holy shit I’m invested now.” It’s the episode where we get introduced to most of the Calabrian characters and their world. It’s also the episode where we start to realize that Primo is not just a fun antagonist but is really a parallel protagonist to Little Paul, with his own set of relationships and motivations that we start to see from his POV. (I’d argue that, with the exception of his very first scene, we’ve mostly seen Primo through other characters’ gaze up until episode 4, and this is the point where we start watching him as like, the character whose pursuit of a goal we’re following over the course of the scene.)

This episode ranks high for capturing so much of the weird mix of tones that makes Trust work. It can be very funny. (I never fail to fuckin lose it when Fifty is on the phone with Gail the first time and when he’s talking to the thoroughly unimpressed newspaper switchboard operator.) It has this weird unexpected intimacy between characters you wouldn’t think would connect with each other. (Primo and Paul, Paul and Angelo; in retrospect the arc of the relationship between Primo and Leo gets started in that scene in Salvatore’s kitchen.) And it has one of the show’s absolute best record-scratch tone shifts when Primo gets the ransom offer. I remember saying “oh FUCK” out loud the first time I watched the end of that episode, when Primo comes back to the house, visibly drunk and clearly furious. We’ve seen him be violent plenty before now in the show, but always in a controlled, calculated way. This is the first time we see his potential for out-of-control rage-fueled violence and he’s terrifying!

3. La Dolce Vita (episode 3)

I stand by my claim that this episode (with a few minor continuity adjustments) should have been the pilot. Can you imagine a title card that’s like “Rome 1973” and then away we go with Paul snorting coke and taking racy photos and jumping on cops and fucking his girlfriend in what is definitely not proper museum etiquette, and then the smash cut to Primo intimidating and robbing and murdering people? And that’s the opening of the whole show? And you’re like how are these characters connected and then they meet each other and it’s the fucking sunflower field scene??

Anyway aside from the fact that I think knowing the information in this episode would have made episodes 1 and 2 more interesting...it’s just a great fucking episode. It’s kinetic and propulsive and funny and tense and violent and features Primo’s sniper skills and his ass in those cornflower blue trousers. I rest my case.

2. Silenzio (episode 5)

I’ll be honest, I went back and forth on the top two a bunch. Silenzio is definitely my personal favorite episode, and I’d argue that it’s the best written, in terms of what it accomplishes narratively, which is to keep you emotionally invested in both Paul and Angelo trying to escape with their lives, and Primo and Leonardo hunting them down. That’s so fucking hard!! And yes some of it is great acting but it starts from the foundation of the writing. It’s just such a perfect little self-contained horror movie, and it has this profound sense of fatalism to it, because you know from the beginning (if only by virtue of only being halfway through the series) that Paul is not going to escape, and you sort of know that there is only one way this will end for Angelo. And yet they escape by the skin of their teeth so! many! times!

It’s also the episode where you see how much power the ‘Ndrangheta has over people’s lives in this community: Salvatore is like God, calling his servants to him with the church bells. Combine that with the visuals of two characters running for their lives mostly on foot through this unforgiving landscape, and you really get the sense of this environment as a harsh place where most people have a very constrained set of choices, and the claustrophobia of that. You get the sense in this episode that everyone is trapped in these expectations of violence and duty and honor. Angelo did what anyone with compassion would do, and saved Paul from what seemed like certain death, and he’s doomed for it. At the same time Primo is doing exactly what anyone would expect him to do in response to a subordinate who disobeyed him. In some ways the end of the episode feels inevitable, unsurprising, and yet they do SUCH a good job of winding up the tension until the literal last seconds of the episode, and then releasing it with a big dramatic bang. It’s so good!!

1. In the Name of the Father (episode 8)

Ok I’ll be honest the ONLY reason In the Name of the Father edged out Silenzio for the top spot is that it is really clear they pulled out all the stops in terms of making this episode feel extra heightened in a show where everything is already heightened. Like, the cinematography is different? They still use handheld a lot but I swear there are more still shots and more extreme, editorial camera angles like that shot of Francesco looking upward in church where the camera is looking down from above him. I can’t tell if they actually tweaked the color grading or if the bright white and blood red just stand out against the Calabrian color palette which is mostly earth tones, browns and greens and blues.

There are just. So many layers to this episode. The imagery! The literal sacrificial lamb at the beginning, Francesco being guided by Leonardo through an act of violence against an animal, something that I’m sure they don’t even see as violence but just part of farm life, part of survival and in this case part of a celebration, but something that fathers teach their sons how to do as part of becoming a man in this world. Paul as the metaphorical sacrificial lamb later, drawing parallels to Jesus (the lamb of God), Isaac (a father sacrificing his son), any number of martyred saints, pick your Catholic imagery. The blood of the lamb on the tree stump and Paul’s blood on the stone. The communion wafer (the body and blood of Christ) and Francesco at the end with Paul’s blood and a literal piece of his body held in his hands the same way.

And then there is like, the suspense of watching everyone marking time through the steps of this community ritual that’s supposed to be a joyful, communal celebration, while we know that there is a secret ticking away under the surface. The slow unfolding of the lie told to one person spreading to everyone in the village, and then the knowledge that Salvatore knows spreading to all the people who’ll be in trouble for that. The relationship arcs between the main Calabrian characters...not resolving, but sliding into place for the final act. Primo finally being done with Salvatore. Primo and Leo’s alliance being cemented and Leo physically stepping between Primo and Salvatore, to protect Primo. (No one ever protects Primo!! Still not over it!!!!) The confirmation celebration as a mirror of the Getty party in episode 1, the parallels drawn between the 3 Pauls and Salvatore-Primo-Francesco and how Primo reacts to being passed over as heir vs. how Paul Jr. reacts. Little Paul having two whole minutes of screen time and managing to break your heart with them. Regina! Just...Regina’s whole everything. The music going all-instrumental for an episode and having this haunting, dreamlike but still tense quality to it. And the fact that we never cut away from Calabria to another plotline gives the whole episode this hypnotic, all-encompassing quality. It’s just. SO GOOD!!!!

#fadagaski #asks answered #trust fx #long post #so so long omg #i can't believe how long i spent writing this but HERE IT IS #trust alternate watch order

[stillness-in-green]

I'm not really active in the MHA fandom or blog- but I agree a lot with your points on OH. To be fair though- I don't think weekly schedule in itself facilitate great writing imo b/c Mangaka's don't have the time to revise their drafts (they get usually max 6 hours of time to work on each page- everything from name to final touch ups- monthly authors get up to 2 days for each page), there's literally not enough time to think, reread or to adjust things. But I think Hori's reaching a point where it's not sustainable for him to keep at the pace he started MHA with. So he's cutting corners to move the plot faster- but compressed plotlines will come with executional pitfalls. That's just the limits of the medium when you don't have a dedicated writer/ don't have everything pre-planned. It's getting more apparant now, because we're in the final arc- and people are expecting pay offs to start happening. And in considering that the 'conversation' deku and OH had was supposed to be payoff on OH's character thread? It's a lotta waffling imo. I'm over it at this point- because If Hori is actually doing this because it's for his own health- then I'd rather he do that. regardless of whether I like his story or not- it's still his story- so the priority imo is so long as he's happy with his work- that's what should matter more. It doesn't mean it's above critque, or that we should all like it, not at all, ones reactions are one's own, and genuine in their emotions. There's nothing wrong with expressing such on ones own blog, and tagging it in the fanom. Critiques ultimately for those of us doing so, is moreso for ourselves, either those who want to work on creating our own IP, or just want some benchmarks to keep in mind in reading future stories and anticipating what actually appeals to one's own tastes. I just want to make a shoutout of all of that, cause I can tell some of the people reblogging your OH post don't get it at all and are too busy in the "I'm right, you're wrong mindset"- which is-realistically speaking nothing new when it comes to internet fandoms- but still missing the point of what you were saying. Unfortunatly- Tumblr's reply function is pretty much ass when it comes to anything of length on an actual post though. So hope you don't mind the rando tldr from a passer by.

Heya anon, I definitely don't mind the passer-by message. You're right about Hori's ridiculous work schedule. I complained during the war arc about all the breaks, but now I definitely wish he would take a few more than he has been. Not just for the story's sake, but also for his own--it's been AGES since he had one, it seems like. And in fairness, I can hardly expect him to make the time to do a bunch of research on e.g. the detrimental psychological impact of solitary confinement on his schedule.

In truth, the rant was mostly to get it off my chest. Normally, I save my most annoyed complaining for Discord, but sometimes when it feels like no one else is saying the things I want to see said (about Deku's motivations there, about the PLF arrests, about the MLA's views on quirk supremacy, etc), my motivation overflows.

Ultimately, I've been making my peace with the idea of jettisoning canon pretty much since Chapter 240 dropped and featured a Re-Destro whose characterization I liked considerably less than Chapter 239's Re-Destro,* so the idea of writing off the canon after a certain point and just writing the fic I want to write is something I'm very prepared to do.

Still, it'd be nice to be happy with the canon itself, and I really am hoping to be! There's so much good and interesting stuff going on in the series, really challenging material, and like many others, I hope that this arc is about really pushing Hero Society and its defenders to the breaking point so that they can see that the system they have does have to change--just to pick the obvious example, I don't want to see Hawks proven right that a system that could produce him and Lady Nagant is worth salvaging just because Deku is a good person.

Thanks for the message, anon! I grew out of the phase of being bothered by people who willfully miss my point or read me in bad faith many, many fandoms ago, so I'm not too concerned with the people in the comments doing that--I've gotten some very thoughtful responses and much more traction than I'd been expecting, so I'm glad the rant reached some like-feeling people! Here's to hoping Horikoshi gets some rest, and we all can find satisfaction in the story he's working so hard to bring us.

(*Regarding 239 vs. 240's Re-Destro, while I have my problems with how the MLA is being treated in general, the canon has given me more good RD material. I will probably never be over him calling Shigaraki "savior and liberator" and getting indignant about Shigaraki's safety GOOD SHIT GOOD SHIT. Also Clone!RD talking about the relief of only having to present one face to the world and wistfully reflecting on his group's sought-after Liberation as he falls into nothing I am still shook.)

#stillness answers #bnha

[hopevalley]

Season 8, Episode 9: Pre-Wedding Jitters

Y’all know what’s wild? The season is coming to a close! I feel like we just got started with Season 8, and it’s already nearly over. I’m not ready for things to end...except the love triangle. Lol.

One important thing I want to talk about, before we move on to my regularly scheduled episode write-up, of course, is the quality of the writing and filming this season. I really feel like the team took a step back and thought very carefully about how to improve the show, and then they went through the effort of actively trying to improve things. 

Are there still badly-written areas of the show? Absolutely. Are there things I loathe seeing? Yes. Are there plotlines that are extremely contrived even by Hallmark standards? Unfortunately there are.

But I don’t think anyone can deny that the writing this season is, overall, an improvement over Seasons 5, 6, and 7. The only thing that I feel about S8 that is worse than 5/6/7 is the love triangle, but it had to come to a head eventually so it was always going to be a point of contention among the fans.

I’ve seen a ton of negativity going around the Internet, and you are all entitled to your opinions, but let’s hold back from being too angry until we see how things will work out. After all, there is a chance, however small, that Hallmark will end up surprising us.

So here’s to hoping that the writing quality uptick will continue as we move into Season 9.

And now, our plotlines from this episode:

The Dilapidated Love Triangle

The Wedding Planning/Party

The New & Improved Henry Gowen

Miscellaneous (Car Investigation, pastor position/Jesse and Clara + Cafe, Carson and Faith, Mike and Fiona)

This was another episode that felt pretty smooth in its storytelling; it had some smaller plots going on, but two primarily large plots, a smaller one that revolved around Henry, and then a few small (connected) plots from previous episodes/that overarched the whole season!

Sorry for the muddle by the way, it took me hours to type this and I’m too tired to read it over thoroughly before posting. If you see any glaring issues please let me know so I can fix them, though!

--

The Dilapidated Love Triangle

Let’s just get the pig slop out of the way, shall we? I think we are all in some sort of agreement by now that we’re tired of the triangle and just want to see it resolved as soon as possible so that we can get on with our lives and invest our interests in the right place(s). 

I also believe most of us are also in some kind of agreement, however we feel about the characters, the triangle, and who Elizabeth’s choice should be, that this thing has been very poorly paced. This sentiment seems to be echoed across the Internet right now. The pacing is AWFUL. After two years of almost nothing happening, now we’re going to bullrush to the end of the triangle? That’s a yikes from me, Chief. (Wait, didn’t I say that last week, too?)

