#Having seen season 2 I don't necessarily think that the end of season 1 is a happy ending

[paper-cuts-and-fresh-bruises]

So I thought I'd make a post on this as it's been a minute since the season 3 trailer dropped and what I'll be talking about was something that was making the rounds and I thought I'd say something when the craze had died down; but amongst the various topics of conversation, weirdly Colin's virginity seems to have come up, along with the general nature of his sexual experience. So be warned I'm going to be referring to spoilers at points from what's been posted by others on here and on Reddit, I'll leave a gap between this paragraph and the next so there you go, read at your own discretion. (note: post may be long, whoops)

So even if you've remained away from spoilers and seen only the trailer and other official promo stuff, it's clear that Colin has returned from his travel's more experienced this time in more ways than one, namely it is clear that he has been deflowered (kind of hate this term but I couldn't think of something else), and beyond that he's then also become particularly experienced in the bedroom and in the ways of charming women and such. I've seen some people say that they wished he'd still been a virgin more so because they would've found the dynamic of both him and Penelope being virgins something interesting to see as a shift from dynamics of previous seasons, and whilst I don't necessarily hate that, what's disturbed me is the way other people have had such a visceral reaction to Colin having any involvement with any other woman ever and getting ridiculously angry; which is funny when really they should be seen as interesting points of character development. In episode 1 of season 3 he returns home obviously looking as he does now and there's the whole sequence of the dropped glove that he picks up and kisses the hand of the lady in question it belongs to, Colin has returned feeling he has a solid sense of himself but also thinks himself untethered to the necessity of connection in order to engage in sex or even just flirtation, but this is important as the season progresses. In episode 2 from what I've read, he visits a brothel in which he pays for the services of a woman who works there, everything goes fine, I don't know exactly how much we will see of that encounter but it'll probably be enough; also to note, the source of this information stated very clearly that this interaction and a following one in episode 4 do not bear significance or even compare on what we will get with Polin in terms of an array of content that this season delivers.

Speaking of episode 4, reportedly he goes again but this time he's unable to engage as well as he did before and without a doubt this is due to Penelope. Additionally, this is an interesting look at sex in terms of it just being for gratification, and sex in terms of connection, a means to an end versus an act of love. In previous seasons, the depiction of brothels/sex work establishments doesn't really bear the same importance plot wise (side note I am not nor should you go shaming these people in that line of work as it's one that deserved respect like any other, it is simply functioning as a part of the conversation here), unlike here where I think that it's really important as it show's Colin's inner need for connection in order for it to work, because when he was away he probably had no issues getting his kicks because he convinced himself this felt right and back home would be no different, but that only lasts briefly and why you may ask? because the friend who he'd left and returned to transforms from a woman only in name to a woman in fully realised form, from a wallflower into an Emerald, and this kicks into gear the real maturity he needed to gain, realising from not just her appearance but the other qualities she possesses and the ways in which he is both attached and attracted to her, that she is who he has truly loved this whole time, he just needed to get out of his own head. It should also be pointed out that in the show, Colin has always drifted with finding himself let alone sorting out his feelings, so it is highly likely whilst he was technically violating polite society rules with his interactions with Penelope and this should've fired something off in his brain, that it caused him instead to think this is simply something that someone does with a friend they value highly versus being a by-product of his underlying feelings that he has with no one else. And as such, whereas Penelope was the one pining before, now he will be the one doing so and he's no longer on the pedestal he was previously so they'll be on even ground to start something real.

On a quick note, this is a friends to lovers ship but I want to make it clear, especially with men and women dynamics, that not all friends are going to have this trajectory whether we're talking about characters or irl people; friends to lovers tropes should be understood as two people who's connection starts with friendship and there's always a sense it could be something more whether or not both parties are consciously aware and it's to do with how they explore that, and is NOT in any way the case that these friends can somehow never be just friends with a strong connection, case and point Penelope and Morgan from Criminal Minds, close friends and nothing more and they're great.

Something also to say is that the obsession with Colin's sexual experience is just as bad as they way women are treated for their sexual experience, it creates this weird value and attributes a weird rating system of respect to something that's not our business, as well as fetishizing what people do or don't do with their bodies and making assumptions about their activities, so you know maybe we should agree to not do that. Beyond that, how about we actually watch what happens instead of spiralling out of control about this stuff. Also, if I see anyone who aren't fans of this ship to begin with, just leave, you're wasting energy on something that you literally don't need to be, do what the rest of us do and exit out and invest your time in what you actually enjoy instead of festering hate.

#bridgerton #bridgerton spoilers #polin #penelope x colin #colin x penelope

[spiegelgestalt]

Addendum 2: Rem

in the whole hot potato game between Subaru and Emilia of who gets to be the hero and who has to be the damsel Rem takes an interesting role:

She agrees to be the damsel in distress and invites Subaru to be her hero. (It's what makes Subarus heroic acts at the end of season 1 possible)

And she gets punished for it

Here's another truth in the hero/damsel in distress dichotomy: the damsel doesn't have to be a person to fuel the hero. And so after making one final speech how her hero will surely come to save her Rem becomes an object solely there to fuel Subarus determination. And how many stories have we heard who are similar?

#natsuki subaru #Rem #re:zero spoilers #re zero kara hajimeru isekai seikatsu #Having seen season 2 I don't necessarily think that the end of season 1 is a happy ending #And I also don't think Subaru has learned all that much #He understood pretty soon that he had fucked up in the castle but he was too ashamed to admit it #Rems invitation for him to be the hero helped him get over his shame though. And it's helpful for him emotionally. But it's also a crutch #Subarus playacting as a hero arguably costs Rem her life and Emilia her agency #Which threw Emilia in a huge existential crisis which only got resolved in season 2

[zeroducks-2]

Ok so I've seen this post way too many times on my dashboard not to get pissed so here's me saying this: Shipping is not aphobic, Soulmates AUs are not aphobic, having fun imagining your favorite little guys having sex is not aphobic.

"But one of these characters is asexual in the text!" 1: a character which doesn't have a canon relationship is not necessarily aspec, and 2: even if the character is canonically aro/ace, shipping them with someone doesn't erase the fact that they're aro/ace in the text, and in fact doesn't hurt anyone because IT'S FICTION. It's like shipping with an age gap, shipping gay characters with the opposite sex, shipping murderers and cannibals, shipping het characters with the same sex, any other "problematic" thing you can think of. It's fiction. It's not real, it doesn't hurt anyone, it's just some poor sod's past-time like it is yours and mine and everyone else's who spend their time shipping fictional people.

"Shipping hurts X category of people" is anti rhetoric and guess what, it's bullshit. You're just calling people aphobic instead of p3do, groomer or whatever other offensive nonsense antis say.

"But soulmate AU are aphobic!" Look, I hate soulmate AUs because they're cheesy and made with the cookie cutter, but that's just bullshit. No they don't hurt aspec communities, they simply do not cater to aromantic people. Something which doesn't cater to you simply existing does not in fact hurt you. And anyway you're free to create your own "Platonic Soulmate AU" if you so like, I promise no one is stopping you and a lot of folks would appreciate it.

"But it normalizes amatonormativity!" LISTEN. It's called amatonormativity FOR A REASON, and this reason is that it is the norm. Fandom spaces haven't normalized it, IT IS ALREADY NORMALIZED. Hetero, cis, allo and amatonormativity don't come from fandoms, they are not pushed by fandoms, and making it sound any different is the same kind of rhetoric antis use. Kinda on the opposite end of the spectrum of that specific brand of antis which claims incest in fanfictions normalizes it, whereas 8 seasons of GoT somehow don't. Like fucking stop treating fans like they hold the keys to make things widely spread and accepted, maybe? Because that's also what antis do in their attempt to police what other people like...?

In conclusion, this is an internalized anti behavior which won't help aspec people, won't help fandom and will only fuel shame in anyone who takes it seriously. It's just a very fancy brand of censorship. Fucking stop.

#censorship is bad in general folks #not just the censorship you personally dislike #ramblings #fandom discourse

[ladyluscinia]

Draft clearing. I think I had more of a point on the topic of Jenkins and genre I wanted to make when I gathered these, but I'm not feeling it anymore. However, I need spread awareness of his absolutely baffling ideas about pirate media and how he sounds half-convinced it must be a formulaic action/adventure. I only picked up on this by reading way too many interviews back to back so I'm not surprised I've never seen anyone else mention it, but like. It's wild. And he's SO additionally weird about how showrunning a piece of media about pirates relates to whatever concept he has of pirate media in his head.

Here's the link to my interview compilation if you want to check my sources on these.

Jenkins Quotes on "Pirate Genre"

"I think actual pirate stuff is fine, but it's not necessarily my cup of tea. And I think Taika [Waititi] felt similarly.

[...]

Showrunner Jenkins sees Our Flag Means Death as having "joy. A lot of joy. I like Stede because Stede is, to me, the outsider artist of pirates. And I think in designing the show, I was conscious [of the fact that it's] a hard genre to do anything to. It's a very stubborn genre because it's been done so well and so often. So I kind of tried to look at, like New York, like Alphabet City in the '80s via a pirate genre via Mad Max and try to throw all these different things at it. So I think you'll get a different feel than you'd get on a normal pirate thing. I think we achieved that with our amazing crew." - (Gizmodo, 2/22/22)

"I guess I really… I get kind of bored. How much pirate can you do? They're going to rob stuff. They're going to steal ships. There's only so many pirate stories you can do." - (Collider, 3/24/22)

Despite creating a pirate show, he himself says he's not a huge fan of pirate movies. - (EW.com, 12/13/22)

"I don't want to see a bunch of pirate things that I've seen in other things, I'll just go watch another thing if I want to see that. That's not really my thing. I like the genre, but it's a very hard genre to budge. I want to see relationships in a pirate world." - (TV Guide, 10/5/23)

"The pirate genre is fun, but I wasn't dying to make a pirate show. Taika wasn't dying to make a pirate show. But the thing that was interesting to me was that Stede finds love, and he finds it with Blackbeard." - (Variety, 10/13/23)

"I think there is something in the show about how piracy is a brutal way of life. It's essentially Mad Max, this world. There's no law, there's just strong and weak." - (Polygon, 10/21/23)

"And it’s also a pirate show, so he’s got to die." - (Vanity Fair, 10/26/23)

"Another thing I love is what I call shaggy stories, stories about people navigating each other. When you plug them into different genres, you get this great engine that comes with it. I'm not particularly dying to write a pirate thing, but I want to write a bunch of characters trying to navigate each other in a pirate thing." - (Vulture, 10/28/23)

"But I'm like you. I'm not a big pirate person. In general, it's a big creaky genre that's hard to budge, but I think the show benefits from we can pull pirate stuff out when we need it. Ultimately, yeah, I want to see these different relationships and perspectives on different relationships. Then it's fun to plug it into an overwrought genre.