I was never a fan of the narrated beginnings of episodes. I think they’re really tacky and boring. That said, there’s no other way to get into Elizaeth’s head easily because...I don’t know. Either Erin isn’t that skilled or the director doesn’t know how to direct her, or the script sucks. They struggle SO MUCH with show-don’t-tell that they have to resort to telling...which is fine, sometimes. This is an instance where telling is just mega redundant since she says the same exact thing probably 10 more times in the episode. I wish they’d have just kept the first part of the reflection or focused more on that—how Nathan talking about it...makes it feel fresh and raw again in a way she didn’t expect.

Anyway, Elizabeth writing that she’s been “left to reflect, once more, on the senseless accident that took [Jack’s] life” is ridiculous. Senseless? He was in charge of the training mission, but unless I’m losing every last marble I’ve ever had, wasn’t it Jack’s choice to go after the younger recruits who had been separated? Wasn’t it thanks to Jack’s quick thinking and intervention that only one person lost his life that day (Jack himself)? 

This is where the whole “Jack died heroically” thing kind of matters, actually. Especially when you butt it up against Nathan being the original person intended to go. Would he have risked his life like that? We’ll never know, but I’m sure Nathan thinks about it a lot, and it’s not something that should be left out of this story.

It’s valid for Elizabeth to wonder why Nathan kept the Secret hidden from her for almost three years, but what is really troublesome is the weird shift she seems to have between Casual Curiosity and Stricken Grief about it.

I grew tired of mopey Elizabeth in S4 and 5, so I’m not happy to see her back. Fewer eye drops, please. -_-

Anyway, it almost felt like a breakthrough when Elizabeth asked Rosemary why she thought Nathan took so long to tell her about Fort Clay, but Rosemary’s response was so bad. “He didn’t think it was important enough.” WHAT? WHO WOULD SAY THAT? Rosemary can be a bit thick-headed but that was almost too contrived for me to willingly follow. Anyone with a brain would realize it was IMPORTANT and THAT WAS WHY IT WAS A SECRET.

And when Elizabeth’s like, “Not important enough?” BECAUSE OBVIOUSLY IT IS IMPORTANT... Rosemary just tells her that Jack’s death wasn’t Nathan’s fault.

Which. She’s right. But that doesn’t make the secret unimportant. It’s still kind of a big deal. He’s confessed to being in love with Elizabeth multiple times now. Even Rosemary can’t be so dumb that she doesn’t realize that the connection between Jack’s death and Nathan is...meaningful, especially to Elizabeth. And that Nathan knew this and couldn’t bring himself to tell her because he knew it would hurt her.

Anyway, I’m doing my best to give Elizabeth a bit of grace here, because she’s just so self-centered I almost can’t stand it. To be clear, Elizabeth has ALWAYS BEEN LIKE THIS. It’s just that usually the issues at hand aren’t about her, they’re about someone else. 

Rosemary’s right but what she said was straight-up stupid. I don’t know, I don’t think the characters are out of character so much as the dialogue just didn’t flow very naturally and I felt like the characters were making assumption jumps to force certain responses. If Elizabeth can’t agree with Rosemary that Jack’s death isn’t Nathan’s fault, then she should have expressed that a bit more directly so that Rosemary could draw the conclusion that Elizabeth does feel it’s Nathan’s fault. It came across like Rosemary was speaking to the audience more than to Elizabeth, and I didn’t like it.

--

The most delightful scene in the entire episode has to go to Allie and Lucas. That was so cute and wholesome and good. Her asking if she could sit at the bar, him offering her a treat, her trying to return the gift ‘cause she felt caught in the middle and like it wasn’t fair to accept it... SO GOOD. They remembered the gift multiple episodes later AND incorporated it into this episode flawlessly. LOVED IT. 

Also, she asked an important question. LUCAS...where DO YOU LIVE?!

His story was a bit silly but I actually enjoyed it. It gives him a more playful vibe and also I think was almost entirely to ensure that Allie felt more comfortable and less anxious about what was happening around her. It was also his way of reassuring her that him courting Elizabeth wasn’t going to take Elizabeth out of Allie’s life...and that things will be okay.

I enjoyed it.

Things were a bit awkward with Elizabeth and Allie but they felt...better than before, so I felt like the conversation helped.

--

Lucas calling Allie “Allie Grant” was nice now that her adoption is official! I appreciate that.

Elizabeth and Lucas talk about how Lucas told Allie he’ll “work things out” with Nathan and Elizabeth definitely doesn’t appreciate it, and with somewhat good reason: she doesn’t like being caught in the middle of things any more than Allie does.

The thing is...she has had the power...all this time...to tell Nathan straight-up to leave her alone/that she isn’t interested. I stand by what I said before, that she shouldn’t have to tell him no for him to respect the boundaries she’s set, but if he’s not respecting those boundaries she needs to be firm about it.

I like how Lucas comes off in this scene. He wants to understand, he listens, he’s patient, he doesn’t push. I’m here for it.

She tells him what Nathan told her and he seems a bit overwhelmed by it, too. It’s pretty clear that he realizes she must be feeling all kinds of things after finding that out, especially after all this time. 

Again, for the second time, Elizabeth doesn’t seem all that grief-stricken about the secret being kept from her for so long: she tells Lucas she just doesn’t understand how he could keep it from her. 

He asks permission to suss out an answer and Elizabeth politely declines and says she’ll ask herself, but to please forgive her, she needs some time to...think.

She watches Lucas go and then...touches her wedding band.

-

Nathan meets Rosemary in the library and goes on a long boring monologue about how he’s read like, three whole books that women wrote, but still doesn’t understand women. No shit, sherlock. That was terrible writing...just straight up bad writing.

But I’m not exactly surprised because the very next thing that happens is that Rosemary tells Nathan...she’s been in his eXACT position before!

No...you have not. Yes, you were the unwanted third wheel, but that’s where the similarities ended, and you should have clarified. This just didn’t hit well for me, I don’t know. I don’t want to say it’s out of character, but...I don’t think Rosemary is this soft gentle personality anyway. I feel like she was always a bit more in your face with the things she said, not “try to encourage a manner of action in a very roundabout way” like she is in this episode. But again, without a logic jump from Rosemary, this scene doesn’t quite work.

I think I might have preferred Rosemary to play dumb and ask what specifically he didn’t understand about women. Make him freakin’ say it. And then she could react better. 

--

We get Love Confession #3 or whatever we’re on with Nathan, now. Let’s go over the entire scene.

Elizabeth walks into Nathan’s office and instantly asks him why it took him so long to tell her what happened.

He says he felt guilty and when she tells him she doesn’t understand, he goes on to say that after the accident he requested a transfer to Hope Valley. He never met Jack but he knew he’d left behind a wife and child, and felt it was his responsibility to look after them and protect them.

She asks why he would assume that, and he explains that he felt it was his duty. And that when he found himself falling in love with her, he felt like he was betraying Jack and his memory. That’s why he didn’t tell her.

He then takes it ONE STEP TOO FAR and says, “I fell in love with you, and I think that love is always worth fighting for.” 

Elizabeth says “Excuse me,” and leaves. Nathan’s face afterward is maybe a decent mix of “I probably shouldn’t have said that” and regret, but...woof.

Anyway, I was fine with this up to the point where Nathan said, completely unprompted, that love is always worth fighting for. How does he know? What are his experiences with love? Books he read, written by men??? PLEASE.

READ PRIDE & PREJUDICE U SWINE... ELIZABETH FALLS IN LOVE WITH MR. DARCY BECAUSE HE DECIDES HE WANTS TO CHANGE AND BE A BETTER MAN AND THEN DOES SOOOOOOOOO oh wait this is turning into an Elizabeth/Henry argument...OOPS?

Anyway, yeah. Not a fan of that line. It almost feels like there’s something missing. She’s standing in front of him about to cry because she feels hurt that he didn’t tell her this, you know, crucial information, and he’s just like “Yeah I didn’t tell u cause I love you and felt like i was betraying jack’s memory and also lol love is worth fighting for babe!” What kind of confusing mess of babble is this?

Honestly, it just left a bad taste in my mouth. :( I have so many really obnoxious opinions about Nathan and what they’ve done with him this season, but I feel like I should save them for a season summary podcast or something, just in case Hallmark ends up surprising me. Right now I just feel like they really just wanted to give him what the fans hated about him (he wasn’t passionate enough, not manly enough, not forward enough with his emotions, at least from what I read on Reddit and Instagram last year), but in like THE WORST POSSIBLE WAYS and for the wORST POSSIBLE REASONS in the VERY WORST SCENARIO.

I feared that would be Nathan’s reason for coming to town from the moment the character was announced and...I wanted to be wrong.

Anyway, I really liked his self-awareness up to that point. He never met Jack, which keeps some of the weirdness at bay. Also, he felt like he needed to make sure Jack’s family was okay, and that’s fine. I wouldn’t call it noble (as Rosemary later does), but it’s not exactly bad, either. Then we got the line of him admitting that it felt kind of bad to fall in love with her. I wish he’d gone on to say that wasn’t supposed to happen, or even given her a reason he loves her (so that it doesn’t feel like we’re just being told everything), because his line about love being worth fighting for right after he says he felt like he was betraying Jack’s memory by loving her...was...really strange??? Maybe a few sentences were edited out? 

--

Elizabeth tries to refuse to play Fiona’s blindfold game and LITERALLY NO ONE SAVES HER (though I think Rosemary considered trying). I hate the idea of this game solely based on the fact that several people participating shouldn’t even be there (Nathan, Bill, Mike, Fiona, Molly), but Elizabeth wouldn’t be able to accidentally choose Nathan if he wasn’t there, so... -_-

I think I might have actually liked this (her “no” with Carson was super cute actually, probably the cutest laugh she’s ever had on this show) if she’d had the chance to reject a few more guys on the way down the line. If she was closer to the end of the line she’d feel her options were running out and might second-guess herself. Having Nathan be the second person she touches and having her choose is...eh.

Nitpicks aside (their hands wouldn’t feel the same and she held Lucas’s hand quite recently actually), it could have been worse. At least she stated who she was searching for...

BUT UGH THE EMBARRASSMENT.

The thing that gets me about the whole scene is 100% that everyone in town would know about the Triangle drama, so it feels...weird to see everyone so gung-ho to watch this happen... I don’t know... I like having fun too, but NOBODY even TRIED to step in??? 

At least Lucas found some humor in it right away (he smiles). 

I think I wish someone had said something. Maybe Nathan could have said, “Nope, sorry” to lighten the mood a bit? Or Lucas could have said, “Almost!” since he was standing right next to Nathan?

--

Anyway, we’re spared having to wait because the very next scene is Lucas checking on Elizabeth and laughing about her choice.

One line I wish they’d added in is that someone else got it wrong. Imagine if Lucas said, “At least you didn’t pick Bill like Clara did!” Or even just made a joke about it in general like: “Of course I’m not upset. But if you would have picked Bill I might be a little hurt. My hands aren’t that old yet.”

Elizabeth tells him that she spoke to Nathan about the whole...thing and it was awkward. She chooses to not tell Lucas the rest of the reason Nathan gave, but instead only admits that he told her he loves her again. When Lucas asks what she said in response she said she didn’t say anything.

Lucas seems...a trifle upset at this, and understandably so. I think he can sense she’s...not really a sure thing and is worried about it. :( I feel so bad for him right now.

--

Rosemary stops by to see Elizabeth after Lucas leaves, and tells her she ran into Nathan at the library yesterday. Elizabeth tells her what Nathan said in his office and Rosemary says it was noble and selfless of him.

(I mean...it wasn’t selfless. Like at all.)

Elizabeth says she never asked him to be noble. She didn’t ask him to fall in love with her, either.

She asks Rosemary if she encouraged Nathan’s feelings for her at the library. Rosemary says no, but Elizabeth asks again and she interrupts her to ask Elizabeth if she’d rather hear what she actually said or just assume.

Rosemary goes on to say that she just wants what’s best for Elizabeth.

And we get Elizabeth asking how anyone would know what was best for her.

I mean, that’s like 90% on you for not communicating with your friends, but also, it’s 100% on you for just assuming you knew what Rosemary said to Nathan. I think she’s just looking for a reason why Nathan is being so persistent and in her mind encouragement from someone else is the only thing that makes sense, ‘cause she sure as heck hasn’t been encouraging him herself!

This hurts Rosemary’s feelings, probably because she was about to say that she wants what’s best for Elizabeth so she asked Nathan to stop getting in the way lol, and says maybe she should leave (since Elizabeth is in a bad mood). Elizabeth agrees she should go.

End episode. On this note. Woof.

Overall it wasn’t too bad I guess? But I’m not a fan of how some of this was written. It really felt like they cut lines out to make the episode shorter, when...they could have cut out one of the boring side plots. You know. The entire thing with Jesse and Clara, for example. 

--

The Wedding Planning/Party

I admit that I got a little enjoyment out of Florence saying no to all the dresses. Highly relatable. 

Then, at the barbershop, Fiona says the exact wORST possible thing about Florence wanting a hairstyle that’ll “knock Ned dead” FLHDSFAJDSA.

Florence goes on to say she wants anything but “ordinary Florence” and Molly steps in.

Honestly, I wish they’d just let Molly stick to being Florence’s BFF because that’s the role she plays best. Also, I’m almost sad Florence and Ned got together because it means #teamflomo is no mo’. :(

Paul shows up...

I don’t know what I expected but this boy would have been a literal BABY in season one, which makes the whole thing with Florence almost sadder AND it gives Florence more in common with Elizabeth (widow with a young child) BUT I HAVE OPINIONS.

I know what you’re thinking. “Manna, you always have opinions!” Yes, you’d be right. 

They based this off of ONE (1) line of dialogue that Florence had in S1 when something was stolen from her house. She says, “while my child slept nearby” or something like that.

They brought a child in...for that? On one hand...I’m impressed.

On the other hand, I kind of had just assumed they���d retconned that and that Florence had no children (which is why she was always goofing off gossiping with Molly) so I don’t really know how to feel about the whole thing.

Rosaleen starred in an episode and never showed up again after S1, so I think I’d have preferred to see her return instead of a child we literally never laid eyes on. But he’s a cutie. And he’s named after his father just like little Jack so...I’ll take it!

--

The party begins and we have to do “the men are stupid and don’t know how to plan” again which is really annoying. The highlight of this entire thing was Ned saying (about his hairline) that he’s been driving with the top down since his 30s. I respect you AND ONLY YOU, Ned.

--

The party continues on and they play charades. Rosemary chose weird awful options that don’t make any sense and are hard to act out. Ned’s could have been funny but the one Bill got is just...so weird.

The funniest part about it is looking at everyone staring at Molly as she guesses it.

I think it was supposed to be...cute? Or something? It was just really weird for me.

“Cuddle up a little Closer, Lovey Mine” (yes, it’s “lovey” not “lovely”) was written and recorded in 1908. You can listen to it here. Lyrics here.

They then play the Most Awkward Game Ever, one that would have had me sweating bullets if I’d had to play it. Florence has to find her man by only holding the hands of the other men.

As Fiona says, it’s a bit...risqué, but Florence rejects Jesse quickly and finds out the second man is Bill by squeezing his hands too hard.

Bill explains that his arthritis is flaring up and of course Sara and I jumped on that almost at the same moment:

We like Bill. :P

And then Florence correctly guesses that the next man is Ned. It’s very wholesome and sweet.

But then it’s Elizabeth’s turn because I guess she’s not been traumatized enough this episode. I covered that in the triangle part of the plot, though.

--

The New & Improved Henry Gowen

We start off with a BANG here with Henry and Christopher. Christopher misses Rachel because he’s a twitterpated little FOOL and he tells Henry all about it...while Henry sees Bill tearing apart the stolen car in the distance.

He asks Christopher how he got to Hope Valley from Hamilton and Christopher just straight up comes clean about it: he drove a stolen car that his buddy stole. 

Henry scolds him a bit, tells him he can’t borrow a stolen car, and explains that he doesn’t want Christopher to end up like him. Christopher seems kind of surprised by this and says, “You turned out good.” 

To which Henry replies, “The jury’s still out on that.” 

Christopher says he’s done with that kind of thing, and Henry tells him he believes him.

Honestly, Henry’s “I believe you” got to me. It sounded SO genuine. And also, can I say YET AGAIN that this kid was an impeccable choice to play Henry’s son? WOW. I can’t get over how much alike they are even in mannerisms and looks.

But THEN when Henry tries to say Rachel has something to do with Christopher being done with that old lifestyle, Christopher tells him “And you” AND I ALMOST LOST IT. SOOOOO GOOD. Henry goes on to explain that “long after” he divorced Christopher’s mom, he met Abigail, who saw the potential for goodness in him. And that he can’t help Christopher be a better man because he’s still figuring that out for himself, but if he thinks Rachel can help him, he should do what he can to not lose her.

--

Later, Henry invites Christopher to Ned’s party and Christopher declines but asks what happened to the woman Henry mentioned earlier—Abigail, of course. Henry says she left town to help her mother.

Is this a...hint of things to come? I’m...not sure.

Henry sits down for two seconds before Lucas asks to speak with him outside. Once there, Lucas admits that he contacted Christopher. This is one of the most contrived plotlines we’ve had in a bit, if only because I just can’t figure out how Lucas would have known who Christopher was, let alone whether or not he would be useful? He doesn’t even have the same last name... I mean, what, did Henry write in sparkly gel pens or something? 

But for some reason he contacted Christopher to come work for Henry to keep an eye on him. He’s not proud of having done it, which makes sense. I guess I wouldn’t be either.

Henry’s upset about it. Lucas tells Henry that he took advantage of him and that he had to make sure Henry could be trusted.

Christopher doesn’t know that Lucas told him, though, and Henry asks that Lucas keep it that way.

It makes Christopher’s behavior with Lucas make more sense (when he kept trying to push him around earlier this season), but the timing is just...awful? Maybe talking to Elizabeth about Nathan’s secret made him feel guilty about his own? I’d buy into it more if I felt like there was a really compelling reason for Lucas to feel that Christopher would do any good...but it’s just too contrived for me.

--

Christopher randomly decides to go to Bellingham to see Rachel. Henry tells him not to make trouble if her parents ask him to leave. Henry makes to leave, and Christopher stops him.

I CANNOT SING THE PRAISES OF THIS SCENE ENOUGH. Christopher tries to tell Henry about the thing with Lucas and Henry’s like...you’re different now, you’re starting over it doesn’t matter anymore!!!! Everyone deserves a second chance!

AND THEY HUG AND CHRISTOPHER TELLS HENRY HE LOVES HIM.

They almost got me to cry. ALMOST. I refuse to cry at this show because I refuse to give Brian Bird the satisfaction, but boy oh boy was this close.

Henry responds with a “me too” and makes Christopher promise to write. Then the stage leaves and that is that.

The rest of the storyline for Henry is under the car investigation. They’re related but...only intertwine at the very end so I separated them. ;)

--

Miscellaneous (Car Investigation, Pastor Position/Jesse and Clara, Carson and Faith, Mike and Fiona)

Car investigation: Nathan starts this episode off on the wrong foot. I think that was...a mistake. THAT SAID...I’m relieved Bill isn’t being written as a complaining whiny pile of trash for once, so I just want to say that...they had to realize after last episode the fan opinion of Nathan would be...not great, so mayyybe they shouldn’t have started this episode off with him literally complaining about doing his job...while he’s in uniform no less. Also he has NO PASSION at all for his job, or for investigating, which I hope means he’ll end up quitting the Mounties. (It could be a hint of things to come...I hope.) 

I mean, does he think Bill got his position for...no reason? Also, thank God Nathan turned down the promotion to Inspector if that was how he was gonna treat actually doing the work?? I’m pretty sure this is their idea of “humor” but boy did it fall flat after the love triangle mess that’s been going on.

The owner talks to Nathan on the phone later and is coming from Hamilton to get his car. Nathan seems to be telling Bill this to discourage him from wasting his time investigating, but Bill doesn’t want to stop lol.

Ned’s comment from the party about his hairline being him “driving with the top down” gives Bill an Idea in the middle of the bachelor party and leaves. Ned looks shook that he produced An Idea.

And follows. Ned is absolutely adorable as he assists Bill. They should interact more?? Long story short, Bill figures out that the top was probably up when it was being transported to Hope Valley (as you wouldn’t want people getting a good look at your face if they’re looking for a stolen car), and finds a footprint in the removable top.

The next day, Bill approaches Henry up at the oil derricks and comments on the fact that Lucas told him that Christopher checked out of his room at the saloon. Henry is up front and honest about where Christopher went, and says he went to Bellingham to see Rachel Thom.

He says, “You know how it is. You love someone, you’d do anything for them.”

The one interesting thing about this comment is that...no, Bill does NOT know. He’s never admitted to being in love in his life. He married Nora, but that was out of obligation (something he makes clear several times). Like, he obviously cared about Nora, but he wasn’t in love with her.

Obviously he’s loved someone enough to do anything for them (his son), but considering he’s dead, and possibly died in a really traumatizing way considering how it’s portrayed, that seems a bit...insensitive. :P

Bill counters it with, “Almost anything, maybe.” 

He then goes on to tell Henry he found a footprint in the stolen car.

And he just. Kind of. Gives Henry. A look. Because he knows exactly who stole the car, he just has to prove it.

Henry stops Bill and says: “A while back I remarked about how you had never solved the mine disaster. Perhaps if you and I get together, I might be able to help.”

Bill doesn’t say a THING...he just leaves. But he looks kind of...put off by the whole thing.

Like he knows what Henry is doing.

Do you know what Henry is doing?

Anything.

For someone he loves.

(Pst. That someone is Christopher.)

As soon as Bill is gone, he picks up a pair of shoes and throws them into the fire.

I think it’s pretty clear that Henry is using this mine disaster thing to protect Christopher, and he’s doing it for this reason WAY MORE than he’s doing it to come clean and be a better man. That’s just my theory, though. I think if Bill hadn’t found anything out about the car, then Henry wouldn’t have brought it up.

But I guess he knows something. The question is...what? And also, when did he mention Bill never having solved the mine disaster? I’m really struggling to remember Henry ever saying that to him, at least not recently. Does anyone recall offhand?

Anyway, I’m wondering if they’ll tie up that whole thing about Noah and Peter that was never addressed on the show to the fullest. You know, the whole thing with them going into the mine knowing it wasn’t safe and not warning anyone. I think a lot of people who watch this show have never been in poverty or lived paycheck to paycheck, but sometimes a person just has to put their head down and keep working even when it’s not safe, because they have to keep living. Or because they had more time to put a stop to things before anything bad happened.

I think blaming Noah and Peter as much as Henry is pretty stupid, but they still shoulder some blame. They were working to fix that problem. Henry wasn’t. He did what he was told and shut up. But maybe there’s a bit more to that story. Could be interesting.

Could also be the worst reveal ever, so...who knows? I’m curious to find out.

BUT ALSO what do they mean Bill didn’t solve that case? The widows sued and won. Sure, he got beat up in S1 carrying evidence out of the mine, but it’s not as if there wasn’t a lot more of it inside the mine, too. Everyone knows the fault of the collapse was due to working conditions being unsafe. What’s left to solve? Is Henry going to give Bill the names of the people who told Henry to keep his mouth shut? 

Or...are they talking NOT ABOUT THE HOPE VALLEY MINE DISASTER, but the original one that sent Henry to Coal Valley (and Nora into a marriage with Bill)? Because that one was not solved. The company just made Henry a scapegoat in that case.

THE WAIT TO FIND OUT MORE IS GOING TO BE TORTURE.

--

Pastor Position/Jesse and Clara + Cafe: I enjoyed Minnie in this episode and seeing her step in and help Clara and become part of the town was great. Jesse giving more credit to Joseph than Lee was pretty funny, and a nice set-up for Lee realizing that Joseph is a pastor. Lee is apparently head of the search committee to find a new pastor...which...sure...okay. Also apparently the newspaper died?? Uh.

I’m kind of hoping Rosemary’s new passion will be the newspaper since she’s supposedly going to dig her nose into things next episode and she used to write a column for the old paper (so she has some experience). Thoughts on that?

Anyway, Joseph agrees to pastor the church instantly the second Lee asks...so it feels weird that his original goal/plans/whatever just...don’t matter anymore? Okay.

They buy a bell.................WHICH BRINGS ME TO MY BIGGEST PETTY COMPLAINT OF THE EPISODE. BRO THAT BELL STRAIGHT UP LOOKS 3D PRINTED FJLKDSAHFLDSAHFLDSAHFKLDSA

Anyway I’m teasing. The Liberty Bell weighs a little over one ton, and two horses could easily pull that.