[...]

Pirates of the Caribbean, those movies are great. That's not necessarily what I hunger to see, but in that genre, it's great. You're not going to beat that, especially on something that's lower budget. We've seen a lot of this stuff, so it's fun to take it then and don't do any of that stuff." - (Metro Weekly, 11/1/23)

"I think it's more interesting to me that I've never seen a love story like this in this genre, and you dream for that. Really, pirates, what can you do that's different with pirates?

[...]

To me, to tell the story about these two men in this very hetero action genre, falling for each other..." - (Metro Weekly, 11/1/23)

---

...This is the same guy who just ended a season on the British Navy blowing up Nassau for symbolism reasons that I'm pretty sure have nothing to do with the love story. 🤨

#good news - his forest fight is probably not intentionally a weak parody of black sails #because despite being a known tragedy enjoyer i don't think he would watch black sails #our flag means death #ofmd s2 #ofmd piracy #david jenkins #i'll also do just to be safe #ofmd critical #even though this is 90% just pulling his own words together for you to make your own conclusion #ladyluscinia

[markantonys]

You saw the leak huh? Mat might go to Tanchico instead of the Waste in s3

i hadn't seen it until i got this ask! i looked it up and here's the source: WoTUp video. usual disclaimer that these are leaks so may not be 100% reliable, although i thiiiiink WoTUp has a pretty good track record for accurate leaks. UPDATE: they actually have a spotty track record with leaks and have reported false ones before (such as that faile would be in s2), so we should definitely be taking this one with a grain of salt!

to summarize the video, the only new piece of info is that mat, thom, and min were (allegedly) spotted filming scenes with elayne and nynaeve for the tanchico storyline. (he also says that elayne, nynaeve, liandrin, ispan, and moghedien were spotted filming for that storyline, which is of course not surprising!) HOWEVER, he says that he has no idea where in the season these scenes fall or whether it means mat is *exclusively* part of the tanchico storyline in s3, so at this point we can't say mat is 100% spending the entire season in tanchico instead of the waste - there's still a chance that he's in the waste for a portion and tanchico for another portion.

now, time to speculate! full book series spoilers below. this will be long because my mind is going a mile an hour!

fact #1: mat's hanging and missing eye were foreshadowed multiple times in season 2

fact #2: in this podcast interview, donal referred to mat's season 2 knifestick as a "makeshift ashandarei" (it could be he was just speaking with book knowledge about what a real ashandarei is, but to me it implies that show!mat will also be getting a real ashandarei. besides, the greatest general of the age inarguably needs a better permanent weapon than a knifestick!)

these facts make me still very confident that we will be getting at least 1 Mat Doorway Trip in the show. but that doesn't necessarily guarantee he'll go to the waste - it could happen anywhere. rhuidean is the book version, but falme has a "room of curiosities" per season 2, and tanchico has a museum thingy per the books, so there are several options for where mat could come across a doorway.

unless they're changing the doorway aspect of the moiraine vs. lanfear showdown (which i don't have any reason to believe they will, especially given mat's missing eye foreshadowing, which indicates moiraine will still get trapped in the finn realm and mat will rescue her), then there needs to be a doorway in whatever location the two of them find themselves in at the end of season 3 (or at least that's my best guess for when the showdown will take place). and i doubt moiraine would get over to tanchico, or that she would've carted a doorway from falme to the waste, so a rhuidean doorway for that plotline still feels the most plausible for me. however, there could be multiple doorways in the show, as there are in the books, so mat could go through a different one. so this entire point actually may be moot then, i guess haha but i will keep it in here nonetheless!

here are the overall options i can think of right now - note that i'm assuming only 1 Mat Doorway Trip for now to keep things simpler, but it's not impossible that he might still have 2 trips like he does in the books.

#1: mat goes through a doorway in falme at the beginning of the season (and gets cpr from rand, who went to the doorway to get his own answers)

-> #1A: mat is told by Falme Finn to go to the waste and does so, but partway through the season he heads over to tanchico (perhaps to fetch elayne at rand's behest because of rumors of trouble in caemlyn)

-> #1B: mat is told by Falme Finn to go to tanchico, and he never goes to the waste at all

#2: mat initially accompanies the tanchico crew of his own volition and goes through a doorway there (and gets cpr from someone who is not rand), and he never goes to the waste at all

#3: mat initially accompanies the tanchico crew of his own volition and goes through a doorway there, but he gets spit out of it in rhuidean (and gets cpr from rand, who has conveniently just emerged from his glass columns trip)

#4: mat initially accompanies the waste crew of his own volition and goes through a doorway in rhuidean, but he gets spit out of it in tanchico (and gets cpr from someone who is not rand)

i will be more crushed than you could ever comprehend if Cauthor CPR doesn't make it into the show in SOME way haha but i will start girding my loins now for the possibility (although i do still think it could happen). and no matter what happens, at least we'll always have Cauthor Homoerotic Stabbing Feat. Extended Cradling!

in all honesty, mat doesn't really Do that much in the waste plotline aside from his doorway trip. i would be incredibly sad to lose out on bonding time with rand and egwene (yet thrilled to get mat-elayne-nynaeve bonding - when god closes a door, he opens a window!), but in terms of mat's overall long-term story arc, there isn't anything for him in the waste arc that MUST take place in the waste, i don't think?

but on the other hand, if they're going to add him into the tanchico storyline, they have to have a good reason for it - it can't just be for the sake of having fun shenanigans and bonding with elayne and nynaeve. so of course, my immediate supposition is that this would be absorbing the ebou dar plotline and thus that the ultimate purpose of mat going to tanchico would be to meet tuon.

and honestly................that's a REALLY good idea! i've said a million times over that tuon and her relationship with mat need to be introduced much earlier in the show than they are in the books in order to have enough time for proper development, so combining the wondergirls' two different trips to seanchan-infiltrated west-coast cities into one trip and thereby having mat meet tuon by the end of season 3? that could be a very clever adaptational choice. we know so so little about season 3 so far that i really don't want to get myself stuck into any assumptions THIS soon haha so i'm going to try not to get to hung up on this idea, but i do feel pretty strongly that the best reason (and perhaps the ONLY good reason?) to add mat into the tanchico storyline is if they want to combine it with ebou dar and use it as tuon's introduction. and this would also work very well with mat's doorway trip, because he'd be getting his marriage prophecy in the same season as he meets tuon (though he and/or the audience may or may not not become aware of it until a future season).

but what would a season 3 mat-tuon meeting mean for future seasons? maybe they would just cross paths this season, then go their separate ways for some individual arcs and cross paths again later for the romance to begin. or maybe tuon would get caught up in mat's plotline for season 4 and potentially beyond.

(i do worry that making mat & tuon meet THIS soon could mean they believe they need to aim for the 5-season model instead of the full 8 because i'm not sure what tuon would do for 5 more seasons after this, but i'm already so far out on the limb of speculation here that i don't want to go any further until we know more! and they could certainly invent plenty of stuff for tuon to do seeing as she did not do SHIT in the books and desperately needs to lmao the seanchan heir being a channeler is something that is huuuuuuugely rife with story potential.)

going back to mat, let's think a little about HIS future storylines, in the scenario of him meeting tuon by the end of s3. i think the only other major pre-ebou-dar thing he needs to do is form the band of the red hand, which could be shuffled around to after meeting tuon instead of before. there's lots of possibilites for it - all mat needs to do is participate in a battle where a lot of other people are also fighting. maybe the seanchan try to invade tanchico, and he rallies the locals to protect the city. maybe in season 4 he carts tuon along with him back into rand's plotline, where he forms the band during one of the many City-Conquering Rand Battles the show has available to choose from (cairhien, tear, illian, caemlyn). i do feel hopeful that even IF tanchico stands in for ebou dar, it won't be the point of mat splitting off from rand & the main gang for the entire rest of the series never to return like ebou dar was in the books. especially because he barely does anything of story significance between ebou dar & moiraine rescue heist, so it wouldn't be hard to just move up the schedule of his & tuon's meeting and then return him to his TFOH/LOC storyline.

(............which again makes me worry they're aiming for 5 seasons total because what would MAT do for 4 more seasons if everything but the moiraine rescue heist is accomplished by the end of s4? but, again, don't want to go too far out on the limb of speculation. and 8 seasons has always been a very very lofty goal in today's era of television, so getting 5 would still be wonderful! and so much of books 7-13 is filler & sidequests that i think they could absolutely tell the most important parts of the story satisfyingly in only 5 seasons.)

@butterflydm and i have also speculated that elayne & nynaeve could potentially reunite with the waste crew by the end of s3 or early in s4, in order to give them some bonding time with those characters (particularly rand & aviendha and lan, respectively). so, if mat is in tanchico with them, maybe he could come along! maybe rather than getting split up in a seanchan attack, mat and the girls all kidnap tuon and flee the city together, and make their way back to the rest of the gang.

and finally, on a different note, min's presence in tanchico. intriguing! my first thought was that maybe liandrin kidnaps her from cairhien because she finds out min knows she's in cahoots with ishamael and doesn't want min to snitch, and that's how min ends up in tanchico. this would prooooobably mean she skips the tower coup plotline entirely, which i think is okay because siuan, elaida, gawyn, leane, and possibly logain would probably be enough to anchor that plotline for us. it would also give min the bonding time with elayne & nynaeve she didn't have time for in season 2, and if my tuon speculations are correct, then potentially min would enter her orbit this early as well, which would be interesting. rescuing siuan in the coup is The Only Thing min does in 14 books so it would be funny if the show cut it djkfjg but they can (and already have) invent new stuff for her to do instead, and honestly, min doesn't really fit in with the coup & salidar plotlines that well anyway since she isn't a stakeholder in anything relating to the white tower - none of that stuff truly MATTERS to her character, she just happens to be present for it. so IF she doesn't end up being in that plotline in the show, not a huge loss imo (though of course, she could still make her way to the tower later on, or maybe she starts in the tower but then siuan sends her to tanchico to investigate liandrin or something).

anyway, i think i've reached the end of my speculation for now, although i'm sure i'll think of more stuff later! in conclusion, this is my current mood:

#anonymous #answered #wot book spoilers #wot show spoilers

[momojedi]

Bad Batch: Season 3

My Predictions

The final countdown has started and I'm not ready at ALL! Here are some of my predictions for Season 3 and what I could imagine happening!