No complaints. My husband complained last week that there wasn’t a bell and now there is. It’s like he knew. 

Joseph talks about what a “calling” feels like (I think this will come back again with Rosemary which has me VERY HAPPY): a tug on his heart.

Joseph also tells Lee that the men in his yard earlier were surveyors and that he won’t move, at least not far, because he has a congregation to lead, now. Makes me wonder if he’ll actually sell!

Anyway, Jesse and Mike are cute pals and decide to have a snack in the cafe while the gals are socializing with Rosemary (who has just returned from the library).

Rosemary’s books are on land acquisitions, surveying, and territorial law. 

Minnie and Rosemary decide to talk about this while Clara leaves. Why? I’m not sure. Maybe just ‘cause it was boring lol.

She gets back as Mike and Jesse are talking about, uh, her, actually, and Mike asks if all is quiet on the homefront.

Yes, it is. Unlike the trenches of WWI.

But seriously I thought it could be a joke reference to “All Quiet on the Western Front”...a WWI novel. Since...you know...WWI is going on and hasn’t been acknowledged at all even though it’s almost over now.

Joke’s on me, though...that’s too advanced for Hallmark.

Anyway it’s only quiet for like two seconds, because Clara busts in, thinks they’re eating the food she’s been busting her ass over for the party, and yells at Jesse. It makes everything awkward. Jesse simpers about like a sad little clown instead of trying to be understanding. Yawn. Awful. Bye.

I don’t know what would fix that scene, but I think part of the problem is...I’m just not invested in Clara and Jesse anymore. It’s perfectly reasonable to expect them to need more time to get over the problems in their relationship but I don’t care about them enough to care about the journey...if that makes sense. I’d rather watch Bill dust for prints on the car some more.

They do have a chat, and work things out, so that’s good I guess.

--

Carson and Faith: Carson has officially stolen the dock from Abigail and Frank, and so my hatred for them doubled instantly.

Me, a territorial loon: THAT SPOT IS NOT YOURS!!!!! FIND YOUR OWN!!!

Anyway Carson makes things awkward and then busts out that he accepted the fellowship without talking to Faith.

She’s kind of hurt by this?? UNDERSTANDABLY?? But then he asks if it would have made a difference. I mean, common courtesy would be at least sitting down like this and telling her, “I’ve decided to accept it.” But no. He just. Accepted it without telling her he was going to. Bro...

They aren’t on the same page for even two seconds. He tells her he was committed to the relationship and put all his plans aside so that she could be happy.

Honestly, as much hate as Nathan’s getting right now, if people gave a damn about Faith I think Carson would be getting his fair share of hate, too. What a jerk???

He goes on to say it wasn’t a waste of his time (when she asks), but never bothers to tell her more or to prove he didn’t feel that way (BECAUSE HE SURE ACTS LIKE IT WAS A WASTE OF HIS TIME). He just says he hopes she changes her mind and comes with him to Baltimore.

At the party Carson and Faith go outside to talk where Carson admits that he should have told her he was accepting the fellowship before he wrote. She tells him that the year she was gone was almost too much time apart for her, and Carson promises to write her and tells her she can visit him, too, but she brings the conversation back to reality. They’ll both be super busy. 

He suggests they get married, and then immediately says he’s not asking (it’s not how he’d propose), but that they could look forward to getting married. (Good thing they laughed ‘cause I sure wasn’t. It was super awkward...) He suggests seeing how they feel in about a year. (Oh...perfect timing for...next season...hm.)

Faith tells him she loves him and wants what’s best for both of them, even if that thing isn’t them being together. They agree to just enjoy the night and worry about the rest later.

Anyway, I feel like these two just have NO chemistry (they’re worse than Bill and Molly in my books). I really appreciate the attempt to give them meaningful material, and I like that Carson has a passion again, but boy oh boy are these two hard to watch. The plotline is really good, but the characters just...aren’t great. I figured if anything they’d give a plot like this to AJ and Bill to tie that up (some kind of conflicting reason she can’t stay in Hope Valley to be written off the show for good) so I was surprised to see it going to Carson and Faith instead, but like...in a good way because it’s actually compelling for their situation! I've been in a similar situation and it feels REALLY BAD to like someone a lot but not be ready or willing to commit to an extreme for whatever reason. Faith doesn’t want to go to Baltimore because she loves Hope Valley and she undoubtedly doesn’t want to see it go without a doctor at all. Carson likes Hope Valley but his passion is in surgery and he can make a huge difference in a big hospital. He could still make a difference in Hope Valley, too (undoubted he’s the only surgeon for many miles around these smaller towns) but he also likes hospitals and their equipment and maybe misses what he had a long time ago.

So it’s a great plot. It’s compelling. It’s even a bit tragic when you think about it!

But my God do these characters just...not come off as convincing. :(

--

Mike and Fiona: The scene with Ned was SUPER cute. Genuinely funny. Mike asking Fiona out. Everyone teasing Mike about how much he likes her. It’s very cute and wholesome. So far I enjoy it a lot. There’s not a lot to talk about here but I like that it’s...simple.

I MEAN...she’s so cute.

--

END THOUGHTS:

I want the next three episodes right now immediately, but I’m also going to be pretty sad when this season ends...I think.

The biggest speculation from this episode, by the way, is that they’re opening things up to write Abigail back onto the show. How do we feel about that? 

Any other thoughts? Favorite scenes? Share!

#when calls the heart #long post #analysis and meta discussion #character studies and information

[charliejrogers]

First Cow (2020)

It’s impossible for me to write about First Cow without thinking that this movie is some sort of sublime cross-over between Joaquin Phoenix’s worst nightmare and joyous fantasy. Running at odds with his oddly emotional anti-milk Oscars acceptance speech back in February 2020, First Cow is a love letter to the power of milk in the realm of baking. The sweet, sweet udder juice provides the very backbone of a community’s happiness and two men’s livelihoods. But, where Phoenix’s nightmare turns to fantasy, the universe gets justice. No milk theft shall ever go unpunished! Move over, Herman’s Hermits; it’s not just “No Milk Today,” it’s no milk ever!

My kidding aside, I was pleasantly surprised by First Cow, though truthfully I’m not sure exactly what I expected besides knowing it was a movie set in nineteenth-century America. Acknowledging my own biases and knowing ahead of time that the director was a woman, I was surprised by how decidedly male this film was. There are really only three female characters of note throughout the whole film, and none of them have prominent speaking roles… in fact the only one who does speak English merely serves as a translator for men.

I wonder in what way the director, Kelly Reichardt, sees herself as fulfilling that role in making this film. That is, in choosing to deliberately make a movie about the nineteenth-century fur trappers in the harsh, male-dominated world of Oregon Territories, Reichardt wanted to highlight an aspect of the dominant “alpha” male society that is most certainly experienced by males but is rarely commented on, largely because it is considered female. I’m talking, of course, about love. I doubt there are viewers of this film who would disagree with my assessment that the two male protagonists shared a love for one another, but I’m sure many would categorize that love as merely representative of “deep friendship” or “platonic” (in the layman’s sense) at the most. While I’m not going to sit here and necessarily argue that the two characters shared an erotic love and I do not think that is the intent, I really do believe characterizing their relationship as merely “two great friends” would be received by the pair as a great insult. The two share the type of relationship seen among men that is rarely seen in the media save for war movies where “brotherhood” is a dominant theme. Outside of war, it’s a relationship that is largely reminiscent of the beautiful love seen between Midnight Cowboy’s Joe Buck and “Ratso” Rizzo. It’s the sort of sacrificial love that dominates the thoughts of Christian scholars. Still, it can be easily misinterpreted as erotic love. What I think Reichardt does beautifully is develop the love between the two carefully so you see it organically develop such that by the time we get to the final scene, we are unsurprised by one of the two character’s sacrificial acts of love.

The key scene, as I mentioned, comes at the end, but it’s noteworthy to mention that the pair’s ultimate fate is made plainly clear in the first few minutes of the movie. The movie starts (almost paradoxically) with an epilogue of sorts. We’re in the modern day, and a woman is exploring the forests of Oregon when her dog stumbles upon some bones that (with a little more digging) reveals two skeletons lying next to one another, like two lovers lying in bed. The best reason I can think of as to why Reichardt includes this epilogue before the rest of the film is because as soon as we the audience realize that two males are the most dominant couple in the film, we more readily anticipate and are more open to seeing love develop before our eyes.

So accordingly, after this brief pre-movie epilogue, the film jumps backwards in time to the nineteenth-century where we meet Otis “Cookie” Figowitz (John Magaro), the cook for a trapping company who is runs a little out-of-step with the rest of his crew. It is embodied in a visual motif that is repeated often throughout the film. We will have a shot of either of the two main characters, Cookie or his eventual companion King Lu (Orion Lee), doing something quiet in the foreground while characters perform some other more exciting activity in the background which in any other movie would take center stage due to the inherent spectacle. But it’s clear that Cookie is a more sensitive soul, he enjoys his time in the woods collecting mushrooms, and he does not have any interest in violence whatsoever. But that does not mean he isn’t without courage.

Early in the film, he comes across King Lu, a Chinese immigrant who is on the run after killing someone to avenge the killing of one of his good friends. Notably, when they first meet, King Lu is completely alone, hungry, and naked. While it isn’t addressed specifically, it is implicit in King’s and Cookie’s first meeting (and during other character’s subsequent interactions with King later in the film) but racially hostile undertones almost threaten to undermine King’s and Cookie’s initial friendship. Yet, like the story of the Good Samaritan, Cookie puts away his initial feelings of racial bias, and goes out of his way to clothe King with a blanket before allowing him to speak any further. Cookie grants King with a great deal of dignity, and goes one step further, offering to smuggle him among the various bags and supplies on his travels, knowing full well that if the rest of his crew find out that Cookie was hiding a “Chinaman murderer,” that he’d be in deep shit.

Cookie and King separate after this initial meeting, but upon reuniting later in the film, they never separate from one another until the very end. In what is the most puzzling choice in the film to me is Cookie’s initial decision to join King for a drink at King’s home. The two reunite in a trapping fort bar after a fight breaks out and the two are the only customers not drawn outside to enjoy the spectacle (the outsider/outcast motif returns). However, just before the start of the fight, one of the primary instigators of that fight requests for Cookie to watch over his infant whom he had brought to the bar. Therefore, when King asks Cookie to join in at his home, he is also asking him to abandon this helpless infant. The image of the baby swaddled in a basket recalls the previous imagery of King swaddled in the bags and supplies within which Cookie was smuggling him. And ultimately Cookie does abandon the baby for King, and in joining King for a drink at his home, never actually leaves. The two begin living together. So I’m not sure of the significance of the baby. Is it that Cookie had the choice between two “new lives,” one a literal new life of someone else and the other, in King, a chance at a new life for himself? Or is it simply just to serve as foreshadowing that in following King, Cookie is opening himself up to a life of indulgence where the concerns of others are less important than his own happiness?

As for the latter question and the plotline that develops around it, it really serves as a bitter critique of American capitalism and the American dream. While we love to tout the “by the bootstraps” myth, this movie serves as a simple morality play about how no matter what, pursuing the American dream means ripping somebody off for your own benefit. In this instance, it means Cookie and King nightly sneaking onto the property of the leader of the trapping fort and stealing milk from the only cow in the area in order to essentially have a monopoly on baked goods and make a pretty penny. Now, we can sit and debate about the morality of “owning” a cow, and whether Cookie and King are even doing anything immoral since it is preposterous to own an animal! Or I’m sure there are those (Joaquin Phoenix) who think Cookie and King are just as immoral for taking ANY milk from a cow as the man who owns the cow in the first place. This is not the time to discuss animal rights. But it is notable what the cow, too, has had to suffer in order allow for Cookie and Lee’s successes. She was initially transported to the trapping fort along with a mate and her calf, but both died en route. She spends her time tied to a tree and by the film’s end locked up within a small cage.

In sum, the love that Cookie so beautifully shared with King at film’s beginning does not seem so equally shared by the pair in regards to their relationship with others. And in their pursuit to become successful capitalists in a system rigged against them, they ultimately hurt some of those around them, most notably titular cow with whom Cookie has almost romantic relationship with, which in some ways makes his treating her as little more than a literal cash cow so egregious, even if he cares deeply for her.

Hence the morality play. I don’t have to spell it out for you what might happen if two people repeatedly rob the same person in the same way again and again and again. But even if we as the audience agree that the cards are stacked against Cookie and King from the start in their attempt to become independent, to achieve the American dream, the film never pretends that they are acting as virtuous agents. In the end, though, they get their redemption even as they receive punishment. King is given a chance to abandon Cookie outright who in an attempt to flee their pursuers has become badly injured. King realizes he can just take his riches and run. But he doesn’t. He decides to lie next to his dearly beloved companion. While he could not have predicted what would be the fatal consequences of this decision, he knows that sticking with Cookie in his current state will only cause him trouble. But that’s where the beautiful sacrificial love that defines this pair comes in. Whereas many will view this film and remember it as a cautionary tale about the American dream, I will forever remember the realistic love of brothers shared between these two wayward men.

***(1/4) (Three and one fourth stars out of four)

#first cow #john magaro #orion lee #kelly reichardt #milk #joaquin phoenix milk #joaquin phoenix #herman's hermits #no milk today

[thevindicativevordan]

Any thoughts on Grant Morrison's Action Comics run? Beyond T shirt-and-jeans Superman being great.

That whole run reinvigorated my love of the character.

There have been numerous thoughtpieces about New 52 Superman, how he worked and how he didn't but these two entries really do a great job of summing up why Morrison's take on Superman was great. Morrison laid the foundation for a new generational Superman that DC completely fucked up and ran into the ground. I'll always be bitter about that, even if I had tapped out of reading the New 52 Superman books by the end due to how bad they got. Editorial and their idiotic mandates were what screwed over the potential of this take in my eyes.

Now I get that it wasn't to everyone's taste, but I cannot fathom how anyone could ever claim that Pre-Flashpoint Superman was better. If you liked Byrne's reboot better, your guy already got rebooted after Infinite Crisis. For someone like me who really enjoyed the Johns/Busiek era, that era's potential got spoiled after Johns & Busiek left, with New Krypton imploding and the awful Grounded taking it's place. When you get to the point where the best Superman book is the one starring Lex Luthor, it's time to reassess the franchise and figure out where the hell it went wrong.

Which is exactly what Morrison did. For this new Superman, Morrison mined all the best ideas of every Superman era to really give what I consider the ideal "base" for Superman. They also took pains to address common criticisms about Superman, working to correct his pop culture image. People have been complaining that Superman is "too perfect", "too unrelatable" for a long time, so Morrison addressed that. They gave Superman his balls back, and let him reacquire that Golden Age edge he had originally.

There are a lot of complaints you can make about Morrison's Superman, but I don't see how you could accuse this guy of being "flawless" or "bland". He definitely had a personality that you could describe, love him or hate him. Compassionate, but not a pushover. Clearly holding himself back, but unafraid to occasionally let loose. Flaws that were patently obvious, Clark had a temper here that could get him into trouble. There was a real showcase of anger here, of Superman being furious at the way people were treated by the rich and powerful, then doing something about it that I ate up.

I read this run just as I was coming into my teens and it hit perfectly for where I was in life. Did not want a Superman who would smile and tell me it gets better, I wanted a Superman who looked you in the eye and told you he felt that same anger, and then encouraged you to go out and do something about how you felt. That was what this run delivered in spades, and it expanded what I believed could be done with Superman.

While it totally blew my mind to see Superman acting this way the first time I read Morrison's Action Comics run, in retrospect it really isn't that different from how Superman has acted even under Byrne. One of the few traits I've seen carry across Superman incarnations in the comics is that he has a temper underneath that affable nature. "Don't tug on Superman's cape" as the old song goes. This run simply elevated that to the forefront of the character again, for the better in my eyes given I believe "Wrath" is Superman's Deadly Sin.

In fact, one of the strongest features of this run is that Superman gets actual character development over the course of the run, analogous to what Batman underwent in Morrison's Bat-Epic. While the Bat-Epic was merely Morrison re-canonizing Batman's entire history, and applying a retroactive character development storyline that culminated in Morrison's current Batman work, their Action Comics run had them attempt to craft something similar for Superman from scratch. What that meant was Morrison attempting to draw on the most important traits of every Superman era and incorporate those into this new take. So Superman had the Golden Age temper, compassion for the oppressed, and cockiness. The Silver Age supergenuis, proud scion of Krypton who cherished his Kryptonian nature, member of the Legion of Superheroes, and participant in stories that weren't afraid to get weird. Superman's wrestling with his place in the world, the importance of Clark Kent, and making journalism a key part of the character strike me as all being hallmarks of the Bronze Age. From Post-Crisis we got that Clark views himself as human and loves his adopted parents, considering them as equal to his birth ones.

One of the big frustrations for me with the endless origin stories for Superman, is that so many of them follow a predictable and stale formula where Clark puts on the suit and is essentially ready to go. Doesn't interfere with human affairs, is modest and humble, restrained in usage of his powers, it's like Clark has meta knowledge of what he "should" be, despite that he shouldn't have any foreknowledge of what a "superhero" should look like. He operates the same way at the start as he does in the modern day, and that's really boring to me. This Superman, because of the difference in powers and attitude, operated extremely different from his "present day" incarnation. Dangling Glenmorgan over the edge of a building isn't something a fully powered and mature Superman should do, but it works great to make his early days different and exciting to read about, it makes returning to that era something you can do different storytelling with. This run is the only time where I really cared that Superman is "supposed" to be the first superhero, because figuring out what that means here is a big part of how he develops.

We all know the common complaint that Superman is "too powerful" and that "nothing can hurt him" (funny how Thor never gets hit with those accusations), so Morrison made sure to show that this take on Superman could be beaten even if he could never be defeated. Events conspired to force Clark to use his brains as well as his powers to overcome the challenges in front of him.

Examples include him using his heat vision to fry Lex's equipment and escape the military, using his rocket ship to defeat Brainiac, and rallying the population of Metropolis to banish Vyndktvx. Not to say that Clark never used his brains before to win, but this run was very upfront and in your face about how important Clark's intellect is to triumphing over his foes. Can't take seriously the complaint that Superman is too overpowered when Morrison constantly showcased how even a very powerful Superman could get his shit wrecked by his Rogues.

Another example of Morrison addressing criticisms is Kryptonite. A lot of people poke fun at how convenient it is that pieces of Superman's homeworld follow him all the way to Earth. Isn't that a bit of an asspull? So Morrison made Kryptonite the power source of Superman's rocket, giving it a perfectly natural and believable reason both for it to end up on Earth, and for Lex & the military to get a hold of it since Pa Kent gave the military the rocket. That's still my preferred explanation for how Kryptonite ended up on Earth.

It also provides a better explanation for all the different Kryptonite variants. DC can handwave away the different types as a result of Lex experimenting or the different "forces" on Earth such as magic or the Speed Force or whatever creating the different variants. That to me is much more believable than Kryptonite travelling all across the galaxy yet still ending up on Earth somehow.

There have also been a lot of complaints about Superman's villains, and Morrison diligently set about reworking them. By far one of my favorite aspects of the run, was the villain revamps. Nimrod felt like a clean revamp of Terra-Man, making him into Superman's Kraven the Hunter struck me as a patently obvious route to go, wild no one has followed up on that or used him since. Metallo felt like a good synthesis of Johns take of him as an Anti-Superman weapon, and the sympathetic aspects of Corben's origin that are always there, I liked that Morrison didn't make him a total bastard before his transformation like Johns did. Brainiac got some sympathy added to him in that the collected worlds that were already marked for damnation, thus he was "saving" them in a fashion. Clay Ramses embodied toxicity as a wife-beater even before becoming Kryptonite Man, and I thought his backstory was a great way for Clark to still deal with "real" issues via a manner he could punch. Ramses is still the best take on Kryptonite Man. Vyndktvx felt like the greatest realization of the threat Mr. Mxyzptlk could pose should he decide to get serious since Whatever Happened to the Man of Tomorrow?, plus I'm a sucker for stories where superheroes fight the Devil. Drekken and Superdoom took the only interesting aspects of Doomsday (his ability to evolve and that he can kill Superman respectively), and were much more interesting characters.

And oh my God, speaking of Superdoom, that part of Morrison's Action run has aged like fine wine. I don't know if they caught wind of DC's plans for the character, or if they were just prescient, but everything that Superdoom is playing on is still sadly all too present. What Superdoom is as a character is a condemnation of what DC keeps doing with Superman: killing him off or making him evil.

When you realize what Superdoom (demand for a more violent and "realistic" Superman) and Vyn (WB/DC) stand in for, it makes the frustration Morrison is channeling much more palpable. Those two plotlines are all DC can think of to do with the character, returning to those again and again. Endlessly attempting to recapture the high of Batman and Doomsday beating the shit out of Supes in The Dark Knight Returns and Death of Superman. Overcoming these two obstacles is Superman's greatest challenge as conceived by Morrison, because both are out to corrupt and ruin the very idea of him. It's not just a physical death he faces, but a metaphysical one as well. Sadly it's a threat Superman just can't seem to lick in the real world, with more and more takes on "Evil Superman" coming.

Lois and Jimmy are great here, because Morrison actually made the investigative journalism aspect of Superman important. Lois is an active participant in the story, trying to break in to the base where Clark is being held by her father, competing with Clark for stories (I love how Morrison writes the banter between the two of them), and generally being classic Lois. Jimmy though benefitted from being positioned as a peer rather than as a kid in comparison to the two, something I wish the comics had carried forward. It looks like My Adventures With Superman is going with that interpretation at least, so I hope others do as well. Jimmy being Clark's roommate really adds to their bond, and I wish we had gotten more stories with that status quo.

Investigative reporter Clark Kent was so actively used here that it feels jarring reading other Superman runs where they tend to downplay and ignore it. Following Clark as he travels to different areas of Metropolis and actually interacts with people, instead of hovering above them as Superman, makes him feel human. Watching Clark actively pursue stories aimed at bettering peoples livelihoods, and seeing how those stories crossed with the superheroics, was one of my favorite aspects of the run. It's one unfortunately few other writers seem all that interested in, especially the New 52 writers who followed Morrison (I know editorial probably bears a lot of blame for that though).

Besides all that, this run was a lot of fun! The Legion of Superheroes showed up, their connection to Clark restored, and they got to play a big role in Clark's adventures! Krypto the Superdog! Martian colonies! Memorizing all of medicine, Superman performs a lifesaving operation! Lex using a "bullet train" to knock Clark out! 5-D imps! Rampaging robots from beyond! A Phantom Zone Halloween story! John Henry Irons suits up as Steel and kicks ass alongside Clark! Every Superman Rogue teams up to try to kill him, but Lex Luthor saves his life because that's a privilege he reserves for himself! Showcasing their trademark love for the Supermythos, Morrison took us on a tour of Superlore that demonstrated the depth and width of what could be done with Superman. Meanwhile the backups by Sholly Fisch excelled at giving us smaller, more human stories about Superman (the one where Clark meets Pa again via time travel "after" Pa has died always gives me a lump in my throat to read).

Ultimately this didn't get to be the foundation for the next generation of Superman stories as it deserved. Johns made New 52 Superman the scapegoat in Doomsday Clock for a lot of storytelling choices he did over in Justice League, something that pisses me off to no end. You want to tell me that this guy "didn't relate" to people, didn't inspire "hope"?

Like hell he didn't. This guy was Superman in every way that mattered and he deserved better than to be framed as the scapegoat for all the stupid decisions DC made about what to do with him. Greg Pak was able to do some great work with this version after Morrison, and just like how Gene Yang got a redemption work starring Superman, I hope to one day see Pak return to the character. Would love to read a Black Label Superman story by Pak that follows his take on young Superman.

All wasn't lost however. Against all odds, and Rebirth trying it's damndest to sweep everything under the rug, it looks like parts of this era have actually survived to the current Infinite Frontier era. With Morrison being heavily involved no less, both as an ideas guy and as an actual writer.

Superman & the Authority is explicitly Superman coming full circle back to the attitude displayed by his young counterpart under Morrison. Janin has outright said that the costume Clark wears here is reminiscent of the t-shirt and jeans era of Superman, and this book so far feels saturated with an energy level from Morrison I haven't seen in their work for hire since they left Action. Reaching old age and realizing he never really delivered on the high ideals of his beginnings, it's Superman putting together a team to hopefully succeed where he couldn't alone. Scathing in how it criticizes the superhero status quo, this has been extremely entertaining to read. Wish Morrison was writing 12 issues with this team, and that ultimately it will be up to PKJ to deliver on the potential is a drawback (although I've loved PKJ's Action run so far), but I'm glad to see DC finally treating Morrison and their ideas with more respect than was shown during Rebirth.