1. Tech will be back.

Yes, the trope of dead characters returning is incredibly overused. But as many others I have a good reason to believe that Tech might still be alive. Think about it. It’s pretty likely Hemlock managed to locate Tech’s body considering he left us a huge breadcrumb: his goggles.

Why would Hemlock get rid of a genetically enhanced super soldier, especially considering he likely knows how to properly brainwash someone?

I too like to think that Tech might be the black armoured soldier in the front. It’s the same, if not similar armour as Clone X. Maybe these are part of a special type of clone assassins or troopers? Could they be the prototype for the Dark or Death Trooper?

It’s pretty plain to say that Tech will likely come back, though probably not as the Tech we know.

2. Crosshair & Omega Dynamic

We've seen Omega genuinely bond with all of the Bad Batch - except for Crosshair. Despite her trying her best to get to him every time they had the chance to interact, he denied her any kind of response. Whether that would be because he's just too withdrawn or because he refuses to let anyone see his vulnerable side, we don't know so far.

What we do know however, both based on pure logic alone and the fact that we've heard them both involved in a heated debate in the leaked trailer from the Star Wars Celebration last year, is that they likely will spending a lot of time together on-screen now that they're both captives of the Empire.

Hopefully Omega will be able to lift Cross' spirits, he doesn't seem to be doing very well from what we've seen!

3. Ventress will be an enemy!

Asajj Ventress! We all know and love her, so naturally it's incredibly nice to find out that she'll be returning to the screens for the final season of the Bad Batch! Despite they're naturally being some raised eyebrows considering her fate in the Dark Disciple book, I'm curious to see in what way they'll connect the stories!

However, seeing as Ventress could rather be classified as an anti-hero rather than a full on hero, I believe that she won't be helping the Batch but rather fighting them in order to get to what she wants - as she likes to do.

Perhaps she'll end up cooperating when she realises there might be no other solution, but I strongly doubt she'll be any help to them when it comes to following their personal goals.

4. The Fall of the Clone Rebellion

It's sadly no secret that given the events of Rebels and the three remaining clones Rex, Gregor & Wolffe, it's very likely the rebellions aka rescue of the clones didn't go as initially planned.

I could imagine this being explained a bit clearer in the finale, perhaps even leading up to a great fight against the Empire in the end. We can't forget that the series mainly revolves around a rogue batch of clones, so the thought that it might also go out with a clone-centric subject, especially such a big one, isn't necessarily far-fetched.

5. The End of the Mission

And finally, my most tragic prediction: The end of the Bad Batch.

The writers have been making it very clear that season 3 will likely be the darkest season of the show which unfortunately leads me to think that, as much as I'd want it not to be the case, the finale will lead to the ultimate end of Clone Force 99.

I suspect the series to end with the batch ending up together in some way, as the original five, and landing in a tricky life-or-death situation. Perhaps they'll be stuck in a crashing ship with a one-person escape pod or maybe they'll be facing a threatening figure such as Sidious, leading to the decision to sacrifice themselves in order to protect Omega.

Either way, despite season 3 likely becoming a tragic rollercoaster of emotions, I'm glad we had the chance to experience the epic story of the Bad Batch. It's sad to see them go and although these characters have become like a family not only to me, but to many other fans, let's enjoy our last moments with them and let them go out with a bang!

#star wars #clone wars #bad batch #bad batch season 3 #bad batch s3 #the bad batch #the clone wars #clone force 99 #star wars the bad batch #star wars the clone wars #star wars clone wars #tbb

[raayllum]

Been thinking recently about the idea in fandom that boils down to, usually, "the Character that Changes the most being deemed 'the most complex'" and that character development (i.e. character change) being held up as The Golden Standard of a Good Character and...

I fundamentally disagree, but first, a little bit more explanation about what I mean

Very often shows and movies, when being recommended on tumblr, are sold on the basis of having enjoyable/in-depth characters. Often times this also means conflating enjoyable with likeable, but that's a discussion post for another day. And even more often, it means there are characters who are seen as Deep because of how radically they change over the course of a story.

Lots of times, this falls into two camps:

Characters change radically, but early on in the story, and remain largely the same past that point of change (think anytime in a first season) until the end of the story

People recommending shows based on characters having traditional redemption arcs (enemy or bully to friend / good guy / love interest)

Now, I'm not saying that 1) character change can't be deep or 2) that character growth is bad. Neither of those things are true, even subjectively. What I am saying is that 1) character change / a character changing is not the same as automatically being a good, interesting, or well written character and 2) character growth is not the be-all-end-all of character writing. Yes, there can be problems with characters be overly stagnant, but typically that's only an issue if 1) a work is serialized and concerned with character development and they don't change at all, 2) a character never adjusts (rightly or wrongly) according to their mistakes, or 3) all of the above but they're a main character.

However, assuming that Character A has to be radically different at the beginning of a story in terms of their personality/values/etc. as they are at the end of the story is just... not how it works, necessarily. This is, I think, one of the reasons why antagonists who get redemption arcs tend to be more popular than heroes who had good values the whole time, because there's more opportunity to point and go "look, they've changed! they act on and have basic compassion now!" Which, fair enough, but again: other types of characters are fine too.

Particularly for characters fandom tends to have the hardest time with: paragons.

Paragons are characters who are usually the central hero, pretty morally if not entirely moral upstanding, and because they already start out in a place of "always doing the right thing," they rarely radically change by the end of the story. Instead, paragons are used to progress theme/messaging and inspire other characters around them to change (a good example might be Buddy from the Christmas movie Elf and to a lesser extent - as he's more transformative as a character - Aang from Avatar: The Last Airbender, who's there to return childhood to his friends as an ideal and carry on Air Nomad values).

And for TDP, that's Ezran.

He's the youngest in the main cast and by far the most measured. While Callum and Rayla are off fighting, he keeps a level head. He assumes responsiblity largely without guilt, holds other people accountable most often without being cruel, he's kind and deeply compassionate, he shows regular empathy for his enemies even when he has to treat them like enemies, he loves his father but does not idealize him, he is king without craving power, he's trusting and honest and while he has his flaws (overly optimistic, his passivity, sometimes struggles to consider other people's emotions, naivety, etc), they - as of yet - are not overly connected to his sense of morality (which is a distinct difference compared to the rest of the main cast).

Now, TDP is less concerned with the theme of Childhood compared to something like ATLA, but Ezran being a child (again, in a way the rest of the cast is not) is also very important. Ezran, and Callum to a lesser extent, is the embodiment of the concept that children aren't born with hatred in their hearts; it's learned, or earned, through experience, society, and suffering. And as Ezran spells out for us in 4x03, he has suffered and been hurt - and he believes in breaking the cycle and believing in hope for a better future anyway.

Ezran's steadfast reflection of the series' core theme of "true strength - to break the cycle - is found in vulnerability, in forgiveness, in love" in both word and action does make him the closest thing to a paragon in the series. He's the one who finds the egg; he's the one who forgives Rayla and Soren; he's the one who still tries to help Claudia; he's the peacemaker, the literal bridge between peoples and species in spite of witnessing so many of their worst crimes/actions.

In both arcs, there tended to be a trio of characters who rapidly change, and a trio of characters who are more, comparatively, stagnated. Early S1 Rayla, Callum, and Soren are radically different in a ton of ways than they are even at the beginning of S3, but especially by the end. On the other hand, Viren - post 1x03 at least - Claudia and Ezran are far more consistent in arc 1; their circumstances change, but their viewpoints and realities and choices are largely the same from season to season - they just keep doubling down. This doesn't mean they don't change at all, but they don't radically transform - they just become more of what they already are.

I'd say that in arc 2, things have switched up, with Callum, Rayla, and Viren being the three who are radically transformed (thus far) with Soren, Claudia, and Ezran still being in the more stagnated corner. (For more notes on Claudia and Ezran's shared passivity, check out this pre-S4 meta.)

Ezran starts out the series as a good hearted, slightly mischevious little boy who loves his family and believes that people can be good. The point of the series is not to change these parts of him. It's to demonstrate the difficulties - losing both his parents, taking on the kingship, struggling to make the right choices, keeping his friends together, caring about peace and sentiment in a world that increasingly does not - of maintaining those positive traits, again, in a world that is determined to test those ideals and attributes.

Ezran is not here to be transformed by the storm, the same way his friends and some of his companions are. He is here to demonstrate the strength and necessity in weathering the storm so that the world cannot make you cold, or uncaring, or violent, even when those paths and emotions would be much easier to go down.

Good character development isn't about changing your character; it's about changing your audience's understanding and perspective of your character. Sometimes that means the character is also changing simultaneously, but that's far from a requirement for a character to be interesting. Like most things in writing, what it really boils down to is execution.

And I could go on about why I think people gravitate towards characters who start off evil (often part of imperialist empires or older, institutionally backed systems) and learn that the evil was wrong actually (and sometimes not even that) but that's a meta for another day, and this one is long enough.

TLDR; Ezran, like a few other characters in the show - antagonists and protagonists alike - is not meant to be a radically transformative, even though he very much has grown and changed. Instead, he's meant to exemplify the importance of not losing your sense of self in an increasingly cruel or difficult world, and what parts we should arguably try our best to hold onto as well.

#writing advice #tdp #as an example #analysis series #analysis #tdp ezran #ezran #the dragon prince #writeblr #i've always preferred paragons / non traditional redemption arcs so my preferences are #very opposed to general tumblr's but not at all surprising #also don't think i need to spell out why paragons would be particularly compelling for ND / autistic folks

[hourglassfish]

On Season 1, Episode 7 Part Three : Risottogate

OK look,

Go and get yourself an ecto cooler or something, cus this is long, OK? This is long.

You comfortable?

Alright, let’s go.

don't forget the Xanax!

Elevated Beef (stock)

There’s a connection drawn between Sydney and veal stock in the Bear. She spills it all over herself during Brigade. Claire interrupts Carmy purchasing veal stock for menu testing her bone broth idea at the end of 2:2.  It’s an interesting ingredient to align her with: a staple of French cuisine, something you’ll find in a professional high end kitchen but not necessarily at home, a distinctive, practical component which provides a subtle, solid umami base for a range of dishes.

The first time this connection is drawn is during one of my favourite interactions: the ‘plum haribo’ story in Brigade. Marcus has decorated his work station (I love him), and despite the fact that Carmy says he’s having flashbacks (eeeeeeek), I think he is happy to see this coming together of his two worlds.

They start talking about this fancy plum dish, and a gelee component (which will reappear in Honeydew!) that had to have a very specific texture. Carmy has been talking about the dedication needed to make this dish work with pride, presenting the texture of the gelee as a huge challenge, something it took someone a year to figure out. Sydney cracks it in less than a minute. Veal fat. She knows what’s needed, and she knows why: it congeals when it’s cold. Boom!

Carmy’s response to this always amuses me. He is not…dismayed exactly. Not quite. After all, it’s a reminder of her brilliance, and also that that world is not so far away.  That being said, she cuts across a punchline here; and what was a mystery to the best chefs in the world for a year is immediately obvious to her, to the extent that it’s not even really a flex on her part: she states it quite diffidently. Marcus’s gleeful ‘Mission Accomplished’ is very different from Carmy’s, which is a bit more ‘…oh.’.

On rewatches where I feel charitable, Carmy then implements the brigade cus he's been reminded that he has someone close by from that world, he has an ally that speaks his language, who is talented. On days when I feel less charitable, I combine this with him later talking her through the differences between stock/jus/demi-glace in front of Tina  like an asshole, and see him handing the brigade over at that specific moment, in the specific way that he does as passive aggressive. Most days I’m with the former! Still…we’re back in the grey areas of Syd and Carmy’s  dynamic. Where all the good shit is!

He's so glad she figured that out so quickly, absolutely not feeling a type of way about it, nope, not at all

I wanted to start with this story cus it opens up three things for me:

a) just a frisson, a hint, a delicious drop (!) of competition between Syd and Carmy 

b) the question, beloved by fanfic writers everywhere, of what the dynamic between these two might have been if they had met in a different context.

c) a third, messier thing, about Carmy going away, tooling up, coming back and it needing to be worth something, that going way. As far as he knows at this point, It didn’t achieve what it was meant to achieve, it didn’t get Mikey’s attention. Maybe he didn’t need to leave Chicago to do it. Sydney's talent tickles that tension, as does Marcus's (trios, trios!). So what was it for? What were the past few years of his life for, if a bunch of this stuff was in Chicago all along?

Who was Carmy away from Chicago? Who is he without his family? We’ve only seen one flashback so far, very much from inside Carmy’s head. The way he tells it is very different from what we see. At Al Anon, he describes himself like this:

‘when somebody new came into the restaurant to stage, I’d look at them like they were competition, like I’m gonna smoke this motherfucker’.

But you're tall and sexy, so don't worry about it babes

Gosh. Yes Chef!

I don’t think Carmy holds anything like this level of aggression towards any of the original staff of the Beef: it would be absurd: they don’t have his training or experience. For the most part we see doing the work of pulling a team together, which explicitly involves putting that kind of competitiveness to the side.

I don’t think he has this energy for Sydney.

Not quite.

I do think it’s an important thing for us to learn about his character. I do think that we are told it at the beginning of Episode 8, after Sydney has quit, because there are ugly feelings around the risotto dish. I do think that those feelings drive a lot of how Review goes down, and that Carmy knows this.  

This ferocious comparison and competition, used as a driving force, is a part of who Carmy is, and a part of the kitchens that he has come from. In another context, Sydney would have just been competition. And he’d have been trying to smoke her.

Let’s follow a humble bowl of risotto through THREE EPISODES, and about 5000 words, good GOD.

Tracing the Journey of the Risotto: Unanticipated

I tried to find appetising pics of her cooking the risotto but mostly it doesn't look very aesthetic, so here is Syd in my fave of her scarves.

A Risotto, playing on ‘tongue in cheek’ is first tentatively pitched in Sheridan, as an idea for a new menu that they have ‘spoken about’. Carmy is… noncommittal. He’s not into it, but he doesn’t say that, he just doesn’t really engage. I think there are a bunch of valid reasons to not be into it, tbh. I’ve ordered risotto to go. It’s always kind of gluey and disappointing. Sydney isn’t given a clear no, so she decides to cook it: it becomes something she has to convince him on.

He doesn’t get to try it in this episode as there are drugs to sell and about a million different fires to fight. We know that she dreams about this dish though. In this episode she talks about how thinking about her mistakes with Sheridan Road keep her up at night,  but the last images of the episode are of her dreaming: beef… raspberries… cola… fire: there it is. Cola braised short rib. We’re back in the realm of deeply personal creative expression that I spoke about in part two. That anxious energy around failing with Sheridan Road? Is going somewhere else, is being transformed. This is important, and has the potential to be profoundly healing. This dish has meaning for her.

The dish returns in Ceres. Syd is an unstoppable force with the dish, and having said she wants to be listened to, is not listening to several requests from Carmy for more time. Stressful! He deals with it well, at first. He is calm, and polite and asks her to hold on. Which is not a no. But then -

 ‘I know everybody you used to work for, I called them before hiring you’

oooooh weeee.

There is nothing wrong with him seeking out references. His reasons are logical, and he’s transparent about them. Personally? I think it’s sensible to let employees know you’re seeking out references to avoid paranoia, but it’s not a legal requirement. People do it informally via whisper networks all the time, both purposefully and by accident. Gotta say though, the phrasing and the timing of this ‘reveal’ made me wince.

There are a million different theories of feedback, of how to give and receive it well. One argues that feedback must be asked for, accurate and measurable. If it’s not measurable, then you are nitpicking. If it’s not accurate, you’re hating. If it’s not asked for, or at least delivered in an environment where it’s anticipated, it is unlikely to be received well. Carmy, unfortunately, delivers a whopper of unanticipated feedback here: ‘me and all your old bosses (I know EVERYONE YOU USED TO WORK WITH)have been talking about you and they all agree on this flaw’.

YIKES

Would I let Syd stab me for a bowl of this? Maaaaybe. Maybe.

My reading is that he wanted to ask for her patience, and to say that his decision to pace out the changes is coming from experience, but he’s being backed into a corner, so he summons up the spectre of her old bosses for back up. Syd had opened up last episode, and is still very vulnerable about Sheridan, so he unintentionally wounds her here. We can read this in her response. He says her employers said she was smart, talented,  green and impatient, she hears ‘me and everyone you’ve worked for think your business failed because you were green and impatient, that’s why you’re here, and why this dish can’t go on the menu’. This dish is getting entangled in so many other things about where they’ve come from.

He does take the time to reframe it: outlines his practical concerns, and starts to articulate that he wants to maintain calm before they make more changes - 

And then Sugar is banging on the door, demonstrating his point.

At this point, Carmy is trying to build a parachute. They don’t have one when Jimmy comes to visit in Hands, but they do have one that becomes Richie’s bail by Braciole. Reserve building takes steady, dull consistency, but this isn’t communicated, and they don’t agree on a timeframe for the menu development, or even to come back to this conversation. This is small stuff, I know I sound nitpicky! But in my experience managing people, tension builds in the unknowns, in the places where there aren’t specifics, especially when you have a team member like Sydney who is ambitious and dynamic.

Sydney is firmly in the realm of the job that Carmy specified here. He is dialling business, she is doing everything else. If you’re a nerd and you zoom in on her CV, she has done menu development before. She is green, but not that green. She is impatient, but she also doesn’t have the same complicated relationship with change at the Beef that pretty much everyone else but Marcus does. The risotto is the first unofficial test of the impact of strain on their (messy ass) working dynamic, to Review’s much more official gauntlet.

Why would they write a proper CV and film it if they didn't want me to spend 5 minutes hitting pause repeatedly until I'd read it?

*squints* designed daily specials with complete creative control! At Alinea! A THREE STAR MICHELIN RESTAURANT! At the time they wrote this, it had held and retained those stars for twelve years! She is not new to this!

Tracing the Journey of the Risotto Two: Unmeasurable

They try again with the risotto later. She is a little more patient, initially. She makes the effort and he thanks her for it. He tries it, which she really wanted (surely that will convince him!), and she has modified her request, from to-gos, to trying it as a special. Her equivalent of baby steps. She listened. She’s trying. Lovely Angel and my main man Ebra come by, taste and support Carmy’s ‘tremendous’.

But here Carmy gives feedback that isn’t measurable. It’s not perfect, but he doesn’t say why, even though he knows, and it’s an easy fix! He’s nitpicking, because he doesn’t, for a bunch of practical reasons, want to put risotto on the menu, but doesn’t want to shoot her down. He asks her if she understands after she has explicitly said that she doesn’t (cus he’s not being up front), and then doesn‘t explain himself. He’s not really asking if she understands, he’s telling her to stop. It’s not really the dish that’s not ready, not really, it’s him, he’s not ready to make a new raft of changes, to think through the gap between the Michelin star excellence he has come from, and the budgetary, practical restrains of where he’s at.

I think this is really fair. Or at least understandable. Carmy just wants to catch a breath, and he has to have oversight on so many different things at once, adding something else to that must feel terrifying. But the way he communicates this shuts down and restricts: he switches the dynamic from one where they listen to each other (which requires that they both explain themselves) to one where he tells and she does. It doesn’t really give her anywhere to go, so her frustration is inevitable and also understandable. Measurable feedback! Clarity. If you don’t want risotto on the menu Carmy, rip the band-aid, and say it, and say why. Get her to work on something that is going to fit with the menu in a different way, in the way that you want, and be clear about the way in which you want to shape it!

He knows he’s not been great here. Carmy apologises for ‘being shitty’ later in the episode (as others have noted, it’s a shit apology) and he also starts his apology with ‘needs acid’ in 1:8. He knows that a lot of Review is to do with this dish.

When Carmy apologises about being shitty later in Ceres, she doesn’t mention that she put the dish out earlier. It’s framed as a little moment of.. if not revenge, then a little something for herself. I think she knows it’s not OK, not really, or she’d have mentioned it, and her face says a lot when she says it’s cool.  I’m not a chef, I only ever worked FOH, but my instinct is that its dodgy and it fills me with unease. A grey area. A pop of tension.

Tracing the Journey of the Risotto Three: Hating

Whenever I think about the strikes, I think about the broader ensemble in this show.