Jon meanwhile feels like an even more explicit attempt at redoing New 52 Superman. There's the updated new suit, designed to appeal to a new generation with it's streamlined look. Positioning Jon as a Superman who wants to tackle the "real" issues, with Taylor explicitly comparing him to Golden Age Superman which as I mentioned was an era Morrison tried to reincorporate into their reboot. There's the Legion of Superheroes connection which played an important role in Morrison's reboot. The rumors about Jon's sexuality are interesting, hinting that DC is willing to go outside the box with him in a way they never would with Clark. I'm excited to see what kind of Superman Jon ends up becoming, if he can deliver on the promise of the New 52 Superman all the better.

This run deserves to be remembered and to have the lessons it tried to teach respected. Probably my favorite mainline run on Superman, I hope more people come around to liking it as time goes on.

#superman #grant morrison #action comics #new 52

[ravenaveira]

Ok, time for my review of Kh3 Re:Mind Dlc

This is gonna be long, so be prepared, and yes there will be many spoilers so if you dont want spoilers of the game then you probably shouldnt read this, but if you dont care then stick around.

I will start off with my unbiased and critical opinion.

From the title menu alone you already know what this game is gonna be about. Kairi is gonna be center focus, or should say specifically Sokai, and Riku will be virtually non existent.

Now I know what your thinking, well duh its all about saving Kairi of course Riku wont have that big a role and she’ll be the main focus, and to that I say no shit sherlock I already knew that. My issue isnt that it was Kairi focused because I already knew that and still pre-ordered the DLC, but my issue is what this title screen represents and my fears were proven correct.

Let me elaborate

Riku is just as much of a friend to Sora as Kairi is, from the beginning of the series its always been Sora, Riku, and Kairi, thats the way its ALWASY been. But from this title screen I could tell Riku’s bond with them wasnt gonna be present at all and I was right.

I’ll elaborate further

I know Im jumping way ahead here but bare with me, at the end of the game after Sora rescues Kairi they travel the worlds together, Sora notices he is fading away which is why he goes to the many different worlds he has visited but now with Kairi, spending his final moments with her before he finally disapears.

See the problem? Sora doesnt involve Riku at all in his final moments being alive, he is just completely absent during his entire remaining life. Sora only spends time with Kairi during his final moments, Riku wasnt shown with them once.

I know some people say well we dont know how long Sora was alive before vanishing and he was probably the one who organized the party, but did we see that though? did we see any signs that Sora was alive for more than a day or two? did we see Sora talking to anyone like he was setting anything up? NO, it was all about Kairi and Riku was completely forgotten.

I can understand if Sora wasnt dying then it wouldnt matter how much time he spends with Kairi alone, but Sora was fading away ANY SECOND and he didnt spend any of his remaining time with Riku at all, even at the beach party who is Sora sitting next to alone with before he finally vanishes? Kairi. That is inexcusable and a huge insult to Riku and his bond with Sora, hes just completely excluded, that is unforgivable.

These new added scenes to the ending actually made it worse than the original version of it, before we didnt even know Sora was around for more than a day and just assumed they all had a beach party afterwards to celebrate getting everyone back and saving the world, but now we know Sora was actually around for an extended period of time and made no effort to spend time with anyone other than Kairi, not even his best friend Riku did he spend time with for his final hours, that is despicable.

Another major issue is how Sora keeps saying his journey started with losing Kairi in this game, as if Riku wasnt ALSO lost that day, as if Riku wasnt the reason Sora kept on his journey even after saving Kairi and sending her back to Destiny Islands, as if he didnt fall to his knees and bawl his eyes out finally reuniting with him, as if he wasnt content with spending the rest of his life trapped in the Realm of Darkness with Riku, as if for the entirety of the base game of kh3 Sora wasnt constantly and only thinking about Riku and how many things he wished he could show him.

Apparently in Remind none of that happened, none of that mattered, it was Kairi that was his main motivation, it was Kairi that started his journey, Riku wasnt involved in it at all.

That is a huge issue with this DLC, it treats Riku like a side character and of little importance to Sora, in the base game they handled them fine minus that on instance in the Keyblade Graveyard where Sora says ‘Alone, Im worthless’ even though Riku’s right there but other than that their relationship and bond was handled very well but in Remind? practically non existent.

Now onto the story aspect, if your not into time travel and have trouble understanding the many variations of it then your gonna have a bad time because it gets VERY confusing to follow, which is why you should never introduce time travel because it becomes way too complicated to keep track of and not only that you also have to worry about things like paradoxes, ripples in time, alternate timelines etc. Its a complete clusterfuck to keep up with and manage so time travel really shouldnt have been introduced in this series.

Chirithy tells Sora that no matter what he cant change the past again, yet there are times where Sora does just that so exactly what cant he change? for example, when Roxas appears he asks Sora to do him a favor which is essentially getting the X back from Xemnas in their names. Sora does several things to make this happen and even Kairi gets a couple swings at Xemnas this time but then the two of them are basically caught and restrained inside shadow balls [pause]

See the prob? this is a huge change to that fight, Kairi never took a single swing at Xemnas, she just stood there and got snatched up, Roxas never asked Sora for help getting the X’s back from Xemnas, and Sora and Kairi never got restrained by Xemnas and knocked out.

Chirithy explicitly said Sora cant change what happened and no matter what he has to accept it for what it is, yet here he is, changing what happened. Maybe you could argue well this is an alternate timeline, even if it is that makes all of this irrelevant and means it never happened because the true ending is the one where it didnt happen, making this semi useful Kairi moment really pointless because at the end of the day its not canon, her being useless is the true outcome, none of this matters.

That is extremely disappointing, so even if you alter the past for the better it doesnt matter because its an alternate timeline and that timeline isnt the real one making this whole redo pointless and time consuming for a short DLC that was an extra 30$ to play.

So the time travel is very confusing and even if you follow it, it ends up being very disappointing when you realize none of it matters.

Moving on to some of the tied loose ends, Im glad they explained why Aqua froze up after saying ‘We stand together’ and I like how we get to see how Young Xehanort came to have the beliefs that lead to what he did and also MOMs subtle influence on him succumbing to darkness.

He told Xehanort that he would outgrow the robe and no longer need it because if he was truly powerful then he’d be the one controling the darkness, this leads to Xehanort later begining to travel without the robe and being corrupted. So we know now that MOM also influenced that as well and is very sketchy, even more now than he was before since this action greatly influenced what Xehanort eventually does and all the pain he caused, all of which would have probably never happened if it wasnt for him.

But thats just my theory and what I got from it.

I liked that we got to see Namine for a brief moment where Sora basically brushes her off and completely forgets about thanking her, this is a plotline Im pretty sure at this point is just never going to get resolved. He just tells her to go to the Final World and walks off, which makes no sense because Sora was surprised to see her in the original playthrough.

Another change was Lingering Will dying to protect Sora, again this never happened because Sora was busy fighting alongside everyone in the maze while Lingering Will and Terranort were fighting away from them. After Lingering Will died for him then Sora is pretty much squeezed to death by Terranorts Stand, or atleast knocked unconscious.

So much about these are just so confusing as to how they are happening when Chirithy said the events couldnt be changed I just stopped questioning it.

But atleast this time its made clear that Namine is the one who sent Lingering Will to help everyone and how she did it, so now people can stop saying Kairi is the reason everyone survived because it wasnt, without Lingering Will they would have all died a second time.

Basically the first half of the DLC is just recap with some minor changes and additions to the cutscenes, you get to play as other characters like Riku [optional] Aqua [not optional] and Roxas [optional] but other than that its basically the same thing all over again for the first 3-4 hours of the DLC, that is ridiculous.

The new content finally starts when Kairi is shattered, funny how the game gets good after Kairi dies xD I’ll stop.

Anyway once Kairi dies is when we finally get explorable Scala, but not without having to endure an insane fight with tons of heartless and nobodies and yes its more complicated than you think. It doesnt matter how many heartless or nobodies you kill, they will keep coming until you kill this one red heartless with way more health than your average heartless has.

After that you can pretty much wander around Scala as you wish and this is the only time where you can buy items or food so make sure to do that if your low on items. If your low on money there are minor enemies there that you can kill to get some so take advantage of this opportunity because your not getting another one.

Your goal in Scala is to basically run around, solve a couple puzzles, and get 5 of Kairi’s heart shards, revealed to having to be 7 later on. Sound fun? besides being able to see more of Scala’s layout, not really. But its a good place to take a breather before getting back into the big battles ahead.

Unfortunately your actually forced to fight the armored organization again but thankfully you dont have to do the ENTIRE final battle over, just that one section which I appreciate but wish we didnt have to do any of it at all.

So after we’re done Scala we get in MY opinion the two best parts of the entire DLC. We get to see what was going on with the rest of the keyblade wielders back home and it was INSANE and extremely well done, everybody had a chance to shine.

When everyone was swept away and Mickey was down and out, it was amazing seeing Mickey push himself back up and slowly with what little strength he had take on all the armor organization BY HIMSELF severely weakened, yet still powerful enough to hold them off and stand his ground. He really showed us WHY he is the King, so THAT I really enjoyed. It was extremely well done and one of the most memorable parts of the DLC.

The next part was even more insane and well done, which is us getting to fight as all the keyblade wielders against the armored organization and even get some cool dialog and team attacks in between, it was just amazingly well done seeing everyone work together and switching between characters was just so epic and enjoyable.

Honestly I could play those two parts over and over again and enjoy it everytime, their just that good and the most memorable in the entire DLC.

Coming back with Kairi and killing Xehanort together with all the keyblade wielders including Kairi this time was satisfying to see but it excludes Xehanorts and Eraquses final words, I mean yea seeing Xehanort have a semi happy ending put off alot of people but at the same time, seeing Xehanort come to the realization that he was wrong about everything and giving the Wayfinder trio closure by seeing their master one last time and hearing his apology to them just held more weight to me.

Im not saying I think Xehanort should be redeemed as easily as he was, but I feel like excluding Eraqus and their final words made the ending feel hollow, just ok we beat the bad guy, happily ever after now. Thats pretty lackluster and unsatisfying In my opinion.

Finally the ending....

Heres where Im gonna be biased and give my personal thoughts. Warning if your a fan of Kairi skip to the very end of the review where I give my overall rating

I hate the ending, for the reasons I listed in the beginning but also many others. I get the main focus was gonna be Kairi since the DLC was about saving her, Im not mad about the obvious, Im mad about the execution.

The Sokai agenda was so forced and apparent its not even funny, they shove it in your face so hard yet when Sora is talking with Chirithy he still refers to Kairi as a friend, really? your shoving this pairing down our throats just to have Sora still friendzone her? Im not mad because I dont want them together anyway but I hate the games being played here, you either want them together or you dont, pick a friggin side Nomura.

And while we’re on the subject, I hate, HATE, how this game is so heavily romance focused when Kingdom Hearts was NEVER about romance to begin with, it was always about friendship and bonds. Not in this DLC though, no now its all about Kairi and being with her forever, traveling the world together, holding hands, all this lovey dovey nonsense nobody invested in the plot could give a rats behind about.

Sure people who are into Kingdom Hearts for the romance of course they dont mind, but Im pretty sure MOST people invested in this series are in it for the story, not some stupid pairing, and I HATE how much they shove it down your throat because it is just so forced and obvious what they were doing.

This was all damage control for Kairi, who has been a useless damsel in distress and dues ex machina in every single game shes been a part of. I repeat, EVERY SINGLE GAME SHES A PART OF.

Kh1 - Kidnapped, unconscious, Sora needs to die to save her.

Kh2 - Kidnapped, held hostage, Sora needs to find and save her.

Kh3 - Kidnapped, unconscious, is killed twice, Sora needs to die to save her.

Do you see what I fricken mean? Every fuckin game its the same danm thing over and over and quite frankly Im sick of it. You might as well say this is a Mario game because Kairi is princess Peach always gettin snatched up and Sora is Mario always going through insanely deadly trials to get her back, and then it happens all over again.

This DLC was damage control for that, instead of immediately getting snatched up by Xemnas she actually gets a few good swipes at him to no avail of course, and then she fights together with Sora against armored Xehanort, all of which is just damage control for her not doing anything in the entire franchise and pandering to her fanbase that are constantly screeching for playable Kairi and for her to do something.