The next time the risotto turns up, it’s being mentioned in a review. A lot happens here, so I’m gonna bullet point out all the references, then analyse some of them afterwards. I’m also gonna jump a whole bunch, cus I want to stay tightly focused on the risotto itself, and the dynamic between Syd and Carmy as relates to it:

Ebra reads the review out!

Syd has a lovely, gentle smile for Ebra as he reads it, her whole body relaxes as she taps at the tablet. This validation clearly means a lot to her. Ebra’s dynamic with both Sydney and Marcus is consistently a joy to behold. When he tells her in Dogs that she’s given Marcus a lot of confidence, she glows, and I think it’s something she really needed to hear. He’s subtle about it, but he never makes her life difficult when she implements the brigade. There’s something about the oldest member of the team, reading the review out, a little haltingly cus English isn’t his first language, that doubles down on the love that can be present in the Beef, making it all the more jarring when –

Carmy cuts across this and starts talking about the day’s opening with a ‘stop reading that shit’

Fam ‘that shit’ just described your food as elevated and elegant! In the foodie heaven that is Chicago! In your restaurant which is kind of failing! It’s your team’s first review since you’ve been there! So straight away you’re waiting for the other shoe to drop, because what has got his knickers in a twist?

Carmy is justified in being pissed off about Syd’s actions here. What he is not justified in, is not finding a way to celebrate the review itself with his team, who deserve to have this moment. It’s a milestone for them to get some external validation, and the restaurant, quite frankly, needs it. A five star review! Tina squeals with delight when she hears it. Before a new program and a busy shift is the perfect moment to read this out, and go into the work feeling good. A united, gassed up team? Would have killed those to gos.

Sydney is also responsible for this messiness though. In going rogue the episode before, something which could have been about the team becomes about her in a way that is sticky, and it becomes harder to celebrate. It was not her intention, but this is the outcome.

Ebra ignores Carmy

(cus he’s redundant and white JK JK don’t cancel me)

There is a double edged shout out to the team

‘the staff moves are next level’: this is such brilliant, important feedback from a team that has had to weather so much change! Also calls back to Richie:  ‘Uh oh, Sydney making moves!’ in the car in Hands.

‘The sandwiches are so delicious as ever, but the standout dish that... that, that encapsulates all, this was the risotto with braised beef. The rice was luscious with a surprising ribbon of brine running through the sauce. The chef obviously knew what she was doing’

THAT REVIEWER IS A SNITCH

Did Syd know that reviewer was a reviewer? I dunno man. Maybe! She’s Chicago born and bred, knows the food scene well. It’s not outside of the realm of possibility that she’d recognise him. Maybe she just wanted some good immediate feedback, while she was feeling shitty! Maybe all she wanted was him to send a message back to the kitchen that’s like tell Syd the risotto was great: the impact of his Review but on a much smaller, less disruptive scale.

I think it’s genuine coincidence, which unfortunately looks… not like that. The thing is: the reviewer being a reviewer isn’t what the issue is. The issue is giving food not signed off by her boss to a customer.  She'd have never gotten away with that at the places where she was before. Putting the dish out is going rogue, regardless of who she gives it to. It’s not a team move. If Carmy called in her old bosses for back up, she calls in his potential new customers. Eek. EEK.

Sydney desperately tries to get Ebra to shush, to no avail

(extremely funny work from Ayo, but also he’s pissed, and she either already knows it, or already antipates it – it’s hard to get a read on how long they’ve been in and when they learnt about the review)

‘river of brine, huh?’ 

Carmy, you little snark!!! This is very much his wheelhouse of expressing displeasure, he loves a little jab to the emotional solar plexus. My reading of his line is that what the reviewer tried and what Carmy tried are different, because if it had a ribbon of brine in it, I think that means that there was enough acid. Syd has two dishes, and she’s specific about Carmy trying one and not the other, so my reading here is that Carmy’s POV is not only did a dish go out of my kitchen without my sign off, but it was different from the dish I was given to try. Wince. Wince, wince, wince.

Sydney and Carmy have a fucking excruciating conversation.

Just the worst.

Carmy is not happy, but feels unable to voice this in a way that seems reasonable: he’s busy and stressed about to-gos, he hasn’t moved past the unreasonable feelings of resentment and annoyance to the clarity which enables you to articulate how you feel and why, and because Syd’s gamble paid off! It’s a net positive for the restaurant so it feels counterintuitive to reprimand her, but there is a conversation they need to have. He really does not want to have this conflict, because it’s complicated, and is, like most big blow outs over something small, about so much more than a plate of risotto.  He breezes over the conversation, but you can’t start with that ribbon of brine opener and then tell me shit’s not weird.

Compare this to Brigade, when Sydney is asked what’s up, and she is brave enough and vulnerable enough to be like – here are the things that weren’t OK, here are my expectations, here are my boundaries.

On the other side of the conversation, Sydney knows that she has slipped across a slightly odd boundary, but doesn’t acknowledge this. It’s good he liked it! All’s well that ends well. Right? RIGHT? But if he hadn’t? Very different conversation. It doesn’t matter who he is! He could have been anyone - someone that left a weird Instagram comment later, or someone who didn’t finish the meal and complained. Whatever the case may be, giving it to him unofficially was not an act of partnership, or listening, even if the initial communication was shitty.

She knows she’s overstepped,  but she doesn’t apologise and doesn’t acknowledge the specifics of what she’s done wrong, because she does not want to have the conflict that could come out of this either. She seeks affirmations that they are OK rather than trying to actually find out how Carmy feels and why, because at this point she doesn’t really want to hear it. She is seeking this conversation out 20 minutes before open! It’s not the time for a thorny, complex discussion.  

Compare this to Brigade. Carmy knows Sydney is pissed, and makes the effort to speak to her, in private, armed with the peace offering of Ebra’s Suqaar. He is very careful in that conversation to ask open questions (‘what’s going on with you? Say more?’) that enable her to respond honestly. He persists despite her having her walls up around the fact that she’s pissed. Sydney does not do this. The power dynamic makes it hard, but still. If she wants the connection needed to power reconciliation, that bravery needs to be in play.

are you sure we can't just power through this with sexual tension?

Sweeps congratulates her and tells her she’ll have to tell her dad

Hope Mr Adamu got a newspaper clipping!

Carmy says the sandwiches are totally different and the reviewer is a fucking hack. Syd looks sad.

This moment is why I opened this essay talking about veal stock. We are back in a moment with a gap between what has been said, and what has been heard. The reviewer said the sandwiches were delicious as ever. That’s not a criticism at all! These are not words that justify being called a hack! Carmy is pissed because the reviewer says they are delicious and they always have been, that Carmy has not improved on the staple that was there before him.

And that shit hurts his ego!

His whole thing was going off to learn ‘how to be better than mom and dad’s piece of shit’. We know he’s changed a bunch of things about the sandwiches. In Hands,  Sydney mentions that they’ve switched to market produce, which I’m sure is not unrelated to Richie’s ‘You’ve been here for two weeks and we’ve had money problems for two weeks’ in System. In Carmy’s time there, the bread’s changed, the method for cooking the beef has changed, the way they braise onions has changed.

To that customer? Delicious as ever.It’s not a dismissal, or an insult.  It is a reminder that Carmy didn’t have to leave, and go through all he went through, that there was delicious food and skills to be learned and refined without it. We know Michael was a talented chef. Even now, with all of where he’s been, Carmy cannot surpass him or his memory.

The person that does surpass that? Is Sydney. With food his palate did not deem good enough! Sydney who has not had to leave Chicago and her family. Sydney who has found a way to be creatively free, even at The Beef, in ways that Carmy has not really been able to, because his primary concern has to be money. There is understandable resentment here. But there is competition to the way Carmy cooks, something to prove, someone to smoke. There are reasonable feelings here, but some of them are really ugly, too.

Tina describes Syd as Jeff’s friend

This is a strange little line – because we know that Tina respects Syd as a chef at this point, and she doubles down on it later when she asks Syd to teach Louis skills, like she herself has been taught. So why’s it there? My feeling is that it’s there to remind the audience of what Syd and Carmy’s relationship is usually like. I wouldn’t call it friendship, I think they operate in a weird place that defies labels, but they have this synergy which drives the business. Tina evoking that in this moment draws attention to the fact that they are not in that space right now.

He's just got a very sweet face, it's hard for me to believe he's in trouble at school

Richie has a loud, performative conversation with Carmy about many things, but for the purpose of this section, he states that they don’t do risotto, asks if they’re going to, and Carmy definitively states that ‘no, they’re not going to do that’ he also repeats Syd’s phrasing that it was ‘an accident’

She stabbed the wrong ass if you ask me!

Nah, but for real, this is nasty work. I’m gonna come back to it in the next (penultimate!) bit of writing about the Beef, the Bear, Richie & Michael, Syd & Carmy. For now, I will simply say that Carmy is doing up major pass agg here, and it’s nasty to watch. He’s really, really unhappy with her,  and he’s struggling to hold it in, so it’s coming out in unhelpful and unpleasant ways that feel like humiliations in front of the whole team, and punishment.

There are really valid reasons for Carmy to be annoyed and to not want to talk about it right now.  The problem is that If you don’t create a pressure valve you take responsibility for, you will end up a) exploding instead (lol) and/or b) releasing that frustration in unhelpful and harmful ways.

They move towards this with their ASL sorry in Season Two. But here, Carmy says and implies a bunch of things to Richie that he needed to say explicitly to Syd two episodes ago, and two minutes ago: that he has no intention of putting risotto on the menu, and that he thinks her saying it was an accident was bullshit. He wants Syd to know it’s not OK without the hard, painful work of having to engage in conflict with her. It’s shitty.

Sweet Louis asks what a ribbon of brine is

He seems like a good boy, bring him back!

A BUNCH OF STUFF THAT I WILL WRITE ABOUT NEXT TIME HAPPENS

Richie, Syd and Carmy, it’s delicious (a nightmare).

Syd attempts a second conversation with Carmy – having vented some frustration  at Richie, and seeing how her workload is piling up and becoming untenable, she is much more open here. Carmy is not.

She’s blunt – we’re not on the same page. Carmy lies and deflects – we’re good, let’s get through the shift. He has his hands on his hips, with as much of his body turned away from her as possible, during this conversation, and walks off half way through it. Even if everything had gone right, this shift would have been a nightmare for Syd.

Everything is awesome!

The penultimate mention of the risotto is here. There is very little I can say that has not been brilliantly said by eatandsleepwell here - https://www.tumblr.com/hourglassfish/726487509540962304/eatandsleepwell-melonatures-this-one-second?source=share so I’m gonna link it.

That’s the last we hear of risotto for now, other than a quick reference to Syd as an arrogant and condescending ribbon of brine from Richie later. It doesn’t turn up on the tasting menu at the Bear, where it defo feels like a riff on risotto could have replaced one of their pasta dishes. That switch from rice to pasta feels pointed.

Spaghetti

Let’s treat The Beef as a character. If Sydney’s ingredient motif is veal stock, then The Beef’s is that family spaghetti.

Cheap and simple. Fucking delicious. Makes no sense and shouldn’t work, but was somehow the best seller on the menu. Distinctively Italian. Stuffed full of drug money(!). Always, always presented at the table with love, like a gift. You can elevate it if you want, but the fact of the matter is that even at its very best, it’s only gonna hit so hard cus it reminds you of simpler times, like the ratatouille (that is not a ratatouille!) from the movie Ratatouille.

Carmy rejects that meal at the top of the series. It ‘doesn’t make sense on the menu’, so he doesn’t care that people loved it. So far, so EMP. When he starts to cook it in episode one, it feels like a relenting to Richie’s bullying, and him throwing WHAT WE NOW KNOW WAS PROBABLY A FEW THOUSAND DOLLARS in the bin at the end of the episode feels like this exhilarating rejection of mediocrity. They change the lines for System, but in the pilot, Carmy literally cannot make the spaghetti, that last lesson from Michael is a real missing puzzle piece.

In Braciole,  when he gets the recipe, he goes to cook it, for family. It’s really nice, that scene, feels comparable to Sydney making omelette. It’s quiet, and Carmy seems content, if wistful. The pork instead of beef panic of earlier is put to the side for now. The previous day, Carmy has gone to Al-Anon and confessed, unburdened himself. Then followed two quiet days and a blue hued night of atonement: he reaffirmed his commitment to Richie, paying his bail and keeping watch all night, gave Tina the night off, apologised to Marcus and acknowledged that his behaviour towards Sydney wasn’t acceptable, as well as speaking to her about her dish, like an adult. Carmy has to do all of this before he finds the money, before he gets the validation that he’s really longing for from his brother.

JAW getting his Emmy, his Golden Globe, his SAG Award, his Bafta, his future Oscar Winning role.

If The Bear at its core is about grief, and the void that Michael’s death leaves, then one of the big journeys of Season One is the subsequent death of the Beef, ready for its rebirth as The Bear in the following season. Review is the short sharp stab to the gut, of Sydney leaving, and taking any hope that it can be reformed as is, with her work. I don’t think the nature of a puncture wound, and the shortness of that episode are unrelated.

Braciole is more of a death rattle: Jimmy’s debt keeping them trapped in shitty work they don’t want to do, situations that spiral out of control and descend into violence, their parachute turned to bail money. But Michael wanted more for his brother than that, and he has left him a foundation. He does not have to burn the place down, there need not be smoke and hellfire. There’s another avenue for rebirth, one where ‘set this place on fire’ does not have to mean an insurance scam, but instead can mean an ignition of all their ambition and dreams.

To get there there has to be an ego death first, a moment of hubris that gets our protagonists fresh, and clean, so they can move to the new. Sydney sees and experiences the worst of herself (more on this in the final part!). Richie gets stabbed (more on this in the next part).

Carmy? Carmy has to encountera crisis where not only could his training not save him but many of the lessons he learnt while he was away and his reasons for going in the first place actively made the situation worse, and those that had faith in him and his preferred system turned away from him, deeply hurt. His ego gets in the way of connection, and it shatters the partnership that he needs to make it all work. He is clinging to old ways of being that has not served him, but he needs to move forward into what is new. And he does.

Well.

He tries.

SMDH

WHEW

Another long one, sorry fam. I’m almost there though. Am I sorry? No, I’m grateful if you read it, and I hope you enjoyed it.

I hope I’m pulling this together coherently, that I’m showing a sort of throughline to the way I view Episode 7. I don’t think Sydney is perfect! I do think her walking out is narratively and politically (the show wants better for the workplaces its drawn from) necessary, and I hate, hate, hate the simplification of that decision to ‘he shouted at her so she bailed’. Please, you can’t think this show is well written and think her decision is as simple as that, it doesn’t make sense. That exit is crafted so that it is inevitable, there is a movie’s worth of build up to it.

We’re looking at Richie, Syd and Carmy next time, fam. I am trying so hard to cut it down cus it’s currently sat at 15,000 words, but I’m gonna try really hard to edit down, OK? I’m gonna try really hard.

I can’t respond but I value reblogs and comments so much!

This is part of a five part series! You can find the rest here:

Expect More: Syd and Carmy's relationship,

I know you'll be listening: Marcus, McDonald's and Freedom

Risottogate

Hiring New Fucking Broads: Syd, Richie and conflict;

"That's Not You" The Moment Syd Walks Out

#the bear #carmy berzatto #sydney adamu #the bear meta

[potterandpromises]

I want to talk about the evolution of Theo's appearance.

I mean, look at that glow up! That doesn't even look like the same actor, let alone character.

In season 1 he looks a lot like his teenage self: kind of greasy.

Mabel, Tim, and Oscar looked younger in their flashbacks. And to me at least, Theo really didn't. Out of all of them, he's been given the least opportunity to change, to grow up.

Then in season 2 (really just 2x07; in 2x04 when he's talking to his father he looks like his season 1 self) he looks more mature and put together. He's less awkward, more free.

In season 3, the trend continues and it's no longer subtle. He looks quite different, older for sure. He's more relaxed. We see him engage with his friend and his interests, have more fun.

He looks a lot like his dad, while Teddy is just a painting in the back of Uma's closet nowhere to be seen.

I'm obsessed with how the farther removed Theo is from Teddy the more grown up and well he looks, and I'm obsessed with how he looks so much more like his dad in a season where we don't even hear about them interacting.

(I'm also curious if, upon interacting more with his dad, Theo will look more disheveled, to show backsliding.)

I'm obsessed with how he suddenly looks a lot more like Will.

To be clear I don't think whatever symbolism is there in the glasses + beard addition (on some level we can't help but become our parents no matter how hard we try?) is necessarily intentional— I'd have to see season 4 before forming an opinion for sure, but I do think it's more likely that it's just a normal look for James Caverly and the time skip between seasons meant that it wouldn't be weird for Theo to look pretty different. Plus, they've now set him up as a potential love interest for Mabel, so he should probably look as attractive as possible.

But still, in a show that has an ongoing theme of family, it's all very interesting. I think season 4 will have a siblings theme of sorts (posts about why). I'm hopeful that Teddy will return and we'll finally see Theo and Will interact. (Note: as far as I know, Nathen Lane's absence and Ryan Broussard's low screen time were more so due to scheduling conflicts then creative decisions.) I'm also hopeful that we'll see a little more of Will's feelings about Oliver's heart attack and the circumstances leading up to it— because once again, Oliver prioritized the theater over his family, which is, ya'know, the root of all their issues.

And speaking of conflict, we've seen a plotline about how DNA doesn't matter (Oliver and Will,) and one about connecting with biological family after a long and painful separation (Loretta and Dickie.) I wonder if season 4 will have something of a push-pull between the two. Considering the actors' chemistry, it's hard not to imagine Theo and Will connecting if given the chance. (And I do think they'll get a chance at some point, or they wouldn't let the actors talk about it in the aftershows.) Given Teddy Dimas, it's hard not to imagine them having complicated feelings about that. Rounding back to the potential symbolism of Theo's new look re: (fear of; you can't help) becoming like one's father, Will experienced that in season 2 with his son's play. It's also been a theme/fear in Charles' life, so very much in these writers' wheelhouse.

There's no ending to this post, it's just a part of Theo's character arc I really enjoy, and I'm excited to see it continue.

#only murders in the building #omitb #meta #analysis #theo dimas #will putnam #teddy dimas #theobel

[the-owl-house-takes]

I can't take Luz antis seriously I'm sorry but i am starting to hate them for numerous reasons

First of all, why do you ?? Care so much about this random fictional teenage character and the fact that she is imperfect ?? Like yeah I won't deny the owl house can get bad with it's writing at times but why are you so obsessed with hating it. if you don't like it why are you just filling your mind with more hatred and toxicity why are you s toh fan if you hate everything about it

Second of all a bunch of their arguments are useless. I most oftentimes see them ALWAYS bringing you her introduction and how she brang snakes to school. And let me tell you, in kids cartoons - character introductions are very much often exaggerated !!! All the time !! Oftentimes, characters in their introductions are exaggerated so the audience, usually being children, can easily get a quick grasp of who this new character is. Luzs introduction is meant to show us that she's the weird kid, people don't really like her, she doesn't fit in, she likes to have fun in weird ways. Her bringing fireworks,spiders and snakes into school, I believe is not meant to be taken extremely seriously, I believe it's a form of exaggeration, because fictional characters in their introductions are, like I said, exaggerated so they're easier to read

And honestly it seems a bit pitiful to always bring up the same scene over and over again even though it leaves little to no impact on the rest of the show

And don't tell me she is a Mary sue who's flaws never get pointed out. They literally do. Watch season 1. Also clearly she means no harm and she already feels such remote and guilt for things she has done but never has meant (helping belos w his plan). Are y'all trying to make her look morally bad? You're not doing a very good job

I've seen people say that she doesn't 'deserve' friends, her family, her girlfriend, or a happy life.

God that annoys me

You don't necessarily earn these things. Well, you shouldn't have to at least !! Everyone deserves a chance of a happy life, especially ppl like Luz who are just random teenagers who are struggling in their life due to various factors

Luz does deserve a happy life and a happy ending. Yes it might be a bit bland and boring in some people's eyes but that doesn't mean Luz as a person wouldnt deserve love and joy in her life

She continuously tries to "make up for what she's done" and she always blames herself too hard. Season 1 finale, season 2, season 3. It's shown constantly how do you miss it and how can you call her selfish

ALSO SHE LITERALLY LET HERSELF DIE ? And you're going to tell me that she's selfish even though she is literally anything but the things you try to make her be

.

Anyway I don't think Luz is actually that hated in the fandom, I just see very specific people hating on her and it makes no sense to me

Luz defender forever m💪

-

#the owl house #toh #luz noceda #long post #fandom takes

[bildads-shoes]

Ever since I saw this incredible post I've been thinking a lot more about the book vs show differences, and one of the things my brain keeps returning to is the very different presentation of Heaven and Hell.