It was also damage control for how non existent their relationship was and what a joke its been since Kh1. They arent fooling anybody because thats exactly what this was, otherwise why you have to try so hard to CONVINCE us how important she was to Sora? why did Riku have to get sidelined so much just to boost Kairi up? why’d Sora completely disregard Riku as a part of his journey? why did Sora not spend ANY time with ANYONE for his final moments alive? its so obvious why. The only way to convince anyone shes actually important and relevant is to play down everyone else or exclude them entirely.

Congratulations, you got your wish, good for you fandom, but at what cost?

The time they spent forcing so much Sokai could have been used to tie up way more loose ends than there were but nope, gotta squeeze in that Sokai, thats what yall really here for right? fuck off.

The two best moments of the game was so short lived its not even funny, this DLC was full of so much padding in the first half, forced romance and pandering for damage control they forgot to actually make this a decent DLC.

Since I recorded my gameplay from start to finish I can actually tell you the amount of old content vs the new

3-4 hours of mostly what we already seen with a few changes, I only died twice

1-2 hours of new content, probably less because I got lost and died alot

That is unacceptable, 30$ for only 10% new content? that is a robbery.

Not only that but the worst part is the Limitcut episode, databattles have always been optional for competative players who like the challenge. Now you are FORCED to fight these INSANELY hard bosses, all 13 in order to get the final bits of the aftermath of the story.

WE PAID FOR THIS, this wasnt free we PAID for it and yet we’re basically told ‘Hey if your a casual player and want the rest of the story? well you gotta fight 13 of these insanely hard databattles that used to be optional but now their madatory for you to get the rest of your moneys worth. Too difficult? cant do it? well too danm bad, get good or go home we got your money already so screw you guess you’ll never know’

That is a fucking robbery and a huge slap in the face to people who are invested in the story, not proving their the best by fighting insanely difficult battles no matter what difficulty your on. It wouldnt be an issue if this was always the case, but these battles were always OPTIONAL for competetive players to do if they WANTED to, but now its mandatory and if you cant do it then oh well middle finger to you.

I couldnt even beat Vanitas, I fought him first and then Luxord and I couldnt beat either of them so I just said fuck it and went on youtube to see what I paid to see for free. 30$ wasted on a game I cant even finish, your out of your fucking mind if you think thats fair and excusable.

Thats why at the end of the day I give it a 5/10, its not good but its not bad either, its just decent. But if you asked me if it is worth the time and money? fuck no, my advice? watch other youtubers play it and keep your 30$

If you want it just to play as some of the characters, experience the new content for yourself, and play the databattles then by all means get it.

But if you think thats not enough for you to spend 30$ for then dont get it.

Overall Re:mind gets a 5/10, useless padding for majority of the first half of things we’ve already seen and cant skip because theres new scenes mixed in, forced romance that nobody but shippers care to see, severely lacking new content, and unfair extremely hard mandatory databattles just to see the final aftermath of the story which is kind of important setup for the next game.

Fuck this DLC, this was my fist time EVER buying a DLC for ANYTHING and thanks to this its probably my last. So thank you Re:Mind, for ReMinding me why I never bought DLCs in the first place.

Ps - Im so glad playable Kairi was optional, thats one of the only things this DLC did right.

#kh3 remind spoilers #kh3 #kingdom hearts 3 #anti-sokai #anti-kairi

[takaraphoenix]

35,18,3,7 (on the original Charmed)

Thanks for playing! ^-^

3. rant. just do it

Okay, here goes nothing.

Americans annoy me with their high hourse TV plot writing these days. Like, yeah, just as any other sane person, I know that your guys’ government putting human beings into cages and separating children from their parents and basically Third Reiching it up in there is really terrifyingly bad - as a German, I might even get that a little bit more than some others.

But I’m... I’m really tired of them doing this “what is happening right now is Really Very Bad and we will whack you over the head with that in your fun escapism TV show”.

Because look. If I’d... If I’d want to engage with this terrifying shit going on, I’d be right now watching the news. Not Supergirl. Not Legends of Tomorrow.

I, like many others, watch TV as a means of escapism. Especially shows about idiot timetravelers and aliens who are unrecognizable when they put on glasses.

That a show like Orange is the New Black that is set and grounded in this reality and actually deals with prison conditions and has tackled these type of injustices from the get-go addresses it makes a whole lot of sense and fits the theme.

But every single show turning into “we shouldn’t treat other beings who are just like us but have slight differences and may come from a different place like they are below us!!!” is... it’s exhausting.

Not everybody watching this is American. It’s not like we can do anything to help. And, let’s be really really clear: A show that is so damn heavy on feminism and LGBT themes has long since lost any of the viewers whose hearts and minds these kind of plotlines are meant to change. No Straight White Male Republican Racist is still watching a show with half the cast being POC and LGBT and female. The only people you’re reaching are the people who absolutely know that what is happening is wrong and terrifying.

And what makes it more frustrating was that Supergirl in particular was always very out of this world; quite literally. They opted, after Trump was elected, to put a female president onto that Earth. A reasonable, wise woman who works for the rights of others. And that made this show all the more wonderful and all the more escapism from this reality because it was literally presented as a better alternate Earth to ours. That they had to get her impeached to replace her with a Straight White Male Racist so you can hammer the metaphor of aliens = immigrants in was... not necessary, not on that world.

And especially not with the exact same message running course on three different shows that share one universe -  because yeah, the whole “metahumans are different than us and are being murdered” thing is the same tune, you just exchanged alien/magical creature with metahuman there.

I just... It’s too much. I get tight-chested every single time I have to face another horrible, inhumane, Hitleresque thing that Trump said or did. I don’t need you to whack me over the head with thinly veiled metaphors.

Especially since you’re not even doing it in a creative way. The bad guy is the Old White Man, while most of the aliens and magical creatures that are prominently features are played by actors of color, just in case anyone was still missing the metaphor. It’s... It’s not even clever writing.

And I don’t... I just... Honestly, I actually find it kind of offensive that writers think we need a metaphor where the immigrants are literal aliens. Like, humans do this shit to other humans. That you’re pretending that “oh no they are doing this to aliens while all humans hold together” is... even more unrealistic than the whole premise of Supergirl to begin with, to be quite frank.

It’d even be... fine. Durable. If it were one show only but to be whacked over the head with the exact same message on multiple shows running parallel is really tiresome actually.

I get it. I know what you’re saying. I agree. And so does the whole entire damn rest of the audience. Because if they didn’t get the whole point of Superman and Supergirl literally being refugees on Earth and them LITERALLY being created by Jewish men during WWII and if they weren’t racist enough to stop watching when two black men became superheroes and if they weren’t homophobic enough when one of the main characters came out as a lesbian and started very explicitely to have a relationship with another woman and if they weren’t transphobic enough to quit when you introduced a trans character to the main cast and if they weren’t misogynistic enough to just straight up quit this majorly female-led feminist show on season one, then honestly you’re barking up the wrong tree there.

7. opinion on… Charmed

THIS WAS MY FIRST BIG OBSESSION! *^*

Oh, I loved Charmed - literally all of my walls, including my ceiling, were plastered with posters of the show! I did the puppy-dog eyes at anyone who bought teen magazines back then, I got cut-out articles about it every time it was somewhere, I still have self-recorded VHS tapes with the entire show in my closet.

I even wrote my very first fanfiction for this show, back then ink on paper in a journal because we’re talking pre-Phoe-is-allowed-on-the-internet-age, I had my first next gen OC line-up for that show.

And it was, to date, the only ever where I actually also got invested in the actors. Particularly Alyssa Milano. And if I saw anything where Alyssa Milano or Julian McMahon were in, I watched it, not even caring what it was, because I loved them so much.

I mean, I’ve always loved witches, you know? But this show just hit everything for me. Back then I really related to Phoebe the most, because she was the youngest and thus most relatable for pre-teen me, she was kind of a screw-up who didn’t really know what she was doing. I always wanted big sisters like Piper and Prue.

Many of my favorite tropes were first introduced to me there. Seriously, this show is why I love a good “everybody lives together”. A team as a family, by blood and also beyond that.

Them killing off Prue killed me. I cried so hard so long back then.

And also this is like the only show ever where I got incredibly invested in the canon ships. Leo/Piper, Cole/Phoebe, Andy/Prue. All. The. Way. Obviously, canon broke my heart twice but that doesn’t mean I can’t live in eternal denial.

It’s also the first time I encountered a TV show overstaying its welcome, because that last season was absolutely unnecessary, start to finish. The season before that had the perfect finale - the sisters, getting to live a normal life, then that little wink by the door closing just like Prue’s powers used to close it, it put tears in my eyes and had me incredibly content. Then they had to add a blonde Mary-Sue to the mix and go on for another season and just nope.

And yes, you notice my focus on Prue. I love her. She still remains my second favorite after Phoebe and I will admit I never quite warmed up to Paige and would have preferred if the whole... actor fall out hadn’t happened and Prue could have continued on in the show. So, that’s my favorite part of it; back when Prue was alive and Cole was also still alive.

18. rant about your favorite musician

...At this point, I am thinking that maybe you should have asked each number in a separate ask because this thing is long.

But okay, I actually do have something to rant about there!

HOW DOES THE YOUTH TODAY NOT UNDERSTAND PUNK. URGH.

A few weeks back, my favorite musician was on TV. There was a music event, I think it was a benefit and also a peaceful protest, led by him, among others, and before it, he stepped up to the mic to say a few words and I was watching that with my grandparents and my brother and he just went “Urgh, that guy again. Why does he have to be everywhere? And why is he talking about this? It’s none of his business, he should just do music”.

Like.

No.

Campino is a punk. Die Toten Hosen is a punk rock band.

Protesting the government and what is wrong with society is literally what punk does. Punk is only secondarily a music genre. First and foremost, it is a means to be loud and vocal about politics. So to organize a peaceful protest and to speak up about the mistreatment of immigrants in our country is literally what punk should be.

The fact that there’s younger people who don’t know that is terrifying. The fact that younger people in Germany just know Campino as an old musician and not as a punk is also terrifying. Go listen to DTH and study up on punk, please.

35. what does home mean to you?

Ah, finally a short one! xD (Just kidding, I do love ranting!)

Home is where I feel at ease, where I can be myself, where I’m happy. These requirements can be fulfilled outside of my own four walls - it’s like, when I am in London, this incredible sense of home fills me too, surprisingly enough. Gods, I wanna go back to London...

Unusual Ask Game

#About Me #Random Rants #lots of ranting #Unusual Ask Game #send me asks #shadowruned

[popwasabi]

“Aquaman” Review: DCEU finds life as Seaman Rises (Heh)

Directed by James Wan

Starring: Jason Momoa, Amber Heard, Patrick Wilson, Nicole Kidman

 Throughout the two and a half hour run time of James Wan’s “Aquaman” you get the feeling you’re not watching your typical super hero flick.

I don’t mean this in the critic buzz-wordy sense of “It changes everything you know about super heroes!” but rather it’s distinctively its own thing in the tonally all over the place DC Cinematic Universe.

It’s bright, loud, cheesy and very strange but for a film that’s as long as it is there sure isn’t a dull moment within it and if this film says anything about the DCEU it has its first real pulse since “Wonder Woman.”

(My thoughts after “Dawn of Justice” and “Justice League”...)

“Aquaman” takes place sometime after the events of “Justice League” as Arthur Curry, the Aquaman, continues to reap his own vigilante justice upon the evil-doers of the seven seas. When an Atlantian named Meera warns him of an impending war that’s about to be waged on the surface from his half brother King Orm, Arthur reluctantly sets off to retrieve a legendary trident to stop him all while contemplating his complicated roots to the under water kingdom.

As mentioned, “Aquaman” is not a normal super hero flick. If anything it bares more resemblance to Indiana Jones with a splash (heh) of Lord of the Rings (not to mention some fanciful tech elements borrowed from the Kingdom of Wakanda). This isn’t a bad thing though as a character as strange and cheesy as Aquaman might not have worked with your standard super hero script of good guy donning his or her cape to combat billionaire psychopaths, mad titans, or poorly rendered CGI demigods.

“Aquaman’s” strength IS that its bonkers though. Atlantis is a strange setting, even in the world of men who dress as bats and super-powered aliens named Clark but James Wan was right to lean into this weirdness. It’s sincere and cheesy at the same time, perhaps sincerely cheesy, and unapologetic about the fact there are humans with futuristic technology living in the depths of the ocean riding sharks (that roar??) and settle disputes in Klingon-esque trial by combat. It’s a credit to the film’s script that you recognize all this weirdness and yet you buy into it anyways. It’s absurd in the best way and it’s impossible to look away while grinning (sometimes laughing) ear to ear.