In the book, I feel like the majority of the time Heaven and Hell are mentioned, it's simply in reference to them being adversaries. They're often just referred to in the context of being Aziraphale and Crowley's bosses, both equally uninterested in humanity or the details of their employees' actions. Hence, we really do see them as not being so different from each other, and dislike them both equally. Personally, I feel this is a bit different in the show.

In the show we actually get to see Heaven and Hell. We get to see Beelzebub for more than a couple of lines, we get to meet Gabriel, and we get to feel the atmosphere of Heaven and Hell as settings.

In terms of their general vibe, the difference feels pretty stark. Heaven is empty, cold, unfeeling; every interaction between the angels we see is laced with mistrust and two-faced scheming. Hell, on the other hand, does have emotion; it's a deeply unpleasant space, of course, but the way the demons complain to each other feels more honest. Take Uriel and Michael: we've seen them throughout both seasons, yet I can't recall either of them expressing a single honest feeling. Shax and Furfur, on the other hand, have had a lot of honest moments both with each other and with other characters. In a bizarre way, Hell becomes more relatable, more likeable, in the show.

Of course, there are massive issues with Hell, but they don't necessarily come across at first glance. The really dark aspects are almost always played off with jokes, to the extent that we don't talk about them that much. Beelzebub is pretty well liked from what I can tell, despite evidently having extensively tortured their employees - but it's part of a funny scene so we instinctively overlook it. Gabriel, on the other hand, seems widely loathed; he's just blatantly a dick in Season 1, and we don't see enough of him actually as himself in Season 2 to balance that out. I'm sure that's also in part due to fake-Aziraphale's trial being resurfaced in Season 2 as a serious, traumatic event for Crowley. We aren't shown the impact that Hell's treatment of Crowley had on Aziraphale, so once again Heaven ends up seeming like the more 'evil' side.

So I suppose it's no surprise that we end up having more discussions surrounding dismantling Heaven in Season 3, with Hell's toxicity being a slightly lesser topic of conversation. It does instinctively feel a little like Heaven is the 'bad one' in comparison, whereas we have to actively analyse those throwaway/comedic moments to acknowledge the massive issues with Hell. Therefore, to me, that neutral/equal presentation of the two 'bosses' in the book is no longer the case in the show.

Perhaps this is all because the show is shifting more towards commentary surrounding religious institutions as opposed to the Cold War energy of the book. Or perhaps we'll be explicitly shown more of Hell's dark side in Season 2 and will return to truly seeing them as equally bad. Or maybe you have a totally different interpretation (please let me know 👉👈). I don't know man, I just needed to get this thought out honestly lol.

#this turned out to be SUCH an overly extensive ramble sorry #good omens #good omens meta

[hellishunicorn]

I don't know if we need a 1941 part 3

Here me out.

I've seen people talk about it since season 2 was released and while I understand people feel like something is missing, I don't necessarily think that is the case.

Don't get me wrong, I'm not saying there won't be a part three to 1941 or that I don't want one. I wholly get that it might be possible in terms of it being weird to only have that particular night in only two of three seasons.

However, I've thought of something that could possibly fill in the gap between where we end 1941 in season two and where we start in 1967 in season 1.

We end 1941 with them sitting together, drinking wine, after Aziraphale tricked Furfur into thinking he had proof of them working together, when in reality he had managed to swap the photograph of them for a pamphlet. All is well.

But then Crowley is back to trying to get holy water from a church in 1967, and Aziraphale hears about this. What would he be thinking when he found that out? Was his trick not enough? Had Hell still found out about them? That Crowley had helped him? Had they done something to him? Threatened him? Why would Crowley be looking for holy water now?

And I think that the reading so many of us had after season 1 about the 1967 scene, that what made it so tense was that 'I can't start getting more attached to you now than I already am, because I'm worried you might not be here tomorrow' still stands.

Because at the beginning of the scene, Aziraphale is the one who's tense, not Crowley. Crowley's confused why Aziraphale is suddenly there in his car, but there's no real tension from him until Aziraphale gives him the holy water. But Aziraphale is tense since the scene began.

just a thought.

#good omens #good omens season 2 #good omens 2 #gos2 #gomens #aziraphale #crowley

[canonmisogynyvictimstournament]

PROPAGANDA

ARCEE (TRANSFORMERS) (CW: Transphobia)

1.) Transformers has had a troubled history with female transformers as a whole. They didn't really even exist until Season 2. And while they've all gotten the short end of the stick until recently, Arcee, who kinda ended up The Main Girl (sorry Elita) has gotten the brunt of this mistreatment. Mostly talking G1 here.

Toys kept getting cancelled over and over even though she's a main, important character of Season 3. She didn't get a decent widely available toy that actually resembled her G1 version (first one was a Botcon exclusive Blackarachnia redeco which I disqualify because convention-exclusive spider is not what I was looking for, and Binaltech is just kinda a pink and white robot who looks nothing like her, just with her name slapped on) until 2014. I wish I could use bold here, because there's no such thing as uppercase numbers. Before that, you just kinda had to look at the toys from other canons and squint because Hasbro doesn't think the pink girl toy will sell well.

And misogyny present in the fiction? A lot can be summed up in a couple words, namely, "Furman, why?" While most people go with his excuses of not believing in Cybertronian gender, it really comes across as him seeing men as the default, neutral state of being, and women as something that must be explained. Poorly. Explained very poorly. Not to explain things in Tv Tropes terms, but I have to, it reeks of the 'Men Are Generic, Women Are Special' https://tvtropes.org/pmwiki/pmwiki.php/Main/MenAreGenericWomenAreSpecial trope.

Let's get us started with Prime's Rib. Oh my goodness, Prime's Rib. So, Furman doesn't believe in Cybertronian gender (and male is seen as default), and this has reflected in his writing. He's going along perfectly fine writing his dudes in the US run of the Marvel comics, Arcee entirely ignored… but what's this? The connected UK comic has her. He can't just ignore her. So, well. He needs an explanation. Explaining a plot hole isn't bad. It's how he did it. Arcee was created in response to a feminist mob who was mad Cybertronians were all guys. I don't think I need to explain this one.

I'm too tired to explain her treatment in IDW now. Something something unnatural attempt to introduce gender into a genderless species, something something, really weird uncomfortable treatment, it's a long story and I'm not an IDW expert, read the TFWiki page for Spotlight: Arcee.

I'm sure there's more in other media, but I've blathered on way too long and I'm starting to get frustrated and tired and AGH FURMAN WHY. He's gotten better, too, definitely not judging his present self over comics that are from many years ago, but asdfghjkl

Ok fine, one more thing. This isn't G1 but Michael Bay stated in interviews that he gleefully killed her movieverse version off specifically because he didn't like her. It's not NECESSARILY misogyny motivated. I wouldn't deem it misogyny coming from a different director with a different film series. Transformers writers have had personal beef with random characters which they wished to unceremoniously kill off before--Animated Beachcomber comes to mind, even if the writers never got the chance. But it's also Michael Bay's Transformers we're talking about here. Can you blame me for thinking that?

Arcee has gotten better treatment in recent years. Furman's clumsy attempts to explain Arcee's gender in tbe IDW run were slowly retconned into some pretty decent trans rep by other authors, she's really just come into her own as a character. But it was a long and rocky road to get there, and I believe we all need to acknowledge that.

2.) Was initially introduced in the 80's transformers movie only after being strong armed by Ron Friedman, being the first female presenting robot to be seen in the show. bright pink, cause, ya know, female. has the most romantic involvement of any transformer ever across all transformations media, cause, ya know, female, and god forbid she be her own person when hasbro can stick to her to Some Guy. she was made trans in the 2005 continuity and was immediately made berserk as a result. marvel made her a freak science experiment to shame feminists. why does the robot have curves when no one else does istg

i love her too much to stand by idly while she's treated this way

3.) hasbro keeps trying to convince people that her and elita-one (another pink fem character) are actually the same. "who cares same lore different names. what do you mean they're different characters?" and constantly flips their lore, designs, and names around with every single FUCKING continuity ie transformers rise of the beasts where they use arcee's design but call her elita-one SMASHES MY HEAD INTO THE WALL bro there's a whole group of autobots called the "female transformers". i don't. there's so little female representation in this series that hasbro decided the best way to fix it would be… segregation, ig. arcee is apart of it obviously. elita-one leads it. reminds me that i should (and maybe sick a couple friends on this poll) make a submission for elita because JESUS CHRIST hasbro fucked her up also apparently in some continuities arcee is trans. upon getting bottom surgery it fucking. idk how turns her berserk?? it's so weird. mind controlled/sleeper agent in like half of the fucking continuities for some reason. in every single one of these continuities she either gets with Springer or Hot Rod and ends up betraying them. every single time why does the robot have boobs

NAOMI MISORA (DEATH NOTE)

1.) I know everyone is gonna submit Misa but honestly she had it worse.

She gets introduced as this competent lady who's gonna help find Kira but then she just, decides to show some teenager her real ID as a show of trust and whoops that's Kira.

Also part of her introduction was her fiance going "You don't need to worry about this tracking down the killer nonsense, you're gonna be my wife, you should just be worried about raising kids in the future :)" or some shit. And it's barely addressed, because she just fucking dies.

2.) She was the only woman in the series to show any level of competence. She figured out more about how the death note works from some small context clues than L did in considerably less time. She was apparently so competent that the author decided to kill her off despite initially planning to make her a main character, fearing she would distract from the L and Light rivalry.

3.) the victim of “writer doesn’t understand women and also hates them” disease. Like, seriously, the author of Death Note could only imagine a female FBI agent as the fiancée of another, more senior FBI agent. The main character Light kills her fiancé Raye Penber (in honestly a really tightly written and cool episode) and so she tries to figure out who killed her husband. Unlike Raye who only figured out that Light was Kira as he was dying because Light basically told him, Naomi figures it out a lot sooner so oops guess she’s gotta die because she’s too good at her job.

#polls #round 1 #week 2 #new #cw transphobia

[theunsinkablesappho]

Hazbin Hotel Thoughts

I'm on my second watch and have some thoughts. Would love to chat about these.

Spoilers, Obviously

I think Alastor is going to end up being an antagonist in the series at some point. As part of this, I think it's going to absolutely shatter Charlie when this is revealed, and that while it won't stop her optimistic belief in the power of change, it will significantly dampen the naivete we see in her right now.

I am really looking forward to the day that Charlie decides she has truly had enough of the way Valentino treats Angel Dust and goes toe to toe with him

I need more Carmilla Carmine and her lil family

Why is Carmilla so badass and her daughters both look like total NERDS (not that there is anything wrong with being nerds). They showed up to that Overlord meeting looking like her damn accountants. I think one of them IS her accountant.

My current theory is that Carmilla was a crime boss of some type in her real life - drug lord, war lord, something - and that she and her daughters were all killed at the same time. Maybe by a rival, maybe by the ATF/CIA, who knows.

Season 1 has established some clear character parallels between Carmilla Carmine and Vaggie. I would like to see this develop more.

Did Lucifer actually seduce Eve (aside from the apple) or was he just taunting Adam during the fight?

My brother pointed this one out: If Adam was the first soul in Heaven, that is really bad news for poor Abel.

I see a lot of people talking about Niffty like she's a child, but she appears to have canonically been in her 20s (born in the 30s, died in the 50s) when she died. My brother and I theorize that she's a speed-addicted housewife. Rationale: her default "weapon" is a giant sewing needle; she has something of a housewife aesthetic; the obsession with cleaning.

Maybe a weird thing to notice but Charlie appears to have a... snout? Like, in profile shots, there's no dip back into the face beneath her nose... which would imply that she has more of a snout shape than a human face shape. Neither Lucifer nor Lilith appear to have this, so I am curious...

Charlie writes a script in which a "good" Sir Pentious announces he is "off to NOT have premarital sex" ... while she is sharing a bed with the girlfriend she is clearly not married to. No one likes a hypocrit, Charlie. This entertains me wildly.

Speaking of that, was Lute being homophobic or racist when she called Vaggie and Charlie vile and disgusting?

My theory of the final fight is that Lucifer was nearby, watching the whole time, but that he did not intervene until Charlie was in real danger for 2 reasons. 1 is that he was trying to let her do this for herself and 2, I think part of the pardon deal he negotiated with Heaven requires him to stay out of the Exterminations. If we think clearly, there's no real incentive for Heaven to just grant a universal pardon to ALL the Hellborn (and the pardon was for ALL Hellborn, not just Charlie). But if Lucifer traded his participation for their protection - which is clearly in character for him, as he definitely wants Charlie safe - then that is a hell of an incentive. It both makes the Exterminations that much safer for the Exorcists, but it will demoralize the demons of the Pride Ring (because Lucifer won't defend them) and weaken Lucifer's influence (because he's a lazy king who won't protect them). If Lucifer comes in too fast and hot, then he could be seen as in violation and bring down exponentially worse upon the inhabitants of Hell. But with Adam attacking and threatening Charlie DIRECTLY (attacking her Hotel and the Sinners there wouldn't count), it could be argued that Adam was the first to violate this hypothetical agreement. (I mean, it could also be argued that Charlie violated it as well. I said it could be argued, not that he would necessarily win.) He even says it, when he comes after Adam after the hotel is broken "You come after me and MY DAUGHTER"

I don't like St. Peter. I have no super good reasons for this... I just hate his stupid little face and his stupid little... everything. Someone I know said he gives "televangelist vibes," so maybe that is it.

BUT WHERE IS EVE?!

#Hazbin Hotel #Charlie Morningstar #Vaggie #Lucifer Morningstar

[224bbaker]

When u were coming up with ur main gumshoeing trio, did u guys ever like design them in reference of watson? Or in parody of the nebulous watson archetype. Coz like i see hampton as like the sherlock holmes parody but neither madge nor james are the uh biographer bestie. Was that intentional?

Anyway thanks for ur time! Cheers! Fingers crossed for the voting🙈🤞

Hello anon! Thank you so much for your well-wishes in the AVA voting, and for this lovely question!

If you mean "visually" (as much as we can have visuals in an audio medium), none of them quite look like Watson (though Archie has the moustache for it now).

As far as matching the more classic "Watson" archetype vibe-wise (which I think you meant)--since so much of the show ends up being about [spoiler for those who haven't finished] trying to fit yourself into roles and archetypes that don't actually fit you just because you've seen other people find success there, we wanted to have a few different characters have elements of John Watson, but we didn't want anyone to be an easy 1-1 type stand-in, if that makes sense.

We wanted James to be in many ways what Hampton thinks Watson should be, objectively--a man he has a close friendship bond with, someone more classically handsome and socially aware than him, physically capable, settled in with a partner (or, as Madge calls him in 1x08, "dashing, athletic, in an absolute sham of a marriage").

We wanted Madge to someone who is probably closer to an actual Watson for him on the relationship end of the spectrum, but who Hampton has discounted because of superficial differences--someone he's known for longer, someone who meets him with enthusiasm on games of deduction and disguise, someone who he loves deeply and who understands him deeply, someone who values his idiosyncrasies even while poking fun at them.

And we designed Archie in a way to be James's version of Watson, a partner for him in every way, supportive but firm, challenging yet domestic. They're all iterations on different versions of who Hampton (and the audience) thinks "a Watson" is and who he could be, and what that person could be in his relationships. They're all different iterations of the possibilities for the character, in a way.

Also, to tease a bit of season 2, none of these are necessarily the "real" John Watson (in our world), or the "real" relationship between Holmes and Watson, just what he could be to outsiders who have never actually bothered to spend time with the actual guy. And the same way that Hampton has to come to terms with the fact that he won't be a 1-1 Sherlock Holmes, he has to come to terms with the fact that his partners won't be 1-1 iterations, nor will his relationships, and they perhaps need to come up with their own definitions of what they are. It's part of the next stage of the journey.

As far as none of them being a biographer, though, that's a question for season 2.

#asks #fawx & stallion #224bbaker #s2 #listener posts #i probably over-answered oops sorry anon!

[431989]

more resident alien posting. predictions... spoilers so beware

well. i'm upset that the shows going to have a difficult time having more serious scenes now. and that's probably what it's going to try and set itself up for.

i reaaaally would have loved to see this show do something ACTUALLY different and good. by different i mean in terms of writing and not necessarily drifting from source material. yes i'm still sour over last ep, but i wouldn't be AS sour if everyone on the show didn't treat harry and asta's relationship as "mother and child." and also if the show didn't take such a nose dive into the type of comedy it's putting out.

ALSO? IN A RECENT INTERVIEW? Sheridan going on to state that harry would lose his first """love""" (more like lust. awesome that a show trying to teach human emotion gets those two things mixed up) and then realize there's love everywhere or something? why does this feel like "weird" people are forever left to the role of outcasts. already fucked it up once i guess the guy's trying to fuck it up more. could've just left it at "he'll lose his first love, then he will have to reconcile with his feelings." but he had to drop in that last corny bit.

like. the show's source is already good. i don't understand all these decisions they're making to try and make it seem "unique." and now to get numbers back they're dumbing it way down. WHICH. BY DOING SO. HOW ARE YOU GOING TO HAVE YOUR DRAMA? like how am i supposed to take anything seriously in the show. i *could* in season 1 and parts of season 2, but now it's just whatever. it's too goofed up for me to care. and now people who love the goofy won't give two shits about whatever message you want to drop or plot you want to develop. i dont give a shit about the greys!!! i dont care what theyre doing!!!! who gives a fuck if theyll blow up the earth. none of the characters really care anymore either. oh well!!!

also, predictions kind of. i'm not trying to say this will be the be all end all but it certainly could be a turn the show takes. in one of the issues of the comic (suicide blonde i think), harry is investigating the "suicide" of a woman. by the end of the issue, he catches up with her ex-lover and ex-roommate. they were both ladies. and the girl who died had a drinking problem btw. and was constantly seeing boys. i'm all for gay couples on screen as a gay guy myself but it'll feel so cheap to pair darcy and asta together despite the way theyve been played on screen. maybe its doable. i don't know. but i genuinely could care less considering the overall tone of the show's drifted more towards a sitcom than anything else. i think the small handful of 40+ year old gay wine moms would probably love it, but the vast majority of viewers wont. either they'll hate it and say it's forced diversity (there's already people saying that about the gay couple on screen this past episode) or it'll be another nothing moment to a further nothing story. if anything it'd feel one step removed from tokenization, considering they see harry as a manchild. ableism! show's trying to seem fucking wholesome but they can't be bothered to care about their nd viewers. like "haha look we have a main gay couple!!! what do you *mean* our show has rampant ableist tropes, we have a gay couple!"

i'm just so bummed. the show's cornered itself into a sitcom so meaningful moments aren't a thing anymore. plus the comparison of harry to a child is really getting at me. like he's a grown man as a human, and hes a grown alien thing as an alien. it's such a big slap in the face to any person who cherished the witty and unique story telling of the first season... like.... i don't know.... people who would've been fans of the comic too? i have small gripes about the comic, but at least it takes itself more seriously. but the show runners haaate the people who read the comics. why? i dont know. well maybe i do know. probably seen as too nerdy and weird for their idea of the show's viewerbase. despite the fucking basis of the show being weird and nerdy.

they couldve done the darcy asta thing better if they do go down that road. i'm just saying i wouldn't be surprised. they already scared off everyone who would've cared for something like that, so i don't know how they'll manage to find an audience that cares. everything in s1 was so organic and felt real!!!!! now its just!!! nothing!!!!!!!!!!

im also thinking about the fact that after posting that one resident alien drawing i did, i've had to block tons of people because they're freaks. loud and proud conservatives. man this shit sucks.

#resident alien #ra posting #sorry this one's kind of long #i'm still mad #i'll still keep up i guess out of spite #no i'm not paying for shit either LOL #i'll also clarify that i was in a sleepy daze when reading the comic #so i could've glazed past some things or the connection i made in my sleepy daze might not make sense now #which do correct me on that #but buhhhhh #whatever!!!!!!!!!!!!!! #god forbid a guy have meaningful development in a show he cares about!!!!!!!!!!!!!!!!!!! #also for anyone tempted to read the comic its written by two english guys so. keep that in mind i guess. #this is alllllll making me want to make my own thing #guhh #tbvh the show took out a lot of the comics... mysticism... but then the show shat all over the work they did to make it real and charming #flanderization hit it hard #feels way more tokeny. and also harry atp is nothing more than described as a manchild #EDITTING IN THE TAGS THEY DID CALL EACH OTHER FAMILY DIDNT THEY #technically they hadnt done that yet for asta and harry on screen i dont think but the interviews are still there #god what a mess