(Seriously, weird shit like this actually happens in the film and no one is bothered by it.)

The action is solid with some superb fight choreography to go along with even better cinematography and editing and the variety of adversaries Arthur and Meera face throughout the film between high tech pirates, Atlantean commandos and deep sea monsters are all pure visual treats for the eye. The pacing is superb because of this and makes the film’s lengthy run-time feel like 90 minutes. It’ll be hard to feel bored watching Arthur kick ass, while Meera waterbends enemies around her and it’s a credit to James Wan’s directing that allows this to be way more fun that it deserves.

Jason Momoa does a fine job here, though, as this film’s fish man lead. Though he at times can remind you of that high school football captain who pantsed you in your teenage years with his often jocky line delivery he is nonetheless charismatic and a joy to watch as this character. Traditional Aquaman is just a little too vanilla ice cream (not to be confused with Boy Scout types like Captain America and Superman) for this era of super heroes and Momoa was the right man for this more rugged take on the character. Sure, Momoa can be a bit of a bro but he’s sincere at least and carries each scene he is in perfectly well and will likely be a treat in the sequel.

(Not to be confused with “Being a treat” not that I a straight man would ever say about such a fine hunk of meat...hey wait a minute...)

Amber Heard’s Meera plays off him well, barely tolerating Arthur’s “too cool for this shit” demeanor, but more importantly she is a rare example of a love interest who is helpful to the plot (if anything she does most of the heavy lifting of the story). It helps that Meera is a super powered character herself but too often female characters in these super hero flicks offer little beyond being a prize for the main character at the end and it’s good to see a character like her actually written to be truly strong in more ways than one for a change.

If you liked villains like Lee Pace’s Ronan from “Guardians of the Galaxy” you’ll love Patrick Wilson’s King Orm aka Ocean Master. The script doesn’t lend much depth to Orm beyond “Half brother impure! Surface bad!” but Wilson hams it up to 11 spending most of the film yelling and giving broad dictator speeches on conquest and victory. But this is fine once again cause the movie doesn’t need him to be anything beyond an adversary for Arthur. They probably could’ve played up the brother plot line a little more (somewhat like what “Black Panther” did for T’Challa and Killmonger) but the film gets all it’s points in about power, humility and love that’s it’s not 100 percent necessary.

(Black Manta is a bit wasted here though but perhaps will offer more in the sequel.)

The only real negatives I can say about the film is it could’ve expanded a bit more on the half breed plotline, where Momoa (a hapa himself) is more than capable to play up and Nicole Kidman is wasted as Arthur’s mom as she seemed have a strict line limit set in her contract. But these are pretty minor issues and again it’s impossible to not enjoy the strangeness, cheesiness and crazy shit that happens in this movie.

It’s pretty safe to say at this point that the DCEU is finally starting to find its groove as the “grittiness” and long-winded shit of the Synder-verse appears to be waaay in the rear-view mirror now. Warner Brothers is probably going to play the rest of the franchise as if everything pre-“Justice League” other than “Wonder Woman,” never happened and if this film is any indication the franchise has found its sea legs after enduring some pretty harsh waves. It still has a ways to go before it even sniffs MCU success but at the very least the future is bright.

Hopefully Warner Brothers rides this sea of good fortune and makes a splash with “Shazam” next year.

Sorry.

 VERDICT:

4 out of 5

So what do the dbags have to say about Rotten Tomatoes “DC bias” now? #getoverit

#Aquaman #Aquaman movie #Aquaman review #Jason Momoa #DC #DCEU #dc cinematic universe #MCU #Avenegers #Justice League #DC comics #Marvel Comics #comic books #movie #movie review #film #film review #film reviews #James Wan #Kaiju #super heroes #ocean #sea #sharks #Dr. Evil #Game of Thrones #khal drogo #Hawaii #amber heard #Arthur Curry

[tren-fraszka]

Chocolate Box Letter 2021

Dear creator,

Thank you for taking your time to check my requests. I know my requests can sound a bit tricky, but please don’t be discouraged. I wish you will have good time writing first and foremost!

My AO3 is Tren, if you wish to check it out.

Likes: comedy, casefics, canon compliants, AUs, time loops, bodyswaps, roleswaps, fantasy AU, urban fantasy AU, “being hoisted by your own petard” plotlines, snark, pettiness, rivals, enemies to friends to lovers, complicated relationship, violence, friendships, character bonding.

DNW: explicit sex (makeouts and fade to black is okay), A/B/O, mpreg, rape depicted as positive (so no “it’s okay, because the other person enjoyed it/it was what they truly wanted”), trans headcanons, soulmate AUs, stories ending with surrender to fate/destiny, fourth wall breaking in canons where that doesn’t occur, character has cancer or other real-life terminal disease AU, word “queerplatonic”.

Also, I included what ships I’m okay with in each fandom. Please do not include any ships that aren’t canon and I have not allowed in those sections (if you feel really strongly about a ship I haven’t mentioned, you can always ask through mods just in case).

Additionally, while I almost never request fanart as possible medium, because I prefer my main gift to be fic, I would be very okay with receiving fanart treats. On another note, feel free to use my old letters if you get your hands on them. I never stop being interested in fandoms, and if I requested something once I will still want it in the future.

                                           REQUESTS

FFF-CLASS TRASHERO| FFF급관심용사 (WEBCOMIC)

I’m caught to the current translation of webcomic. Feel free to include any new developments in webcomic, but please avoid spoilers for the original light novel.

Kang Han Soo/Nasus

Kang Han Soo is a terrible human being and I thrive on his sociopathy. I love the perfect mix of justification that we get for his action through his backstory and unrepentant self-serving attitude this webcomic has. I love that the elf prince is the only person Kang Han Soo seems to have any modicum of respect for and actually gets along with. At the same time Nasus is one of very few characters who seemingly saw through Kang Han Soo upon meeting, knowing exactly what to do to get him on his side. The way Nasus usurped throne with Kang Han Soo's help was great and I would love to see more of their teamwork. 

Maybe Kang Han Soo growing more and more fond of Nasus with each timeloop, because while the world is shit at least the overpowered elven prince seems to understand him a bit. I would love to see Kang Han Soo getting into compromising situations and being in utter denial about having a crush, because anything that doesn't fit his vision of the world can't be true. I can see him convincing himself that sharing long makeout sessions with elfish prince is totally a part of his strategy to get reputation points. He's just building a trust between the nations of elves and humans, okay?

On that note, I don't mind Kang Han Soo exhibiting internalized homophobia if you want to include it. I feel like it fits his character to be in denial about also being interested in men, but I'm also completely okay with different takes on that.

Feel free to abuse the reset mechanic to your hearts content. I love timeloops, so having one baked into the canon is just great. I would also love an AU where Nasus somehow becomes aware of the resets and also starts to retain his memories through them.

TALENTLESS NANA

I’m caught with manga up to chapter 56.

Hiiragi Nana/Tachibana Jin

I love that Jin is the first person on the island that actually has some understanding of Nana. I absolutely love their dynamic of Nana trying to kill him, but Jin always being one step ahead. There's just something fascinating in their back and forth, and constant mind games they have going on. Feel free to slip in any extra murder in between the canon to give them some extra opportunity to just be their terrible selves.

I would equally love some calmer moments between them. Maybe an AU where Nana starts to take care of cat!Jin and talks to him when no ones there to fight off the loneliness, since obviously a cat won't snitch on her. And well, he won't snitch, but not because he can't.

Or maybe Jin feels bored and promises to share some critical information with Nana if she goes on a date with him. And Nana is pretty sure he is just trolling her, but at the same time she has little to lose and everybody needs a day off from killing at some point. Bonus points for Jin constantly shapeshifting into Nana's classmates to hide his identity.

I would like to note that since we don't know Jin's true identity at this point, I'd prefer for it to be kept ambiguous for the purpose of this fic.

FATE/GRAND ORDER

I’m up to date with NA server. Please don’t include any spoilers for jp server.

Ryoma Sakamoto/Okada Izou

I love that the first we see of their relationship is Okada being absolutely pissed about Ryoma betraying him and leaving to die, and Ryoma being like "that's fair", and letting himself get stabbed because he has absolute confidence that Okada doesn't actually want to kill him. If that's not great ship material I don't know what is.

I love how thin the line between Ryoma caring about Okada and manipulating him into doing what he wants is. And that Okada is aware of it, but at same time he's completely unable to let go despite constantly proclaiming that he won't get tricked again. And yet he gets tricked. Every. Single. Time.

I would love both some shenanigans in Chaldea, as well as a look into their lives before they became Heroic Spirits. I'm not very versed in history of Japan though, so while I'd love a more history based story please assume you are telling it to someone who needs a quick history lesson at the same time. For Chaldea shenanigans I would enjoy Okada picking up fight with everyone who catches his attention and then inevitably getting his ass kicked, because he's used to being a big fish in small pond, while Ryoma tries to make sure he doesn't kill himself in the process. Or helps him get along with other Heroic Spirits. I would love to see Okada being pacified with some food. Maybe discovering liking for a dish he had never tried before.

Any mission gone wrong would also be fun. Maybe they Rayshift with Master (I'm fine with both male and female Master for this request) but end up stranded during the mission. Maybe they have to camp somewhere and it results in a lot of bickering. Or they very unsuccessfully try to stealth.

Inclusions of Oryou is welcome, and you are free to make it a threesome. Just please don't forget to include some flirty Ryoma and Okada interactions.

MAIRIMASHITA! IRUMA-KUN

I’m up to date with manga. Feel free to include any new developments.

Ami Kirio/Suzuki Iruma

There are many good ships with Iruma, but this one just has a lot things I like. I love enemy ships with both sides being way too emotionally invested into each other so this was inevitable. I love how this relationship starts as this really wholesome friendship and school festival preparation, except Kirio turns out to be a bit messed up and wants to blow up everyone. But then they both accept the outcome and go on with their lives still thinking about each other. Iruma goes through a lot of trouble to keep the club operating even though Kirio has been pretty much expelled. And then Kirio is now obsessed with Iruma as his anthitesis and perfect enemy. And probably wants to eat him. In which sense of the word is yet to be determined.

I’m okay with the potential story happening at any point in the canon. I would love both a story set before the festival while Kirio is still hiding his true colors or a story set after festival. Maybe Iruma runs into Kirio somewhere after he escapes prison and instead of calling an adult, he tries to stop Kirio from causing trouble on his own. Or maybe Iruma keeps accidentally preventing Kirio's terrorist plans without even realizing, while Kirio keeps pining and probably salivating from distance. As for pre-festival story. Maybe some upperclassmen steal important parts from the club and Iruma and Kirio set out to get them back.

I would definitely love an AU where rather than getting summoned to demon world, Iruma accidentally summons Kirio into the human world. Maybe Iruma’s parents try to use him as an offering, but instead he ends up bound to a demon. I would love to see Kirio excited to unleash suffering (even if his weak powers severely limit him in that regard) onto human world just to discover that he made contract with the biggest pacifist possible.

If you want to explore Kirio's hunger for Iruma I would prefer if it turned out to be that something got lost in translation through all those centuries and it's less about literal consumption and more about intense lust for humans.

TALES OF CRESTORIA

Velvet Crowe/Milla Maxwell

I thrive on the twisted codependency those two have in Crestoria. I will take both good, tragic and/or ambiguous ends for this relationship. Whether Velvet decides to forgive Milla or kill her it will be great. Give me all those twisted emotions, the hesitation, and pain both of them are carrying.

For straightforward approach, maybe the two of them stop in a town while chasing the last Incarnation and Milla decides to throw a party (because it's some sort of festival, or maybe she found out it's Velvet's or Laphicet's birthday and wants to make some amends however small). Or maybe one of them gets hurt during the fight with an Incarnation and the other ends up nursing them to health.

For some more levity, maybe Velvet and Milla ran out of money and pick up some side-job to have enough money for an inn. Maybe they work as waitresses and are both great and terrible at it at the same time. Or they have to take care of kids. Any other amusing job is also good.

Feel free to include other Tales characters. My faves are the cast of Xillia, Symphonia and Graces, but feel free to include others (I would appreciate proper introductions in that case, I still haven't played some of the games, so I might not recognize everyone just by their name).

#exchange letters